BA/MA [HONS]
2019 / 2020
ARCHITECTURE
ESALA
DR. MIGUEL PAREDES MALDONADO EDITOR CALUM RENNIE CATALOGUE DESIGN JUNE 2020 EDINBURGH
BA/MA [HONS]
2019 / 2020
ARCHITECTURE
ESALA
The document you are looking at (in either its physical or its digital incarnation) is the first volume in what will become a yearly series of catalogues that document the output and endeavours of the BA and MA (Hons) Architecture programmes at ESALA. All courses on offer within this cluster of programmes are represented in this publication, touching upon the many different dimensions of contemporary architectural education. These dimensions include – but are not limited to – design studios, histories and theories (both inside and outside the discipline), technological and environmental integration, professional practice and a series of focused elective offerings dealing with key specialist topics. Looking at the output of academic year 2019-20, the themes of ecology, sustainability and urbanity appear recurrently throughout the 4-year course sequence. This evolving set of overarching concerns articulates the ethos of our BA and MA (Hons) programmes, where Architecture as a discipline encompasses the construction of the built environment but also engages actively in cultural production and critical reflection. To that extent, undergraduate Architecture studies in ESALA integrate a broad range of voices – representing the research interests and the professional practice of our academic staff, but also those of our very dynamic, diverse student FOREWORD JUNE 2020 DR. MIGUEL PAREDES MALDONADO PROGRAMME DIRECTOR BA/MA [HONS] ARCHITECTURE
population. As a community of learning we live, study and work in the very centre of a large, actively populated urban World Heritage Site: the city of Edinburgh. This is an invaluable asset that radically informs the learning experience of all our students from the start of their first year in the BA and MA (Hons) in Architecture. It would be safe to say that the whole city of Edinburgh is our learning site. Precisely because of that, in the current state of affairs brought about by the Covid-19 pandemic this catalogue is a reassuring testimony to the resourcefulness, the resilience, and the very hard work of both students and staff in the past few months. All our teaching activities were moved fully online after mid-March 2020, and that is the mode of delivery in which all our second semester courses were successfully completed this academic year. In spite of the challenges faced, the outcome is impressive. The restrictions imposed have initiated extremely interesting conversations on pedagogy and academic practice, allowing for unprecedented opportunities for creativity and invention to emerge within our undergraduate Architecture programmes. On the first day of April 2020, as we collectively moved forward with our online teaching efforts, I made the following statement when queried in an article for the Journal of the Royal Institute of British Architects (RIBA): ‘The priority over the last week has been ensuring that the students graduate on a course that is professionally validated and consistently assessed, with standards upheld.’ I am proud to write that this statement still rings completely true as we peruse the work compiled in this catalogue.
1—0
2—0
ARCHITECTURAL DESIGN
ARCHITECTURAL DESIGN
ELEMENTS
IN PLACE
p 6
p 38
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TECHNOLOGY & ENVIRONMENT
ART & DESIGN
BUILDING ENVIRONMENT
p 14
p 46
ARCHITECTURAL HISTORY
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INTRODUCTION TO WORLD ARCHITECTURE
DESIGN THINKING & DIGITAL CRAFTING
p 22
p 48
ARCHITECTURAL DESIGN
ARCHITECTURAL DESIGN
ASSEMBLY
ANY PLACE
p 24
p 52
TECHNOLOGY & ENVIRONMENT
TECHNOLOGY & ENVIRONMENT
PRINCIPLES
BUILDING FABRIC
p 32
p 64
ARCHITECTURAL HISTORY
ARCHITECTURAL HISTORY
REVIVALISM TO MODERNISM
URBANISM & THE CITY
p 34
p 66
4—0
ARCHITECTURAL DESIGN
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EXPLORATIONS
ON DRAWING
p 70
p 106
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ARCHITECTURAL THEORY
ON COLOUR
p 96
p 112
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WORKING LEARNING
DISSERTATION
p 98
p 118
ARCHITECTURAL PRACTICE
ARCHITECTURAL DESIGN
REFLECTION
TECTONICS
p 100
p 126
ARCHITECTURAL PRACTICE
ARCHITECTURAL DESIGN
PROFESSIONAL STUDIES
LOGISTICS
p 102
p 148
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ACADEMIC PORTFOLIO
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p 152
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CONTENTS
ARCHITECTURAL PRACTICE
BA/MA [HONS]
3—0
1—1
ARCHITECTURAL DESIGN ELEMENTS
1—2
ART & DESIGN
1—3
ARCHITECTURAL HISTORY INTRODUCTION TO WORLD ARCHITECTURE
1—4
ARCHITECTURAL DESIGN ASSEMBLY
1—5
TECHNOLOGY & ENVIRONMENT PRINCIPLES
1—6
ARCHITECTURAL HISTORY REVIVALISM TO MODERN ISM
4
1—0
1—0 BA/MA [HONS]
BA/MA [HONS]
REVIEW CRITICS Gillian Hanley Malcolm Cullen Christina Stuart Gary Cunningham Chris Dobson Melissa Lawson Pierre Forissier CONTRIBUTORS Graham Currie Ana Miret Garcia Giorgio Ponzo Nikolia Kartalou Anna Rhodes
ELEMENTS
1—1 ARCHITECTURAL DESIGN ELEMENTS
COURSE ORGANISER SUSANA DO POMBAL FERREIRA
The Architectural Design Elements course provides a varied introduction to architecture with active participation at its core. Throughout the course, students take part on a number of city walks, workshops and hands on activities. Tutorial days
Clive Albert
are carried out in a workshop fashion, focused on sharing and making together, filling the studios with great energy. The course is attended by students from the BA/MA Architecture
Akiko Kobayashi
programme as well as from the BEng/Meng Structural Engineering
Derek Mcdonald
with Architecture programme, working alongside in productive
Julie Wilson
collaborations.
1—1
TUTORS
Laura Harty Andy Summers
During the first few weeks of the course, students embark on
Andy Siddall
a series of short and exploratory tasks in order to study space
Claire Metivier
through the investigation of four basic architectural elements:
Jamie Henry
Ground , Wall , Opening and Roof . The exploration begins with a
Rachael Scott
series of predetermined walks across Edinburgh’s Old Town led
Jane Paterson
by Architecture and Landscape Architecture tutors. During these
Calum Duncan
walks, students build up their observation skills and spatial understanding whilst producing a rich set of analytical records of the city, which forms the basis for all the work developed in the
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studio. In the studio, students continue their exploration through
Ivan Marquez Munoz
iterative representation, using a variety of media and techniques.
John Lowrey Richard Murphy Gordon Gibb Malcolm Fraser Opposite Elements Students Observational drawings of Edinburgh’s Old Town [Photo from Laura Harty] -
Each week, new thematics, model materials, drawing types and techniques are incrementally introduced, providing the students with the opportunity to test and exercise their learnings in a focused manner. The following weeks move towards increasing understanding of the manipulation of architectural space in response to a simple brief, in the Place project, and a site, in the Home(less) project. The last project of the semester asks the students to design a nightshelter for six homeless people in a specific location in Edinburgh’s Old Town, carefully considering site, scale, function, user requirements and construction. The project challenges students to build upon the foundations laid down during the first part of the semester.
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LECTURERS
BA/MA [HONS]
1 GROUND/WALL/OPENING/ROOF
2
7
ELEMENTS 1—1
1 Antonios Mavrotas Inhabited stamp of Ground Model 2 Antonios Mavrotas, Kirsty Brooks, Runqian Lu Sliced Ground model [Photo from Akiko Kobayashi] 3 Geon Yeong Kim Ground, Wall, Opening and Roof project [Photo from Rachael Scott] -
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3
BA/MA [HONS]
GROUND/WALL/OPENING/ROOF
4
9
ELEMENTS 1—1
4 Clarice Cao Ground, Wall, Opening and Roof project 5 Leyang Ding Place project -
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5
BA/MA [HONS]
6 Jaaziel Kajoba Home(less) project 7 Ellie Wilkes Home(less) project -
HOME[LESS] 6 11
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7 1—1
ELEMENTS
BA/MA [HONS]
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ART & DESIGN
1—2 ART & DESIGN
COURSE ORGANISER GIORGIO PONZO
Through a series of practical projects and lectures, the Art & Design course aims at developing conceptual and practical skills for understanding, representing, and communicating the experience of being in different kinds of spaces.
TUTORS Michael Davidson Olga Gogoleva
Informed by lectures from artists, designers, and architects reflecting on “How I think through drawing”, the course understands architectural design as a practice-based knowledge and subject.
Cath Keay
The course is made of two main components: a lecture series that
Shirley McLauchlan
present different approaches to creative practices and a series of
Pilar Perez del Real
drawing exercises and projects (informed by historical, cultural,
Giorgio Ponzo
and technical guidelines) developed both individually and in small
Anna Rhodes
groups. Each project is structured in different phases and aims at
Ziwen Sun Opposite Chloe Tunnell Flow: Edinburgh University Library -
building awareness and confidence in understanding reality and communicating ideas through drawings. The students are asked to study and explore different spaces considering the relationships between their spatial and material features with the users, and to express, through different kinds of drawings, their personal understanding of a spatial experience. The drawing process includes sequences of observations, analyses, and reflections that aim at connecting the direct experience of spaces with their visual conceptualization and communication. Rather than being a skill or a technique used only to represent reality, drawing becomes a critical site of design action, a practice of design thinking that generates ideas, both in the making of the work and in its reading. The Art & Design course introduces the basic conventions of architectural representations and a range of drawing and making techniques experimenting with both analogue and digital media guiding the students towards the assembling of visual (sketchbooks and drawing exercises) and textual (written observations and analysis) documentation in an expanding personal portfolio. 14
Andrew Siddall
1—2
Pablo Jimenez-Moreno
BA/MA [HONS]
THINKING THROUGH DRAWING
1
15
ART & DESIGN 1—2
1 Fah Rodloytuk Perception Distortion: Royal Commonwealth Pool, 2 Sophie Ho, Athina Kotrozou, Yunan Wang Shadows: Edinburgh University Library -
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2
BA/MA [HONS]
3 Tallulah Bannerman Order and Disorder: Edinburgh University Library 4 Holly Ng Material Patterns: Edinburgh University Library -
THINKING THROUGH DRAWING 3
17
18
4 1—2
ART & DESIGN
BA/MA [HONS]
THINKING THROUGH DRAWING
5
19
ART & DESIGN 1—2
5 Jiamo Zhang Rhythm; Dynamic: Royal Commonwealth Pool 6 Chun Wai Leung Soundscape: Edinburgh University Library -
20
6
BA/MA [HONS]
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INTRODUCTION TO WORLD ARCHITECTURE
1—3 ARCHITECTURAL HISTORY INTRODUCTION TO WORLD ARCHITECTURE
COURSE ORGANISER
This course is a compulsory part of the MA (Hons) Architecture
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programme, but also serves other degrees, including the MA
ALISTAIR FAIR
(Hons) Architectural History and Heritage. In addition, it is a popular elective course taken by students from across ECA and
TUTORS
the wider University.
Anne Galastro
The course offers an introduction to architecture in a range of
Kat Breen
global contexts, beginning in ancient Egypt and concluding in
Mario Cariello
Europe in the 1750s. The course takes in topics including classical
Alborz Dianat
Greek and Roman architecture, the architecture of the Middle
Nick Mols
1—3
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Ages, Islam, Pre-Columbian America, and the first great re-
Mohona Reza
evaluation of Antiquity in the Italian Renaissance. It goes on to
Tommaso Zerbi
survey the Renaissance in Britain and Northern Europe and the subsequent influence of the Italian Baroque in these areas. Other
LECTURERS -
significant cultural traditions in the history of architecture are introduced, such as those of India, China, and Japan.
Glaire Anderson Richard Anderson Alex Bremner Kirsten Carter McKee
The course provides students with an overview of the ways in which architectural history can be understood. It looks in detail at prominent buildings and styles, and the work of important
Alistair Fair
designers, but also is concerned with ‘anonymous’ buildings. It
John Lowrey
emphasises the importance of placing architecture in its wider
Elizabeth Petcu
social and political contexts. The course encourages a reflective
Margaret Stewart
approach to architecture which students can apply elsewhere in their degree programme, providing a vocabulary and analytical/ investigative frameworks which can be applied in the present. It also fosters key study skills necessary for success at university, including independent research. The course is followed in semester 2 by Architectural History 1B: Revivalism to Modernism.
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Opposite St. Paul’s Cathedral London -
BA/MA [HONS]
CONTRIBUTORS Paddi Benson Giorgos Berdos Sean Douglas Adrian Hawker Shoko Kijima Fiona McLachlan Nicola McLachlan Miguel Paredes Maldonado Liam Ross Norman Villeroux SPECIAL THANKS Anne Elliott, Trevor Cromie, Kara Christine [Artlink] Ruairidh McGlone, Mark Sinclair, Kyle Strachan [The Bike Station] Eugenia Dupre, Jennifer Lee, Val Innes [Parents & Pregnancy Centre] Callum Stark, Abigail Wallace, Ben McKendrick [Scottish Youth Parliament] Jamie Moor, Richard Hope [Portobello Rowing & Sailing Club] Prof. Peter Salter [ESALA Simpson Visiting Professor 2019-20]
ASSEMBLY
1—4 ARCHITECTURAL DESIGN ASSEMBLY
COURSE ORGANISER LAURA HARTY
Assembly, a term now both anachronistic and somewhat subversive, is the theme for this second design project of the first year. For this project we divide into five groups, on five sites, each with a shared goal - to provide places for people to gather.
Julie Wilson Andy Summers [Pollex]
This separation and ultimate assembly is reflected in the name of the groups - Pollex, Index, Medius, Annularis and Manus each of which is a finger of a hand, each performing in its own way but integral to the overall operation, working distinctly but collectively. 1—4
TUTORS
Akiko Kobayashi Jamie Henry [Index]
The programmes outlined in the initial briefing documents build sequentially in scale and capacity, [Kiosk | Privy | Hall] before
Rachael Scott
combining these proposals into an overall assembly, with spaces
Calum Duncan
between for convening in various ways. Each exercise is designed
[Medius] Clive Albert Jane Paterson [Annularis] Susana Do Pombal Ferreira Derek McDonald
using a single material, steel, concrete or timber with which we become familiar through associated building visits, material workshops and drawing exercises. These initial enactments form an embodied engagement with material, social and narrative assemblies which will continue to develop throughout the semester.
[Manus] In the second half of the project we are asked to think the term WORKSHOP TUTORS Paul Charlton Malcolm Cruickshank Giulia Gentili
Assembly through again, this time using one of five key categories, Education, Rehabilitation, Generation, Recreation and Political Assembly, which are linked to existing community groups in the city and to our given sites. To do so will extend the reach of the spatial manipulations attempted in the previous project,
Catriona Gilbert
asking us to incorporate spaces and materials which have been
Malcolm Hosie
tested in isolation in the first part, now to working with them in
Lauren Puckett
combination. The components of each brief, while nuanced and informed by conversations and visits with each of the community groups, are equally and productively informed by each other. In essence, this last project of the first year design studio asks us to consolidate and interrogate the skills and situations to which we have been exposed to date and to put them into play in designing a building for Assembly.
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Opposite Clarice Cao Parents and Pregnancy Centre: Lonely Dad -
BA/MA [HONS] 1
1 Clarice Cao Medius: Kiosk 2 Gianluca Cau Tait Medius: Hall 3 Tallulah Bannerman Index: Scottish Youth Parliament Site Section 4 Mikele Perez Jamieson, Chris Pirrie Index: Scottish Youth Parliament Site Model -
2
INDEX/MEDIUS
3
4
5
6 25
ASSEMBLY 1—4
5 Gianluca Cau Tait Medius: Parents & Pregnancy Centre Roof Study 6 Tereza Staskova Index: Scottish Youth Parliament 7 Sophie Ho Medius: Parents & Pregnancy Centre -
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7
BA/MA [HONS]
POLLEX/ANNULARIS
8
10
9
27
ASSEMBLY
8 Annularis group Annularis: Portobello Sailing and Kayaking Club Site Model 9 Manus group Manus: The Bike Station Site Model Justin Lueng Annularis: Peter Salter Drawing Workshop 11 Eric Ling Polex: Artlink Location Plan 12 Michael Becker Polex: Artlink 13 Zhe Wang Annularis: Portobello Sailing and Kayaking Club -
1—4
11
12
28
13
BA/MA [HONS]
14 Justin Hueng Annularis: Portobello Sailing and Kayaking Club 15, 16 Arada Chitmeesilp Manus: The Bike Station 17 Arada Chitmeesilp Manus: Peter Womersley, Nuffield Building Study
ANNULARIS/MANUS 14
15
16 29
30
17 1—4
ASSEMBLY
BA/MA [HONS]
Project 1 Building Heirarchies.
1 Sam Symes, Zeynep Yildirim Plan of St Andrew Square Cafe Kiosk 2, 3 Ellie Wilkes, Athina Kotrozou Plan & Section of Festival Theatre 4 Tereza Staskova, Antonios Mavrotas 3D model of George Square Lecture Theatre
PRINCIPLES
1—5 TECHNOLOGY & ENVIRONMENT PRINCIPLES
COURSE ORGANISER ELAINE PIECZONKA
This course introduces students to critical structural, technological and environmental principles that underpin architectural design. It seeks to shape an understanding of how buildings need to work functionally to keep their occupants safe,
TUTORS -
sheltered and comfortable, and how such considerations can produce deeper, more meaningful architecture.
Peter Robinson
The course is constructed around three themes; Structure,
Irem Serefoglu
Materials and Environment. The principles of sustainability is a
Pilar Perez Del Real
key topic that runs through all three subject areas. Participants
1—5
Jane Paterson
learn how buildings can be interacting systems and that structural, material and environmental strategies are interlinked. The Structures theme explores how architectural structure not only provides stable and safe enclosures for us, but also how an understanding of structure is vital in the generation of architectural form. Students explore how architectural shape and form are achievable with different materials. They are then able to understand and predict the behaviours of key structural configurations. The Materials theme examines the materials used in architecture. Starting from what we can mine and harvest. Then the creation of building components is explored and how these can be assembled to make parts of buildings. The key principles and techniques in connecting and ordering parts of a building to make good architecture are considered in detail, with hands on tutorials involving real construction material samples. The Environment theme investigates the fundamentals of sustainable development and its relationship to architecture. It examines how, at a strategic level, architecture can respond proactively to sustainable agendas. Students learn about the principles of passive solar design and applying a fabric first approach in order to make buildings comfortable whilst working with the external environment. The topic engages with energy conservation issues and carbon reduction strategies. 32
Above Charlotte Model and Olivia Fauel Section through Scottish Poetry Library Opposite Project 1: Building Hierarchies (samples) -
BA/MA [HONS]
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REVIVALISM TO MODERNISM
1—6 ARCHITECTURAL HISTORY REVIVALISM TO MODERNISM
COURSE ORGANISER
This course is a compulsory part of the MA (Hons) Architecture
-
programme, but also serves other degrees, including the MA
ALISTAIR FAIR
(Hons) Architectural History and Heritage. In addition, it is a popular elective course taken by students from across ECA and
TUTORS
the wider University.
Kat Breen
Architectural History 1B explores how designers and patrons responded to the idea of modernity in a series of global contexts
Alborz Dianat
between c. 1750 and 2000. It begins with the stylistic revivals
Nick Mols
of the nineteenth century before turning to the advent of new
Mohona Reza Tommaso Zerbi
1—6
Anne Galastro
materials and structural techniques. As the course moves into the twentieth century, the development of new architectural forms and approaches to space are discussed.
LECTURERS
Alex Bremner Kirsten Carter McKee Alistair Fair John Lowrey
The course includes focused discussion of the work of key designers such as Le Corbusier and Alvar Aalto but also stresses the contribution of others to the built environment – from the first qualified women architects of the early twentieth century to the commercial house-builders who constructed suburbia. The course concludes with an investigation of the globalisation of
Angus Macdonald
modernist practice, and the reactions against Modernism of the
Margaret Stewart
late twentieth century. The coursework engages with the city of
Iain Boyd Whyte Opposite David Hume Tower Edinburgh -
Edinburgh, which provides a rich series of examples for study. As with Architectural History 1A, the course aims not only to provide a foundational knowledge of recent architectural history but also to encourage an independent, reflective approach which sets architecture in wider contexts. The course is followed in second year by Urbanism and the City: Past to Present.
34
Richard Anderson
2—1
ARCHITECTURAL DESIGN IN PLACE
2—2
TECHNOLOGY & ENVIRONMENT BUILDING ENVIRONMENT
2—3
DESIGN THINKING & DIGITAL CRAFTING
2—4
ARCHITECTURAL DESIGN ANY PLACE
2—5
TECHNOLOGY & ENVIRONMENT BUILDING FABRIC
2—6
ARCHITECTURAL HISTORY URBANISM & THE CITY
36
2—0
2—0 BA/MA [HONS]
BA/MA [HONS]
REVIEW CRITICS Robin Livingstone Neil Gillespie Mark Dorrian Scott Turpie
IN PLACE
2—1 ARCHITECTURAL DESIGN IN PLACE
COURSE ORGANISER ANDREA FAED
The course takes the concept of site and situation as its focus. This theme is supplemented by those of public and private, place and identity. These themes collectively inform a set of architectural design exercises that have greater complexity than
TUTORS
those tackled at Year 1.
David Byrne Mark Cousins Jack Green Natasha Huq
The thematic scope of the course serves as a context to introduce critical and reflexive dimensions of architectural design, and the development of skills in design inquiry. The course addresses digital media and explores their consequences for the
2—1
Paddi Benson
representation and fabrication in architecture.
Fiona Lumsden Ana Miret Pilar Pérez del Real
‘In Place’ introduces students to a concern for buildings’ immediate location. The city is primarily shaped by social,
Nicky Thomson
economic, and political processes; the city’s processes leave their
Thomas Woodcock
mark on the building. Instead of encouraging architecture to resist such interference in its own territory, In Place suggests studying
DIGITAL TUTOR -
the city as a means of devising an architectural response to the urban condition.
Yorgos Berdos The course begins with research and analysis of precedents, followed by the analysis of the site and its environment. The findings of these two assignments form the basis for the design of an Architecture School within the context of Edinburgh. Students work in small teams on the design of the Architecture School. Working as a team on this project is designed to make this step-up in scale more manageable. Digital workshops are provided to supplement and support the studio project and benefit from the sharing of competencies within the group context. The Architecture School project progresses through a series of exercises that aim to improve student’s technical competence and understanding of architectural conventions as well as addressing the broader themes of the studio. The proposals are developed by teams to a reasonable level of resolution and clearly presented through a range of two and three-dimensional media. 38
Opposite Ellen Clayton Site and situation -
BA/MA [HONS]
PRECEDENT STUDY
1
39
IN PLACE 2—1
1 Amanzhol Kellett Modelling Strawberry Vale Elementary School, Patkau Architects 2 Coll Drury Modelling Greenwich School of Architecture, Henghan Peng 3 Esther Fletcher Modelling Faculty of Economics, Mecanoo -
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40
3
BA/MA [HONS]
ARCHITECTURE SCHOOL
4
5
41
IN PLACE 2—1
4 Felix Wilson, Jenna McMahon, Aisha Akinola, Haidah Haidi Gayfield Square Site 5 Coll Drury, Reem Al-Kalbani, Guy Carter, Jiaping Fang Keir Street Site 6 Ephra Charlton Hutchinson, Skye Brownlow, Naiyue Zhang, Peter Richardson Gayfield Square Site -
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6
BA/MA [HONS]
7 Felix Wilson, Jenna McMahon, Aisha Akinola, Haidah Haidi Thresholds 8 Ellen Clayton, Eleanor Collin, Jiacong Chen, Timour Hiel Thresholds 9, 10 Kaitlyn Smith, Piers Burke, Sofia King De Regoyos, Ran Yan Thresholds -
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ARCHITECTURE SCHOOL 8
9
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44
10 2—1
IN PLACE
BA/MA [HONS]
Environmental analysis and climate change adaptations of a design precedent: the Abedian School of Architecture, CRAB studio, Australia.
1 Proposed site and building level adaptations. 2 Cutaway details of proposed rooflevel adaptations in anticipation of a warmer climate. 3 Digital model of site-level study of local solar obstruction. 4 Physical model of room-level study of daylight penetration.
BUILDING ENVIRONMENT
2—2 TECHNOLOGY & ENVIRONMENT BUILDING ENVIRONMENT
COURSE ORGANISER W. VICTORIA LEE
Building on first year courses Technology and Environment:
Principles and Architectural Design: Assembly , T&E2A: Building Environment further develops students’ understanding, analysis, and the integration of environmental design in architecture. The
Elaine Pieczonka Peter Robinson Pilar Perez del Real Pablo Jimenez Morena
course examines the roles of energy, light, heat, ventilation, and sound in building design. An emphasis is placed on design integration and applying theory to practice. The course also introduces sustainable technologies, methods of environmental assessment, and building services strategies, and discusses their implications for design.
2—2
TUTORS
Yiqiang Zhao This course focuses on passive environmental strategies, GUEST LECTURERS & TUTORS Julian Rowlinson Amanda Nioi Stuart Watson
but introduces mechanical systems as a supplement. The course also examines the application of sustainable building practices, including qualitative and quantitative assessments of environmental performance. The course covers a wide range of environmental design topics such as the following: -
Macro- and micro-climates
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Bioclimatic design principles
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Solar geometry, daylighting, and artificial lighting
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Passive heating and cooling strategies
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Wellbeing, comfort, and other occupant needs
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Thermal comfort and balances
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Natural and mechanical ventilation systems
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Building services, energy and water conservation
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Acoustic fundamentals
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Above Haus-Rucker-Co, Gert Winkler Environment Transformer project, 1968 Opposite Inka Eismar & Kanto Maeda Project Report (sample) -
BA/MA [HONS]
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DESIGN THINKING & DIGITAL CRAFTING
2—3 DESIGN THINKING & DIGITAL CRAFTING
COURSE ORGANISER CRISTINA NAN
This elective teaches methods and technologies of computational design and digital fabrication and their expressed implementation in architecture and construction. Projects and assignments enable students to develop design concepts and realise full
TECHNICAL TUTOR Yorgos Berdos
scale prototypes using different sets of techniques, combining computational design and digital fabrication strategies. Participants develop competence in complex design and production of challenging architectural outputs, being in charge of material acquisition, defining assembly sequences and fabrication steps. 2—3
WORKSHOP SUPPORT Malcolm Cruickshank
Computational design and digital fabrication are also addressed from a historical and theory-based point of view, focussing on the study of different workflows and correlation between digital and material logic. Students are educated in developing a critical and analytical approach to computational design and digital fabrication by introducing them to basic strategies of form generation and making, additionally offering an insight to the current theoretical debate regarding the “Digital Turn” in architecture. Importance is given to understanding the relationship between geometry, material and fabrication method. Understanding the technical and geometrical limitations of the different digital tools, both in terms of software and hardware, is a critical aspect of the design thinking: design, process and machine need to be correlated and in accordance with one another. Using both additive and subtractive manufacturing techniques but also developing hybrid analogue-digital techniques, which combine elements of craft with digital fabrication, our students developed structures, systems, and a proto-structure all within a self-defined, coherent conceptual context. Students experiment with materials such as paper, textiles, PLA, timber and even CDs, threads or any other material that can be treated as a module or self-similar component. Through the prototypes that students develop they are exposed to the ‘fabrication realities’ of assembly and on-site construction. This combination of theoretical grounding, digital expertise and full-scale fabrication is unique throughout their studies and of incredible value for informing future projects. 48
Opposite Uwais Hafizal, Coll Drury Threaded Connections support from Xinyi Lu, Amanzhol Kellett, Kaitlyn Smith, Elida Hansen, Lee Han Liang, Priyanka Pereira, Felix Wilson -
BA/MA [HONS]
1, 3 Felix Wilson, Coll Drury, Uwais Hafizal, Francesca Scott, Kaitlyn Smith Digital Clay: Making the Digital support from Malcolm Cruickshank, Lauren Puckett, Paul Charlton 2 Helena Marrero, Inka Eismar, Elida Hansen, Ece Kantemir, Molly Sinclair Digital Clay: Making the Digital 4, 5 Felix Wilson Murmurations support from Cristian Nan, Yorgos Berdos, Sturge Industries, Han Liang, Inka Eismar, Priyanka Pereira, Jeanita Gam, Helena Marrero, Francesca Scott, Xinran Wang, Elida Hansen, Ece Kantemir, Fin Stewart, Haowen Wang -
DIGITAL CLAY / MURMURATIONS
2
1
3
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50
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4 2—3
DESIGN THINKING & DIGITAL CRAFTING
BA/MA [HONS]
SPECIAL THANKS ESALA / ETSAV / UCH-CEU workshop, Valencia Carmen Ferrer Paula Cardells Débora Domingo [ETSAV, School of Architecture, Polytechnic University, Valencia] José Luis Gisbert Ana Abalos [School of Architecture, University UCH-CEU Valencia] Grupo Aranea, Alicante Prof. Peter Salter [ESALA Simpson Visiting Professor 2019-20] for sharing Walmer Yard and his drawings on the last day of on-campus teaching
ANY PLACE
2—4 ARCHITECTURAL DESIGN ANY PLACE
COURSE ORGANISER ANA BONET MIRO
Any Place deals with the exploration of different conditions that extend beyond the local through the design of a community library in El Cabanyal, Valencia (Spain). Among such conditions are those concerned with programme, spatial form and tectonics,
Paddi Benson David Byrne
and their integration within broader socio-cultural contexts and environmental dynamics. Any Place aims to foster student’s skills in design inquiry and representation, interweaving both analogue and digital tools.
Mark Cousins Jack Green Natasha Huq Fiona Lumsden Ana Miret Garcia Pilar Pérez del Real Nicky Thomson Thomas Woodcock
A structured analysis of library precedents familiarises
2—4
TUTORS
students with the organization of a library as well as with threedimensional digital modelling. An initial exploded axonometric drawing unpacks certain formal, programmatic and environmental strategies of the precedent under study. The selection of key rooms, thresholds and journeys to model invite a more nuanced investigation of the precedent library as a circuit of public rooms modulated by the spatial quality of transparency- in reference
DIGITAL TUTOR Yorgos Berdos WORKSHOP TUTOR Richard Collins
to Colin Rowe and Robert Slutzky’s concept of ‘phenomenal transparency’. Stratified, deep and fluctuating, a transparent space offers simultaneous perception of different locations. This precedent study lends the material to prompt a series of initial spatial speculations. Framed by the art of postproduction, students team up to appropriate, disassemble and edit such material to produce the first design propositions: an expanded
GUEST SPEAKER
catalogue of rooms and public journeys.
Giorgio Ponzo
A field trip to Valencia at mid-term brings novel urban and sociocultural complexity to dive into, investigate and steer the design of a community library for one of the three sites suggested in El Cabanyal, Valencia.
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Opposite Ana Bonet Miro Graffiti in Pavia Street 39, Cabanyal-Canyamelar, Valencia -
BA/MA [HONS]
PRECEDENT STUDY
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ANY PLACE 2—4
1, 2, 3 Kanto Maeda Precedent Study, Musashino Art University Library, Sou Fujimoto, 2010 -
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ROOM CATALOGUE & JOURNEY
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ANY PLACE 2—4
4 Coll Drury, Cowie Cameron Post-production & Speculative Journey 5 Kanto Maeda Speculative Journey 6 Kaitlyn Smith Journey Iteration: axonometric 7 Kaitlyn Smith Model studies: precedent & new rooms 8 Sofia King, Kaitlyn Smith, Jordan Stulich, Naiyue Zhang Speculative Journey: model collage -
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9 Sofia King, Kaitlyn Smith, Jordan Stulich, Naiyue Zhang Room Catalogue: Utrecht Library, Exeter Library, Villa de Gracia Library 10 Haidah Haidi Room Catalogue: Morgan Library 11 Jenna McMahon Room Catalogue: Baiona City Library 12 Inka Eismar Room Catalogue: Sendai Mediatheque 13 Roula Traboulsi, Uwais Mohd Hafizal Speculative Journey -
ROOM CATALOGUE & JOURNEY 9
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ANY PLACE
BA/MA [HONS]
Field Trip Valencia, Spain 14th –16th February 2020
FIELD TRIP DIARY: VALENCIA
The origins of Valencia’s historical seaside district can be traced back to the XV century as a fisherman village. Only in the last century it became a dense and plural urban district, with its listed gridiron and eclectic architecture. The historical ambition to connect Valencia and the seaside has haunted the development of this neighbourhood for more than a century. An always-active contest between the clearance proposed by a series of municipal-led urban renewal plans and the civic resistance these encountered, channelled through emergent social formations, permeates the shattered urban fabric that we see today. The seaside district benefits from direct access to one of the most valuable public spaces in Valencia: Malvarosa beach. -
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1 Ana Bonet Miro ESALA/ ETSAV UCH-CEU workshop Derives in El Cabanyal 2 Pilar Perez ESALA/ ETSAV UCH-CEU workshop Derives in El Cabanyal 3 Jenna McMahon Site Derive 2
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4 Inka Eismar, Felix Wilson, Michael Syme, Jenna McMahon Site Massing Model 5 Jack Green ESALA/ ETSAV UCH-CEU workshop Derives in El Cabanyal 6 Coll Drury The Big Table
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‘Action & Reaction. Massive development schemes have happened very close to El Cabanyal. Yet the neighbourhood has remained largely untouched by the development, showcasing the strength of the society and need to protect the neighbourhood.’ Michael Syme ‘During some cultural enlightenment, a group of architecture students found themselves around a large table in a tapas bar. This arrangement allowed for a rich collective social experience, one that resonates throughout the landscape of El Cabanyal. This basis of one large social table grouped in the middle of a library is a challenging and dynamic method of encouraging a collective atmosphere within the paint library. Hence the big table.’ Coll Drury
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3
ANY PLACE
‘Zone Zero refers to the demolition zone of a proposed avenue extension through El Cabanyal. Though the extension never materialised, many homes were torn down or left abandoned in preparation for its construction. The consequent disruption to the community and urban fabric defines the neighbourhood to this day.’ Amanzhol Kellett
2—4
Coll Drury, A Big Table
BA/MA [HONS]
‘On the walk through the ‘zone zero‘, I noticed many of the historical buildings were covered in mesh to protect passers-by. The thin veil of the light textile material creates an interesting juxtaposition with the heavy stone building. Other instances of fabric draped on the facade of buildings included shades protecting against the bright afternoon sun and clothes hung up to dry on balconies.’ Inka Eismar
7
FIELD TRIP DIARY: VALENCIA
‘A fragmented small town in the coastal of Valencia is found. Abandoned houses and engaged residents are interlaced in it. Residents live here with a rational but chaotic order. This town is called El Cabanyal.’ Yuhe Ge
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7 Ana Bonet Miro Visit to Silk Exchange, XVI 8, 10 Inka Eismar El Cabanyal’s texture-scapes 9 Sam Leahy Atmospheric Sketch 11 Tayyeb Ahmad Student-led Drift 9
This place reminds me of our forgetfulness, our need to not rebuild As a place turns old we leave it behind, never to fix again, never to feel loved again Weeping floorboards Walls crying tears of yellow paint Roof caving in feeling hollow Abandoned places Forgotten Always forgotten Hendricks, Catrina, ‘Abandoned Places’ Jenna, McMahon
‘Exhibiting El Cabanyal’s characteristic close buildings and narrow alleys - an adaptation to the climate.’ Sam Leahy
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ANY PLACE
BA/MA [HONS]
Project 1 Broughton Primary School Playground.
1 Beam-to-beam connection detail. 2 Exploration. 3 Final Propsal.
BUILDING FABRIC
2—5 TECHNOLOGY & ENVIRONMENT BUILDING FABRIC
COURSE ORGANISER DIMITRIS THEODOSSOPOULOS
The course explores design processes of the principles of structural analysis, stability, and construction technology reviewed in the first year, moving up into a wider range of actions. Design projects and technical essays are opportunities
TUTORS Jane Robertson
for the students to develop their own ways of reporting and applying these aspects, while guest lectures and site visits show applications in real conditions.
Chang Liu Giorgio Ponzo
The process of dimensioning structural elements is scrutinised to provide insight to the rationality practised by engineers in a
2—5
Georgina Allison
design team. Discussion of the design of these elements and GUEST LECTURERS Allan Haines Ana Bonet Miro Laura Harty Martin Berry Bill Black
their expression in structural forms classified as linear (frames) and cellular (load-bearing walls) is framed in medium-sized construction and the main material systems (timber, steel, concrete, masonry). This is further explored in their tectonic expression in processes of material system choice, spatial resolution, environmental response and assembly, encouraging the students to find their own vocabulary in communicating a building’s technical qualities to its users. Precision in structural detailing and tectonics, fundamental aspects of the course, are explored respectively in two design projects. Lightweight timber structures (viewing platforms in historic environments, playparks, jetties) are an opportunity to follow closely all the steps from load definition, stress and deformations calculation and their checking, and connections detailing in a scientific way, determining precisely the layout of the structure. Detailing the cladding and roof of a small educational space allows the students to explore layering and assembly processes that make such envelopes effective for their environmental conditions. Broader aspects of the course that cannot always be explored through design projects (material choice, frame design, envelope assembly in steel and concrete) are reported and reflected upon by the students through essays. All of these assignments promote accuracy and economy in the technical expression, either in reporting or detail notation.
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Above Olivia McMahon, Amelia Brown, Maria Sara Tan, Adelaide Spitalier Project 2: Coastal Management Education Pavilion, El Cabanyal, Valencia Opposite Joseph Simms, Lottie Greenwood, Eilidh McKenna, Tom Gumbrell Project 1: Broughton Primary Playground -
BA/MA [HONS]
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URBANISM & THE CITY
2—6 ARCHITECTURAL HISTORY URBANISM & THE CITY
COURSE ORGANISER KIRSTEN CARTER MCKEE
This undergraduate course investigates the global history of city design and urbanism from ancient times to the contemporary period. Through an interdisciplinary course bibliography and readings in key historical texts on urbanism, students will grasp
CORE TUTORS -
the major historical trends and philosophies of urban emergence and development.
Nikolia Kartalou and writing will prepare students to perform first-hand research Opposite Palmanova Italy -
and compose original scholarship on the built environment.
2—6
Tutorials centred on Edinburgh site visits and training in research
The goal of this course is to give students a critical acumen for evaluating the architectural transformation of the urban realm across disparate cultures and far-flung geographies over time, from Antiquity to the present day. Example Coursework Question:
Compare and contrast two of the historical cases of urbanism discussed in class. Briefly justify your selection: the two sites need not come from the same culture, but there should be substantive grounds for the comparison. 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?
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Lucia Juarez
3—1
ARCHITECTURAL DESIGN EXPLORATIONS
3—2
ARCHITECTURAL THEORY
3—3
ARCHITECTURAL PRACTICE WORKING LEARNING
3—4
ARCHITECTURAL PRACTICE REFLECTION
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ARCHITECTURAL PRACTICE PROFESSIONAL STUDIES
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3—0
3—0 BA/MA [HONS]
BA/MA [HONS]
REVIEW CRITICS Daniel Anderson Michelle Bastian Kate Carter Oliver Chapman Chris French Matthew Hamilton Josep-Maria Garcia Fuentes Laura Harty Adrian Hawker Duncan MacLennan James Nelmes Bettina Nissen Remo Pedreschi Tommy Perman Paul Pattinson David Seel Sigi Whittle
EXPLORATIONS
3—1 ARCHITECTURAL DESIGN EXPLORATIONS
COURSE ORGANISER SIMONE FERRACINA
Explorations extends Stage 2 level architectural design and communication skills by foregrounding experimentation. The course focuses on developing familiarity with a range of relevant protocols and techniques. Students are asked to
UNIT 2
undertake a rigorous and creative exploration that investigates
UNIT 3
specific design themes based on the identification of key
UNIT 4
problems, opportunities, sources, methodologies and strategies.
UNIT 5
Seeking a more nuanced understanding of the design process, the
UNIT 6
course turns the studio into a laboratory for creative exploration,
3—1
approaches to architectural design research, and with the UNIT 1
and a site for experimentation and discovery—not only for finding answers and solutions, but for designing and pursuing questions. The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims while investigating a broad spectrum of distinctive subthemes, preoccupations and methods. During the 2019-2020 academic year, units explored a range of different topics: the analysis and critical re-working of significant environmental case studies; the reactivation and reuse of discarded and de-valued materials; the hacking of data-based spatial systems and technologies; the mapping and visual representation of landscapes; the spatial deconstruction of complex filmic sequences; and the rethinking of contemporary publics and civic space through processes of making and unmaking an existing urban building.
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Opposite David Droc, Liam Findlay, Olivia McMahon Form Follows Fiction Urban Prototype -
BA/MA [HONS]
MINIATURISING THE GIGANTIC: TRANSLATING ARCHITECTURE’S PAST INTO FUTURE ENVIRONMENTAL PROJECTS
Unit 1 analysed environmentally-consequential, built case study projects from 1990-present as a means for imagining an environmental architecture for our uncertain future. We used techniques of architectural representation including drawing,
STUDIO LEADERS LISA MOFFITT W. VICTORIA LEE
MINIATURISING THE GIGANTIC
digital and physical model, subsuming the gigantic domain of the earth’s environments into the miniature domain of architectural
UNIT 1
representation. The first half of the semester focused on
UNIT 2
analysing existing ‘techno’ and ‘critical’ environmental projects.
UNIT 3
We then translated this analysis into physical artefacts—
UNIT 4
drawings, digital and physical models—that made the physical
UNIT 5
and conceptual workings of the project evident. We concluded the
UNIT 6
semester by adapting case studies into new speculative proposals that respond to consequences of climate change including global mean temperature increases, rising sea levels and associated coastal flooding, increasingly erratic weather patterns, and increasingly frequent natural disasters.
1 Andrew Dang Model encapsulating Rahm’s environmental devices 2 Andrew Dang Thesis and Adaptation drawings of Philippe Rahm architectes’ Taichung Gateway Project 3 Edith Waterman, Georgina Frankpitt Model of Facade adaptation to Sauerbruch Hutton’s GSW Building 4 Ishaan Kapoor, Gloria Wong Model of Chernobyl site contamination -
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MINIATURISING THE GIGANTIC
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EXPLORATIONS
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RADICAL CO-AUTHORSHIP
Unit 2 aimed to expand the notion and practice of architectural authorship. If design depends on the exertion of control over matter from the top down, and on the orientation of materials towards a specific fit or communication protocol, the unit
STUDIO LEADERS SIMONE FERRACINA ASAD KHAN
investigated an alternative ethos and methodological approach RADICAL CO-AUTHORSHIP
whereby designers relinquish some control and embrace human
UNIT 1
and nonhuman others (including discarded objects) as co-
UNIT 2
designers. We proposed an alternative model for architectural
UNIT 3
practice, one where materials precede ideas, ecologies are given
UNIT 4
priority over intents, and creativity is understood as partial,
UNIT 5
distributed and collaborative. Our work interrogated lowly
UNIT 6
objects and material discards (bottles, human hair, rags, milk cartons, etc.) as generators of new architectural languages and assemblages. We questioned what it means to reconfigure architecture (its understandings, practices, values) and ourselves as architects (our aims, habits, and evaluation criteria) to respond to the ecological, social and environmental crises of our times.
1 Ecem Gidergi, Lynd Li, Jean Rojanavilaivudh Architectural Gastronomy: Designing Bioplastic Envelopes 2 Alannah Marie Cumming, Andrew Stuart Wyness, Kaja Isobel Hellman-Hayes TetraHak/Tetra Pa(r)k 3 Mimi Hattori, Cindy Chananithitham, Rachel Leong AnthropoFELT 4 Myrto Efthymiadi, Sarah Kemali, Rana Tabatabaie Nomadic (Wear)House -
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EXPLORATIONS
BA/MA [HONS]
RADICAL CO-AUTHORSHIP
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EXPLORATIONS
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DATA-DRIVEN URBAN PROTOTYPES
Unit 3 tapped into the enormous design potentials of contemporary, data-based spatial systems and technologies,
STUDIO LEADERS -
‘hacking’ them to activate and enhance urban public spaces in
MIGUEL PAREDES MALDONADO
Central Edinburgh. First, we developed novel methods of data-
MOA CARLSSON
DATA-DRIVEN URBAN PROTOTYPES
driven drawing, modelling and prototyping that investigate (and potentially stimulate) different aspects of the collective urban
UNIT 1
experience in the public realm. Second, we redeployed the data-
UNIT 2
based spatial insights gained in the first process to radically
UNIT 3
transform and enhance our selected urban scenarios. This
UNIT 4
unit critically engaged with cutting-edge digital data sensing,
UNIT 5
processing and fabrication techniques to develop Sensing
UNIT 6
Instruments, Maps and Responsive Prototypes. These enquiries ultimately led us to designing, assembling and installing scaled down prototypes of architectural interventions that address and intensify the public realm of Central Edinburgh. Our designed propositions operate simultaneously at the scales of the city, the studio and the human body, orchestrating unconventional, collective spatial situations.
1 David Droc, Liam Findlay, Olivia McMahon Form Follows Fiction 2 Salma Hamed, Wesley Pattinson, Georgia Tucker Weaving the City: Re-interpreting Urban Fabric through Atmospheric Exploration 3 Xizhe Huang, Gergana Negovanska, Koh Noguchi Edinburgh Polytope -
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EXPLORATIONS
BA/MA [HONS]
DATA-DRIVEN URBAN PROTOTYPES
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EXPLORATIONS
BA/MA [HONS]
MAPPING A MUNRO:
MINOR (MOUNTAIN) ARCHITECTURES
Unit 4 explored the intricate relationships between architecture, geology and ecology, through creative makings of architectural drawings, mappings and visual representations of the landscape of the Munro Schiehallion. Oscillating between empirical
STUDIO LEADERS MARIA MITSOULA KEVIN ADAMS
observations (such as Nan Shepard’s geo-poetic writing The Living
MAPPING A MUNRO
Mountain ) and scientific methods (such as Sir Hugh Thomas
UNIT 1
Munro’s techniques and British Geological Survey’s technologies),
UNIT 2
the unit challenged the ways we record, measure and represent
UNIT 3
our grounds, developing architectural design methodologies
UNIT 4
for the construction of a series of speculative and imaginative
UNIT 5
representations of Schiehallion. These representations
UNIT 6
put forward sophisticated understandings of our ground conditions—and of the Earth—and acted as tools for thought for the production of architecture: a series of minor (mountain)
architectures carefully placed along the path that leads to the peak of Schiehallion, at an elevation of 1,083m, that lies between Loch Tay, Loch Rannoch and Loch Tummel in Perth and Kinross, Scotland.
1 Jamie Sim, Lewis Murray, Molly Sellers Little Measurements: Mushroom Cultivation Hut, Weather Tower and Atmospheric Satellite 2 Jemima Brakspear, Pauline Ramos Sophie Lewis-Ward Ruskin’s Hike: Casts, Cabinets, Monoprints, Munros and Bothies 3 Francesca Foster Moseley, Daniel Lomholt-Welch, Cormac Lunn Re-Folding Schiehallion: Stratifying and Smoothing Territories -
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EXPLORATIONS
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MAPPING A MUNRO
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CINEMATIC SPACE
Unit 5 investigated the relationship between architecture and cinema, specifically focusing on how we can borrow filmic techniques to create compelling, spatially complex architectural journeys. We explored architecture as a choreography of time-
STUDIO LEADERS MICHAEL LEWIS SEBASTIAN AEDO
rooted spatial experience and human interaction through
CINEMATIC SPACE
an analysis of cinematic strategies and visual language. We
UNIT 1
deconstructed complex spatial navigations of the lens and
UNIT 2
considered the role of ‘off-screen’ infrastructure necessary
UNIT 3
to facilitate tracking shots by architectural mapping and
UNIT 4
speculation. This analysis provided a language and vocabulary
UNIT 5
of conditions that could be adapted into architectural proposals
UNIT 6
that occupy and navigate existing site conditions and mental landscapes, focused around concerns of domestic versus public space.
1 Angela Lehner, Jaypee De Leon, Zeynep Gulen Reconciling Oddities [Birdman] 2 Shirley Xu, Rain Yang, Annice Xu Optical Play [The Mirror] 3 Grace Davidson, Anna Cameron, Catherine Suleiman Museum of Memory [Spectre] -
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CINEMATIC SPACE
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EXPLORATIONS
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BUILDING IN TIME
Unit 6 followed a premise that buildings are moving projects, manifestations of ‘building-in-time’. We focused on a piece
STUDIO LEADERS -
of Edinburgh’s urban topography with an anchor building,
SUZANNE EWING
the Edinburgh Central Library (opened in 1890). In recent
KILLIAN DOHERTY
archaeological investigations on the adjacent Cowgate site, prior BUILDING IN TIME
to current construction works, it was claimed that ‘1000 years of
UNIT 1
city had been found’. We followed threads of particular spatial,
UNIT 2
material, and socio-economic ‘building events’ (alterations,
UNIT 3
interventions, occupations) through processes of making and
UNIT 4
unmaking selected parts of the Library building. These became
UNIT 5
leads to rethink contemporary publics and to propose design
UNIT 6
moves and strategies which augment civic space (alternatives to the privately financed Virgin Hotel development). The unit’s goal was to identify practical and rigorous protocols for urban adaptation, critically informed by understandings of flows and frictions of labour, power, finance, civic culture and ideals.
1 Oscar Sangalli Pena The concealed and the visible: excavating a redirection of tourism in Edinburgh Informed by precedent study (Miralles) 2, 3 Amelia Brown [lack of] control. Water trangressing and channelled in Library and city -
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EXPLORATIONS
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BUILDING IN TIME
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EXPLORATIONS
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Is Phillippe Rahm’s ‘Jade Eco Park’ biomimicry gone too far? In the lecture titled ‘Environmental Architecture’, Dr Rachel Harkness explained how this can often be used as a blanket term for many design approaches which attempt to address issues relating to the climate. One of these approaches was ‘Bio mimicry’ where designers study the forms and processes that occur in nature and replicate them in design creating an architecture that solves many of the problems faced by man-made systems. 1 It is widely believed that biomimicry allows designers to create buildings and even cities that are sustainable and function as an ecosystem in themselves. 2 An early example of this technique is that of Joseph Paxton’s Crystal Palace where Paxton took inspiration from the fragile but strong leaves of a particular species of lily pad to create small repeating units which support large areas of glass. 3 Now, biomimicry is a hugely popular design approach. When I simply typed the word ‘biomimicry’ into Dezeen, for example, results flooded in with titles such as “Bio-ID Lab designs DIY algae-infused tiles that can extract toxic dyes from water”, “Airbus’ Bird of Prey aircraft concept features feather-tipped wings” and “Algae curtain by EcoLogicStudio could make buildings more eco-friendly”. 4 When thinking about all these beautiful and hugely innovative designs, however, I could not help but question whether the practice of biomimicry could allow humans the rather sinister ability to replace nature entirely. Although the idea of machinery functioning in place of plants or insects may seem completely dystopian, in Philippe Rahm’s Jade Eco Park this is already the case. The project is a 70-hectare park in the centre of Taichung in Taiwan where Rahm’s idea was “not to design solid shape and form, it’s to design climate.” 5 The park is landscaped to create specific climate zones with natural and artificial ‘devices’ that each regulate either the temperature, humidity or pollution. 6 These natural devices are trees, however among them sit large mechanical structures that mimic their function. Dubbed the “devices” by Rahm, which to me resemble something out of War of the Worlds , they are intended to create a diverse range of climates throughout the park where every visitor can be comfortable, or uncomfortable. 7 The design altogether doesn’t look like an appealing place to be despite being designed with the simple intention of careful climate consideration throughout. 8 It cannot be denied that biomimicry is a hugely helpful design tool. However, when thought about in relation the Jade Eco Park it now seems to me like a concept that could be pushed too far and turned into something entirely sinister. A world more machine than living. 1
Nicola Davies, “Mother, Nature, Designer,” Planning , Vol. 80, Issue 3 (2014) pp12-17, 1, accessed: November 26 2019.
4 5
2
Davies, “Mother, Nature, Designer”, 2.
3
Davies, “Mother, Nature, Designer”, 1.
“Search Results: Biomimicry” Dezeen, accessed: November 26 2019.
Avinash Rajagopal, “Philippe Rahm: Climate as Architecture” Metropolis, November 18, 2014, accessed: November 26 2019, www.metropolismag.com/architecture /landscape/philippe-rahm-climate-as-architecture/. 6
Philippe Rahm Architects, “Jade Eco Park,” accessed: November 26 2019, www.philipperahm.com/data/projects/taiwan/index.html. 7 8
Philippe Rahm Architects, “Jade Eco Park”.
Rajagopal, “Philippe Rahm: Climate as Architecture”.
ARCHITECTURAL THEORY
3—2 ARCHITECTURAL THEORY
COURSE ORGANISER MICHELLE BASTIAN
Architectural Theory is a third year core course for BA/MA Architecture students. It introduces students to theory for the first time, while also developing their writing and critical thinking skills. The overall focus is on developing a questioning attitude,
Laura Bowie Nikolia Kartalou Negar Ebrahimi Hafsa Olcay
inviting students to challenge their assumptions and to find new ways of thinking about key problems. Our approach is case study based, where exemplary architectural projects are read in relation to two selected texts, one from philosophy or theory, and the second from specific architectural or urban theory approaches. Looking at topics such as gender, nature, governance
3—2
TUTORS
and technology, students explore the relationship between architecture and other areas of culture, while also being provided with an expanded framework for understanding and interpreting architectural production. The course is taught by an exciting group of lecturers who have each published and contributed to the development of theory and/or architectural theory. Drawing on their research expertise, they engage students with a wide range of theory including deconstruction, phenomenology, feminist theory, environmental philosophy, continental philosophy and more. They are assisted by experienced tutors with backgrounds in architecture and design who are active in research via their current PhD projects. In their assessed work, students develop their skills in reading complex texts and developing personal responses to them. The reflective approach of the journal helps students to focus on how the course materials shed light on their own preconceptions, studio projects, or wider social and cultural understandings. While the essay provides an opportunity to explore a particular issue in greater depth. Overall, the course asks students to develop their own critical perspectives on how architecture might respond to a range of contemporary social issues, and to deepen their ability to use writing for self-reflection and wider communication.
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Above Leopold Lambert Yoro Park 05, www.thefunambulist.net/ architectural-projects/arakawaginstowards-an-architecture-that-does-notknow-what-a-body-is Opposite Maddy Park Critical Reflections Journal Entry -
BA/MA [HONS]
How far are we prepared to go? The role of architects in the climate emergency. 2019 has been regarded as “ the year the world woke up to the climate emergency .” Long forewarned by scientists, the severity of the climate crisis finally entered public consciousness with a spate of environmental disasters occurring on an unprecedented scale. Having grown up in an island nation (Singapore) that is now threatened by rising sea levels, the subject at hand hits close to home, urging me to reflect on the role of architects in the current climate emergency. It is common knowledge that the building industry accounts for a monstrous 39% of current carbon emissions globally, and hence bears huge responsibility in being “ part of both the crisis and solution ”. The climate emergency is, as the term suggests, urgent and acute, and demands a paradigm shift in mindset. Architects carry substantial clout in the building sector, holding sway over the choice of materials and construction methods. Thus, I firmly believe it is vital that the profession steps up and takes more concrete action to mitigate our emission levels. Ingels posits that it is crucial that firms “ commit to sustainability across their entire portfolios ” rather than execute the occasional, ecological project. This, however, is easier said than done. I was struck by Hari Phillips’ article in The Architects Journal, in which he candidly shared the dilemmas faced by his practice, Bell Phillips, in preparing their own “ environmental manifesto ” in the wake of the recent debate on whether architects should continue designing airports during the climate crisis. In his words, “ What are our red lines? Are we prepared to turn down... potentially lucrative or exciting projects if necessary? ” My practical experience at WOHA Architects has exposed me to these quandaries including the attendant financial and environmental responsibilities. Renowned for integrating environmental and architectural principles in their designs, much of WOHA Architects’ work has been “ publicised as benchmarks for sustainable design ”. Architects possess a wide array of skills that should be utilized to continue innovating and developing climate- adaptive strategies; we are also in a unique position that enables us to foster collective change. However, that aside, I believe that honesty and courage are needed to confront the dilemmas we face in striking a balance between our social and financial responsibilities. Architects cannot act alone – a seismic shift across social, political and cultural spheres is needed for effective action to be taken. Our interdependence could prove to be both our greatest asset and obstacle. But surely, we owe it to the environment, and to future generations, to rise to the occasion and tackle our most formidable design challenge yet? -
School of the Arts - Singapore, WOHA Architects, 2012.
WORKING LEARNING
3—3 ARCHITECTURAL PRACTICE WORKING LEARNING
This course introduces the business of architecture in terms of its professional, ethical, procedural and corporate fundamentals. It also provides a framework to support students during their Practice Experience period in the second semester and facilitate an active reflection on their workplace activities. The course compliments Architectural Practice: Reflection (APR) and addresses a range of pertinent topics (such as the architect/ client relationship, the role of professional bodies, legislative framework and modes of procurement) in order to offer students a grounding in professional knowledge, preparing them for future employment.
3—3
COURSE ORGANISER MARK COUSINS
A series of lectures offered at the start of the course examines key issues including the social and technical drivers impacting the profession today. We examine modes of professional accreditation, the sequencing of work, regulatory requirements and building contracts. We explain core competencies that will be required by students seeking employment, such as preparing a CV, collating a comprehensive portfolio, interview skills, working with on-line research databases, and recording professional experience. Knowledge gained through the lecture series (and whilst on Practice Experience) is then tested through a series of distance-learning assignments. These set tasks are intended as work-based learning exercises and afford students an opportunity to analyse and reflect upon their work experience.
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Above Naomi Rubbra Office Reception at Svendborg Architects, Copenhagen Opposite Maria Sara Tan Reflective Essay ( abridged ) -
We have a sizeable database of international practices who have employed ESALA students in the past but students are encouraged to approach their preferred practices. We liaise closely with the Edinburgh Architectural Association as well as professional bodies including the RIAS and RIBA. The availability of job opportunities depends upon market forces and, therefore, we recognise the benefits of other forms of experience such as construction work, architectural journalism, voluntary work, and other design spheres such as graphics, product design, interior design, acoustics, etc. Alternatively students might get involved in architectural competitions, speculative design proposals, private commissions, or independent research projects in order to extend their knowledge of the profession.
BA/MA [HONS]
Globalization has generated a creeping homogeneity across many countries and cultures. How might architects shape the public debate and help recalibrate our approach to the built environment? Cities all over the world have experienced rapid expansion in the 20th century but this process of globalization has generated a creeping homogenization in architecture. Today we are facing a lack of local character and traditional cultural heritage. Toyo Ito warns that architecture in modern cities exists more like an independent functional machine, which is isolated from nature, without any rapport with the surrounding environment - such cities are losing their cultural and historical diversity. This issue is especially serious in Asia, where, in the past 30 years, foreign architects regard the continent as a testing ground and erect huge landmarks - usually an awkward graft of western values set within traditional eastern context. Recently, however, a number of Chinese architects are looking for a new synthesis of modern construction and indigenous cultures. Their provocation has sparked public discussion and a call for the return of more traditional cultural values. During my Practice Experience period with the W+R Group in Shanghai, I undertook preliminary research for a major project requiring precedent studies of Song Dynasty style architecture. I was also drawn to the work of Wang Shu, the 2012 Pritzker Architecture Prize winner. Wang promotes an innovative use of modern technology allied to local traditional materials and cultural ideology to express a contemporary regionality in China. His approach suggests that regional architecture could resist the corrupting force of ‘globalization’. His project for the Xiangshan Campus of the Chinese Academy of Fine Arts in 2004 employs bricks and tiles on a large scale. Wang used some two million recycled tiles (collected from demolished residences in Zhejiang and Eastern China) to make a tangible connection with history. The reuse of old tiles is economical and not only protects the environment but also embodies regional cultural values. In Ningbo History Museum (2008) Wang Shu used the technology of ‘tiled walls’ a very traditional construction method in the east of Zhejiang Province with strong local connections. But this technique had never been used in constructing a 24m high wall. So, Wang transformed the traditional construction with modern technology. He incorporated a reinforced concrete wall as the main supporting structure and used tie bars and joists to connect the tiled wall back to the structure. Overall, Wang Shu’s work shows us the potential of combining local materials with modern construction technology. In this way, regional culture can develop its own architectural style, maintain historical continuity and escape the banality of homogenization. To some extent, Wang’s architecture is becoming a kind of social spectacle attracting the public’s attention, especially after winning the Pritzker Prize. Although Wang’s works are often controversial (many feel that they look strange and are hard to accept), he has successfully inspired many young Chinese architects to develop a truly regional architectural style in this globalized world. -
Ningbo Museum - Ningbo, China, Wang Shu, 2008.
REFLECTION
3—4 ARCHITECTURAL PRACTICE REFLECTION
COURSE ORGANISER MARK COUSINS
The goal of the second semester of 3rd Year is to secure experience in the workplace environment and students are encouraged to use their initiative in order to seek employment opportunities either in Scotland or across the globe. This course invites critical reflection on the architectural profession. During this period of Practice Experience, a range of topics are on a particular aspect of architectural practice (or a related activity) and allows students to investigate the complexities of
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examined through five succinct journal entries. Each entry focuses
the profession outwith the confines of ESALA. The journal entries engage, provoke and/or ruminate on specific issues related to architecture and provide an opportunity for students to reflect, appraise, analyse and present their newfound knowledge. This course compliments Architectural Practice: Working Learning (APWL) and forms an essential component of the MA programme as part of the vocational qualification. Much of the research is self-directed and students are asked to reflect in an active way on the profession. The Journal is intended as an academic companion to their workplace activities, however, given the vagaries of the job market, students are not penalised if they are unable to secure employment. The Journal is a vehicle for critical appraisal - informed by relevant readings (books, journals, periodicals, Codes of Practice, contract documents, competition briefs, etc). It provides a vehicle to use (and/or develop) academic research and referencing protocols. Students are expected to reflect on their experience and evidence how the Practice Experience period has been an extension of their architectural education. Usually this is addressed by ‘working in the field’ but it can also be an opportunity to expand their understanding of architectural research or ‘fieldwork’ by acquiring specific empirical recording techniques and/or attaining new skills.
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Above Philippine Wright Office Space at Simpson Studio Architects Opposite Andre Wang Journal Entry -
BA/MA [HONS]
REGULATION. Architectural design in the UK is subject to a wide range of regulatory requirements. Describe the architectural implications of a selected regulation contained within one of the seven sections of The Building Standards (Scotland): 2017. Section 7 of the Technical Handbook for Scottish Building Standards (Domestic), entitled ‘Sustainability’, provides some guidance to ensure that the design of architecture gives equal priority to the well-being of the built environment, the people who use it, and to the responsible use of natural resources. Section 7 is relatively new compared to its counterparts, having been introduced in the May 2011 iteration.
“Every building must be designed and constructed in such a way that with regard to a dwelling or school building containing classrooms, a level of sustainability specified by the Scottish Ministers in respect of carbon dioxide emissions, resource use, building flexibility, adaptability and occupant wellbeing is achieved.” Section 7 is (comparably) in its nascent stages and therefore does not (yet) address some more complex areas such as embodied energy and material sourcing, nor does it enforce itself (arguably) to the same degree as the other standards. Nevertheless, in A Low Carbon Building Standards Strategy for Scotland (a report published by a panel appointed by the Scottish government in 2007), construction experts recommended “total-life zero carbon buildings by 2030” to achieve the goal of sustainable buildings that fulfil both present and future needs of the Scottish people with a minimised environmental impact. This concern for sustainability and low-carbon emission in architectural design is demonstrated by the 2019 RIBA Stirling Prize Winner: Goldsmith Street in Norwich City Centre. A social housing scheme consisting of 45 houses and 60 flats, all on less than a hectare of land. It was designed by Mikhail Riches with Cathy Hawley. Labelled the “largest Passivhaus scheme in the UK,” there is a clear intent towards a Low Carbon output. Originating from Germany, Passivhaus is both a performance standard and a design process. Although it is not explicitly mentioned in the handbook, its goals are often parallel to those of Section 7. As an architectural design approach, it involves a distinct concern for the longevity of the building fabric as well as an intention to maximise factors such as solar gain and thermal comfort, without compromising on others like insulation and indoor air quality. The buildings are low-rise to prevent overshadowing. The architectural implications of Regulation 7.1a seem to be (for now) a matter of choice for those in the profession. However, growing concerns for the global climate seem to be elevating this from a choice to a necessity. -
Street Section - Goldsmith Street Housing, Mikhail Riches & Cathy Hawley, 2019
PROFESSIONAL STUDIES
3—5 ARCHITECTURAL PRACTICE PROFESSIONAL STUDIES
COURSE ORGANISER MARK COUSINS
This BA level course introduces students to architecture as a professional practice. It explores the key issues of practice including the architect/client relationship, role of professional bodies, current legislation and methods of procurement. A series of lectures in the first semester presents a wellrounded overview of practice and tackles a variety of topics business management strategies and the statutory frameworks within which projects are delivered. Students learn about the
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shaping the profession. These include an introduction to
interdisciplinary relationships in the costing, procurement and realisation of architectural projects. The scope of these illustrated talks encompasses the role of the architect in society and the attendant challenges of being a responsible professional today. Guest speakers include a variety of academics and leading practitioners who talk about the organisation of their individual offices (from sole trader to employee owned business) reflecting on how their legal constitution affects matters such as liability, profit-sharing and the ethos of the practice. We outline a range of building contracts commonly used in contemporary practice, offering a comparison of their relative benefits and why things are changing from ‘traditional’ to ‘modern’ modes of procurement. We also consider the key individuals within the construction team and how architects charge for their services depending on the different fee mechanisms employed for different kinds of work. We examine common cost control mechanisms and the sequencing of work (based on the RIBA Plan of Work), as well as the tribulations of a real project from its initial commission to final completion. During the second semester, students submit six short essays testing the information gathered during the lecture series, and their ability to read around these issues. Building on this nascent erudition enables students to develop informed opinions on professional matters.
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Above Oscar Sangalli Pena Studio of Flores Prats, Barcelona Opposite Olamide Adeyemi Short Essay -
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ON DRAWING
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ON COLOUR
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DISSERTATION
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ARCHITECTURAL DESIGN TECTONICS
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ARCHITECTURAL DESIGN LOGISTICS
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ACADEMIC PORTFOLIO
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4—0 BA/MA [HONS]
BA/MA [HONS]
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ON DRAWING
4—1 ON DRAWING
COURSE ORGANISER VICTORIA CLARE BERNIE
On Drawing foregrounds drawing as a tool for research and invention. Through the interplay of fieldwork, archival image research and drawing exercises, students question the nature of drawing and the identity of the site in architectural practice. The
John Darbyshire REVIEWER Adrian Hawker
outcome is an architectural site drawing in the form of a sitespecific installation together with a pamphlet publication as a documentary record of the evolution of the work. The site of On Drawing 2019 was a section of the Water of Leith river in Edinburgh from Canonmills to the Shore. The river was
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CONTRIBUTOR
once the engine of the city, housing 72 watermills at its peak. Here, grain was milled, wood was cut, leather was tanned and cotton, tobacco and sugar, often from the Scottish owned slave plantations in the West Indies, were processed. Cotton produced rough linen and, in a horrible manifestation of the economy of the day, was returned to the plantations to provide clothing for the enslaved population. Meanwhile, the Shore was preoccupied with shipbuilding and glassmaking, whaling and fishing. Now given over to leisure the river offers a benign face to the city. Students in the
On Drawing studio were invited to interrogate this reality, drawing out other narratives of the site. In Leviathan , Jiamin Zhong re-activates the history of the whaling industry as it once calibrated the landscape of the Shore through an extraordinary digital animation unravelling the various architectures of whaling. In Shipyard , Rose Miller reimagines the monstrous scale of shipbuilding through a reworking of a Paul Rotha public information film recalibrated as an architectural book where the weave of industry escapes the cinematic frame and the printed page. In On Ruins, Mingxin Xie reflects upon the nature of ruin as a prompt for contemplation, mining the relics of the site in a remarkable performance of drawing manifested as a singular film poem.
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Opposite Sonakshi Pandit Invisible Ecologies -
BA/MA [HONS]
1, 2 Jiamin Zhong Leviathan -
WATER OF LEITH
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ON DRAWING
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WATER OF LEITH
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ON DRAWING 4—1
3 Rose Miller Shipyard 4 Mingxin Xie On Ruins -
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BA/MA [HONS]
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ON COLOUR
4—2 ON COLOUR
COURSE ORGANISER FIONA MCLACHLAN
Colour is an essential factor in the perception of space. Through this elective course, students develop a basic understanding of the principles of colour theory, the most common colour specification and navigation tools used in architecture, and an
STUDENTS Jamie Begg
intellectual framework with which they may then approach their own investigation in order to develop a deeper understanding of a focused project theme.
Bahar Gurkan Freya Hodgkinson Catherine Jones Kitty Lai Qamelliah Nassir Chenjie Qian Atalina Semenova Shirley Sit
After three weeks of workshops where students undertake painting exercises, consider meaning and association and the
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Holly Goodwin
language of colour, light reflectance and material surface, and experiment with digital tools, the students write an individual ‘Project Proposal’. Students identify their own research methodology, which is tested out through a series of enquiries. The final portfolio aims to situate the knowledge gained from their own observation within the context of colour literature.
Martha Smellie Emily Wells
This is a self-directed course, and is not intended to be
Tony Zhang
prescriptive in any way. On the contrary, the nature of the
Jiakai Zuo
individual investigation is promoted as a means of developing a reflective process of experimentation and critical review. The projects open up complex questions about perception, physics, physiology, digital representation and measurement, surface and form, figure and ground, branding, cultural associations, narrative, language, sensory experience, colour and place, colour and light, colour and identity. In most cases, the projects lead to suggested applications in architectural design.
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Opposite Fiona Mclachlan, Xuechang Leng Colour for the Corridor -
BA/MA [HONS]
Colour for the Corridor. Live Project at Royal Edinburgh Hospital
As part of the On Colour course, students were able to take part in a Live Project at the Royal Edinburgh Hospital. The project provided a direct experience of the potential of colour to transform a specific series of spaces. The existing corridor is very long with meandering approaches through a series of linked buildings. Walls are painted in a monotonous creamy yellow with blue skirtings and floors and darker blue doors. The wall paintings were based on palettes derived from the natural colours of autumn and winter, and were designed by Prof. Fiona McLachlan and PhD student, Xuechang Leng as part of their research practice on the role of IN ARCHITECTURE
colour in architectural design. Both paintings were installed in November 2019. For the volunteers, many of them who had not painted at this scale before, it provided first hand experience and the opportunity to develop new skills.
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ON COLOUR
Retrofit Palettes. Holly Goodwin
This project investigates the role of colour in the regeneration of 1960’s social housing estates. In the 1960s, a new era of social optimism and progressive thinking hailed a new typology of high-rise, high-density, modular housing. The architects of Sheffield’s iconic Park Hill estate turned to the surrounding context for inspiration for an appropriate colour palette that would give contextual reference to an ensemble of buildings whose monolithic form was entirely out of scale with the surrounding urban grain. Over time, a muted, fading colour palette, together with the physical decay of the buildings, contributed to the estate becoming synonymous with a dystopian vision of society.
developer Urban Splash, new life
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More recently, rather than opting for demolition, in the hands of the has been breathed into the building, not least through the application of a new, vibrant and contrasting colour palette which no longer draws reference from the surrounding context. This new palette re-brands the estate for the modern era and, as a consequence, the building has acquired a whole new identity within the city, its new make-up accompanying a rise in both marketand symbolic value. Applying my acquired knowledge of colour theory and taking on the role of the architect for Phase 3 of the regeneration project, I propose a new colour palette which could be applied to the next phase. Drawing once again on a study of the surrounding context, I establish a more subtle and nuanced yet identifiable and harmonious colour palette, my proposal seeking to provide an
Whatever its shape or size, a building today is certain to need colour; colours outside to catch the sunshine and gladden the eye, colours inside for walls, ceilings and floors. Cementone No.1 Permanent Colours for Cement are economical in use, attractive to look at: specially designed for cement rendering and concrete work, composition floors and similar applications for buildings of every kind. To obtain further details please write for colour shade card and full technical information.
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JOSEPH FREEMAN SONS & CO. LTD. CEMENTONE WORKS, WANDSWORTH, LONDON, S.W.18, TELE-
contemporary and retrospective in its colour symbolism.
12 standard shades and black, which can be intermixed, to form a variety of colours in white or Portland Cement
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T.A. 9295
BA/MA [HONS]
Living in Colour: colours derived from the landscape for mental wellbeing. Jamie Begg
This investigation in OnColour started with a speculative notion: do the colours of the landscape contribute to nature’s beneficial impact on our mental well-being? It is a thought which lacks scientific evidence, however the benefits of the natural environment for our mental health is undeniable. Within psychiatric care, nature is seen as a vital part in a person’s treatment and recovery. 1 Even short contact with nature has many positive effects; decreasing stress, decreasing blood pressure, improving cognition, improving emotional wellbeing and increasing self-esteem. 2 ‘Blue’ spaces, areas close to water, are shown to IN ARCHITECTURE
have a greater positive impact than ‘green’ spaces. 3 Yet as this colour study showed, both ‘green’ and ‘blue’ spaces are much more disparate than their given moniker. The colour study took place along a walk in Glenuig, a small village on the West Coast of Scotland. The colour palettes were derived from photographs, categorised by their habitat and mapped to their geographical location. Drawing from research in psychiatric architecture, the project culminated in making a ‘colour device’ prototype. Using wood and the colour palettes, the interactive device sought to allow the user to adapt their surroundings and encouraged engagement with the natural environment.
1 Kathleen Connellan et al., “Stressed Spaces: Mental Health and Architecture,” Health Environments Research and Design Journal 6, no. 4 (2013): 137. 2 Ethan A Mcmahan and David Estes, “The Effect of Contact with Natural Environments on Positive and Negative Affect: A MetaAnalysis,” The Journal of Positive Psychology 10, no. 6 (2015): 507–19. 3 Elle Hunt, “Blue spaces: why time spent near water is the secret of happiness,” The Guardian, November 3, 2019, https://www. theguardian.com/lifeandstyle/2019/nov/03/ blue-space-living-near-water-good-secret-ofhappiness?CMP=Share_iOSApp_Other.
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ON COLOUR
Fluctuations in a single spatial setting. Emily Wells
Based on the knowledge gained in the initial lectures and recommended readings, I became very interested in the interplay of light and colour. An important part of what intrigued me about this is the work of Luis Barragan, an architect famed for his use of vibrant colours. Although many know Barragan for his choice of colour, what captivated me the most is how he used colour and light to create ephemeral moments in the spaces he designed. Spaces which are primarily painted in white or neutral tones are flooded with painted light in many of Barragan’s buildings. My exploration into his use of colour sought to understand how Barragan used light to flood spaces with light and what factors aid in this phenomenon. Studying the floorplans began to show how the quality of light impacts its ability to carry
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and the use of colour in these spaces
colour into a space. Later studies of physical models brought about an understanding of the daily and seasonal shifts in the degree to which light can carry colour. Analysing this with relation to the location of these buildings in the Tropics also highlighted the fact that the ability to flood a space with light is regional, as it demonstrated that the angle of the sun in the sky and the direction from which it is shining has a great impact
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on this phenomenom.
BA/MA [HONS]
P PS E& N DAINX AI LY I SIS R E S UALT
TR A D E COST D I F F E RE NTI A L W TO ‘ N O - D E A L’ S C E N A R I O
EXPORTS
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arrangement
displays
Trade
Costs between the UK and partner countries through both exports (above y axis)
and imports (below y axis) for an WTO ‘No-Deal’ Scenario. The magnitude of separation from each
UNITED STATES OF AMERICA
‘planet’ nation from the UK (situated at zero) represents the Trade Cost in natural logs, while the
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area of each ‘planet’ is representative of its respective sectoral expenditure (exports) and production
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(imports). Differential lines illustrate the spread of
SLOVAK REPUBLIC BELGIUM
SOUTH KOREA
GERMANY
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trade costs between scenarios for each nation. FRANCE
AUSTRIA CANADA
CZECH REPUBLIC
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PORTUGAL
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Fig.14
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APPENDIX II
REGIONAL TRADE AGREEMENT RESTRICTIVENESS INDEX SCORE
M
ore restrictive regulatory environments within the index (seen in tables 27-31) have higher compound scores, displayed
here for each scenario and country.
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REGIONAL TRADE AGREEMENT RESTRICTIVENESS
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DISSERTATION
4—3 DISSERTATION
COURSE ORGANISER LIAM ROSS
The dissertation course is unique in ESALA’s undergraduate curriculum in offering students a wholly research-based course. It provides an opportunity to investigate a chosen topic at length, in written form. The courses supports that investigations through workshops, introducing students to methodological questions concerning issues from archival studies and working with online sources, to selecting research paradigms, conducting mode of tuition, though, is individual supervision. ESALA’s full staff cohort contribute to the course, which this year engaged
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qualitative research, and working with bias. The principle
almost 60 supervisors. As such, it calls upon a diverse range of expertise drawn from architecture and landscape architecture, history and theory, professional practice, building conservation and technology, urban and cultural studies, design research, computation and the environmental humanities. The topics chosen by our students offer a snapshot of timely and significant issues facing the discipline. This year they include an econometric analysis of Brexit on architectural services, a sociological reflection on urban surveillance in Wuhan, a study into the effect of urban walkability on those suffering Alzheimer’s, and an aesthetic reflection on error in digital fabrication, to name a few. The aim of the course is to support students in developing a detailed understanding of their topic with reference to relevant cultural, historical and philosophical themes, and to make an original contribution on that topic, through a clearly articulated and supported argument. A hallmark of the Architecture dissertations is the way our students bring their design training to bear upon their research. This is often seen in dissertations that are themselves carefully designed, that handle visual material sensitively and creatively, or that include original by-design analysis. The following three excerpts offer a brief glimpse of the originality and insight offered by some of those studies.
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Opposite Ella Burton Pulling Away/Pulling Apart: An econometric study of UK Architectural Services in a speculative post-Brexit Society based on Gravity Principles Pages 70-71 including figures “Trade costs differential WTO ‘No-Deal’ Scenario” and “Regional Trade Agreement Restrictiveness Index Score” -
BA/MA [HONS]
Daniel Anderson Supervisor: Dorian Wiszniewski
The Waltz of the Bagel: Choreographing the pedetic high street in Edinburgh. The state and future of the British high street is a prominent subject of debate, with varied proposals as to the best path to safeguard these urban forms for the future. This investigation intends to reframe this discussion by presenting a specific means of interpreting the high street and variant methodologies for assessing its contribution to our towns and cities.
THE WALTZ OF THE BAGEL
Drawn from the interpretation of the paradigm in the writings of Foucault and Agamben, a number of urban paradigms, which structure our understanding of the environments in which we live, are interrogated and their interpretation of the high street revealed. From these interpretations and in dialogue with an analysis of major streets in Edinburgh, the place of the everyday in the high street is specified in a paradigm which views the structure of the high street as a pedetic network. In this network the figures traced by urban dancers collide and flow, revealing opportunities for the individual to stake a place in the spatial and temporal fabric of the street. The methodology for choreographing a high street under the terms of this paradigm draws on the power of associations from ordinary objects to uncover social and emotional connections and fragmented memories in the individual. These fragments of a whole, and the complex and unexpected spatial network of connections, disjunctions and irruptions which the pedetic high street elucidates, are presented in the form of an atlas. The atlas invokes ancient methods of chorography, ‘writing the place’ in fragments of the experience of the street, and frames a space for the choros of the individual. Through these methods, this investigation revisits the stagnating preconceptions of the identity and opportunity of the high street. Whilst it does not seek to propose answers to the challenges faced by our high street, it presents a characterisation which tentatively indicates avenues towards a more optimistic future. “The multiple ‘places’ of the Walk reflect in the architecture: Victorian and Edwardian tenements form homogeneous blocks amongst areas of greater architectural variation, where surviving industrial structures rub shoulders with modern interventions and heavily adapted historic buildings. The form of the street is closely linked to the railways and tramways which form an important part of its history, now lost to time.” -
Opposite Anderson, Daniel, The Waltz of the Bagel: Choreographing the pedetic high street in Edinburgh , University of Edinburgh, 2020. Pages 26-27, showing the authors drawn analysis of Leith Walk.
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McDonald Road
Pilrig Street
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Pla
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Row Elm
Elm
Row
Blenhe im
n Place
Crighto
Place
Brunswick Road
Croall Place
Dalmeny Street
 � �
Manderston Street / Gordon Street
BROSS
Duke Street
Constitution Street
Great Junction Street
DISSERTATION
BA/MA [HONS]
Ola Adeyemi Supervisor: Ella Chmielewska
Architecture at War: A reading of Guernica. Guernica (1937) by Pablo Picasso is a world-famous painting depicting the bombing of a town of the same name. As a result of its medium, there are many studies of this work that adopt an aesthetic approach to its examination, considering it mainly through two-dimensional parameters and socio-historic contexts. In response, my dissertation examines Guernica through a focus on the event (and the place) that underpins it, and the contexts of aerial warfare and architectural destruction.
ARCHITECTURE AT WAR
The study is structured by ‘scenes’ which I draw out from Guernica, using them to guide my understanding of how the painting continues to be relevant decades after its first exhibition, and what it offers in response an architectural reading. It is my intention to understand Picasso’s work beyond the boundaries of the canvas, questioning whether it has a legitimate claim to (fostering or harbouring) spatial qualities. In doing so, this will hopefully encourage a new examining of the Guernica that extends beyond the standard political and artistic concerns, considering it instead within the wider contexts of architectural destruction and damage. As such, this study demonstrates a subtle but influential quality within Guernica that enables it to accommodate its viewer not just aesthetically, but spatially as well. “[A]rchitecture is not always implicitly an act of construction. In fact, it is perhaps through destruction (the opposite of construction) that the significance of a form of architecture is revealed. Furthermore, an image - symbol - may offer a space equally as inhabitable as the built environment, like the image of Guernica does for those opposed to and affected by the atrocities of war. The painting does not provide a space that is opposite to the two political extremes (creating a ternary), but one that is between but also separate from them.” -
Opposite Adeyemi, Ola, Architecture at War: A Reading of Guernica , University of Edinburgh, 2020. Pages 10-11, including figure “Seeing Guernica, Perspective section of Room 206.06 Museo Reina Sofia”.
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Seeing Guernica Perspective section of Room 206.06 Museo Reina Sofía
blacks, whites, and greys. A second visit would be required.
another doorway to the next room. I could no longer see anything except a wash of
moments until more people entered, pushing me further to the right towards
as well…elongated as if by some unseen force in the painting. I stood for a few
the figures to disturbing proportions as I moved. The screams became distorted
more steps to the right distorted my view of the painting, stretching the heads of
She was caught mid-scream, along with the other visible figures to the right. A few
figure of the woman formed half of a tragic duet; the mother and her dead child.
seen Picasso’s works leading up to Guernica on my way to this room, I knew the
the animals emerged. A bull. A horse. Then a human figure. A woman. Having
reading, nevertheless, black and white was all I registered at first. The forms of
wall. Picasso’s Guernica. The horizontality of the work encouraged a sequential
room, I could not see past the top half of the painting, stretching across the entire
a few steps into the right side of the room. From my position at the back of the
painting was displayed was teeming with people, permitting me no more than
The crowd is how I knew I had arrived. The entrance to the place where the
Wednesday, 26th June 2019
Museo Nacional Centro de Arte Reina Sofía La irrupción del siglo XX: utopías y conflictos (1900-1945) Room 206.06 – Pavilion of the Spanish Republic, 1937 I
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DISSERTATION
11
BA/MA [HONS]
Cameron Angus Supervisor: Penny Travlou
Commoning Ethno Architecture: Indigenous Housing Experiences in Australia. My interest in indigenous communities was firmly established during my time working for BVN - an Architectural practice in Sydney, Australia - which fostered interaction with Aboriginal architects and projects. Despite not engaging first hand with indigenous communities, I was confronted with a firm sense of unease regarding my ignorant and idle understanding of indigenous struggles, naively relegating the shameful past of colonisation to an absurd notion of benign British settlement. Although interactions were limited, I was exposed to the work of Kevin O’Brien, Director at BVN, one of the first registered Aboriginal architects, whose design work is globally renowned, drawing on Aboriginal concepts of space. This cultivated an eagerness to understand the experiences of indigenous Australians, and the potential of architecture- a powerful conduit for the re-operationalisation of culture - to alleviate or aggravate the struggle.
COMMONING ETHNO ARCHITECTURE
Indigenous knowledge systems encompass deep relationships with their ancient lands, developed from millennia of sophisticated grooming of the landscape which pre-dates the pyramids. This notion of thriving communities living on the land, in harmony with the resources they harvested, beckoned me towards understanding the indigenous way of life. This knowledge, communicated over generations offer valuable insights providing challenging impetuses to my current architectural and epistemological understanding. Therefore, this dissertation allowed me to walk a path towards a more nuanced dialogue between the built and natural environment. However, this dissertation also explores the painful history of British settlement in Australia, and the response of indigenous communities. Indigenous identities, cultural practices and ways of life were marginalised. White settlers interrupted the connection between the lifeways of indigenous people and the built environment. The dehumanising generational, social and economic reverberations are indignant of a shameful past in British colonisation. The dissertation acknowledges that despite being suppressed by this frontier, indigenous architecture mobilised a collective strength to resist imposed change evolving expressions which exemplify their cultural values. Through encounters with ethnographic material, an understanding of indigenous housing experiences in Australia in the context they arose is reviewed. In this dissertation, I theoretically elucidate indigenous housing experiences through the framework of the commons. I have always been intrigued by the commons as a conduit to achieve a political end, through early encounters with the work of Stavros Stavrides, a Greek architect and theorist on urban commons. Thus, to draw parallels between the indigenous struggle and the methods of commoning was my ambition. The cultivatory re-reading of indigenous history through the lens of commons theory is to engage in robust discussion on negotiating cultural differences and how the confrontation of these cultures is enacted. “Just as tree bark was utilised to protect from prevailing winds, cars are similarly employed in fringe settlements as shelter from wind... These transformations - a caravan being used as a wall, or as storage - are all mediated through a porous boundary. This active articulation transforms foreign categories within the terms of local indigenous logic.� Opposite Angus, Cameron, Commoning Ethno-Architecture: Indigenous Housing Experiences in Australia , University of Edinburgh, 2020, Pages 24-25, including fig. 4-6 showing grass and bark windbreaks.
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DISSERTATION
eno sta ada wh dif fer tra tai con tio to sel id nat
describe a behaviour that will negotiate and articulate urban space, loosening the strict spatial and temporal social order between function and place. Indigenous ethno-architecture is not a static form of habitation but a conduit of potential creativity and this ‘passion for improvisation’ is evident from how Georgina River people experience it and utilise materials in different ways each time.64 The Ethnographic documenting of indigenous behaviour exhibits a clear theatricality in encounters with environment:
These acts of improvisation; an experience of the occasion with a random selection of materials at each different location. If the desired material was not available, indigenous people would respond accordingly, selecting something else. Walter Benjamin also describes buildings as a ‘popular stage’.66 This notion of the theatre sheds new meaning onto the inhabitants of the Traveller’s camps engaging in everyday theatricality, through how they cope with different situations of unavailable materials or seasonal changes, thus, becoming inventive in how they articulate spaces.67 The socio-spatial behaviours of indigenous people rearrange any itinerates of prescribed use which then loosens any borders that can enforce a firm spatial social order. The rearranging rhythms that aborigines enact are an experience of habitation, a form of temporal place making which articulates the social life of the location. An ever-changing process which invokes a creation of passages between materials, climate, behaviours and people that can be temporal and unfixed.68 These acts that overflow and influence each other exude a disregard towards dominant demarcation.69 The loosening of spatial compositions alludes to a vast scope of possibilities which can be enacted by the collective commoning of Aborigines, improvising through appropriation, modification and diversification of any form.
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Fig 5: Winbreak in Wellesley Islands docuemtned by Roth
“Failing these, they would thatch with tussocks of long “blady-grass”65
Th un ly cam an of be al s div pro dic
1.3 Commoning Ethno-Architecture Practices: Habitation is a recurrence of practices. Michel Foucault70 defines practices as recognisable and repetitive activities which can be put into action by any other person, to appropriate and then reproduce the economy of a place. Commoning is a multilevel process which does produce repeatable and recognisable practices; however these are contestable and not a closed community, thus, they could meet with other elements (materials, weather) and the resulting expressions can manifest in different ways.71 The nature of subsistence within indig-
64 Stavrides, Towards the City of Thresholds, 55. 65 Roth, 63. 66 Benjamin, 310. 67 Stavrides, Towards the City of Thresholds, 100. 68 Common Space: The City as Commons, 68. 69 Common Space: The City as Commons, 67. 70 Michel Foucault, The Archaeology of Knowledge, trans. A.M. Sheridan Smith (London: Routledge., 1989), 117. 71 Stavrides, Common Space: The City as Commons, 121.
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Fig 4: A windbreak with an extension added after a change of wind direction (B).
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BA/MA [HONS]
REVIEW CRITICS Prof. Rachel Armstrong Sam Boyle Robin Livingstone Nicola McLachlan Prof. Peter Salter [ESALA Simpson Visiting Professor 2019-20]
TECTONICS
4—4 ARCHITECTURAL DESIGN TECTONICS
COURSE ORGANISER IAIN SCOTT
Architectural Design: Tectonics is the studio culmination of the BA and MA Architecture undergraduate degrees in ESALA. These curricula have been designed to allow students to gain an and tectonic complexities embedded in any architectural design
UNIT 2
proposition. AD Tectonics extends the architectural design and
UNIT 3
communication skills gained through former stages by integrating
UNIT 4
a specific tectonic agenda in the conception of architectural
UNIT 5
design propositions and by achieving a certain degree of precision in its development and completion.
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increasingly finer understanding of the contextual, programmatic UNIT 1
TECHNICAL TUTORS -
With around 120 students the course is delivered through five
Remo Pedreschi
parallel units, each delivered around a particular theme or
W. Victoria Lee
architectural issue. Unit studios sustain these overarching
Irem Serefoglu
pedagogical aims of precision and integration through a diverse
David Seel
set of approaches to the role played by technology and tectonics in design. This is done through research and analysis into context, programme, unit theme, materials, structure and environmental response. This analytical work is then synthesized in the students own design project. These two strands of thinking, (the analytical and propositional) are developed through interative work in studio and presented through each student’s representational strategy incorporating both analogic and digital methods of drawing and model-making.
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BA/MA [HONS]
THE PRODUCTIVE CITY: LIVING AND WORKING IN EDINBURGH
The Productive City: Living and Working in Edinburgh elaborates a series of projects that speculate on what living in the contemporary city means, experimenting with unconventional distributions of programs and envisioning forms of life that
STUDIO LEADERS Giorgio Ponzo Ana Miret GarcĂa
propose original spatial distributions and arrangements. THE PRODUCTIVE CITY
UNIT 1 Post-industrial modes of production blur the boundaries between
UNIT 2
production and consumption, and, in our current condition, the
UNIT 3
separation between living and working becomes more porous,
UNIT 4
both in the daily routines of the inhabitants and in the spatial
UNIT 5
arrangement of the city. Granton, one of the Northern districts of Edinburgh, is recognized as an ideal test-bed for a series of architectural experiments and prototypes that couple productive activities with housing, allowing working and living to coexist in close proximity and making space to new life-styles.
1 Qamelliah Nassir The Sitopian City 2 Holly Baker The Papermeable Complex 3 Jocelin Chan Aquaponics Village -
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THE PRODUCTIVE CITY
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LOOKING NORTH: SALT & HONEY
The physical and sensorial implications of living in or near the North are explored in this unit through speculations within the community of Errol (56N, -3E), a village lying just North of the River Tay, halfway between Dundee and Perth.
STUDIO LEADERS Andrea Faed Jack Green
LOOKING NORTH
The focus is on materials from the ground – sculpting clay, and
UNIT 1
joining timber – stereotomic and tectonic – materials of differing
UNIT 2
permanence; materials dissolving into, or being left as ruins on,
UNIT 3
the ground. Addressing environmental and sustainable concerns
UNIT 4
in how we can build and live using locally sourced materials and
UNIT 5
how we do this in relation to the particular demands of living in a Northern climate. The area around Errol has large clay deposits and was home to the oldest brickworks in Britain until it closed in 2008. These investigations and observations of the relationship between people and landscape call for informed, emotive, sensitive, and spirited architectural responses that resonate, amplify, and build on nature.
1 Chenjie Qian Performative Landscapes 2 Juliana Yang Errol Cemetery 3 Katie Munro Errol Community Pottery & Weaving Centre -
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LOOKING NORTH
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EDINBURGH MATERIAL LIBRARY
Concealed beneath the shops, parking lots and fast-food outlets of the Craigleith retail park lies the most import sandstone quarry in the history of Edinburgh. From this quarry, active between 1615-1942, sandstone was hewn for many of Edinburgh’s finest
STUDIO LEADERS Moa Carlsson Simone Ferracina
EDINBURGH MATERIAL LIBRARY
buildings. The starting point for Unit 3 is that, due to the rapid growth of online shopping and climate breakdown, car-oriented
UNIT 1
retail parks will become obsolete in the near future. How can
UNIT 2
we degrow the Craigleith retail park to bring about a more
UNIT 3
sustainable Edinburgh?
UNIT 4 UNIT 5
The goal of Unit 3 is to develop architectural projects that exemplify a more sustainable and equitable building industry. The Material Library is a place where locally-sourced building components can be recycled, reused, stored and exhibited. It is a forum where city dwellers and visitors can gain new insight into the inner workings of the city through building components and actively participate in debates about the city’s current manifestation and future life.
1 Sonakshi Pandit Urban Ca(r)talyser: A Reconsideration of Value Regimes Through Architecture 2 Xi Zhou Self-Build Fun Palace 3 Karolina Krajčíková, Astrid Larsen, Jean Rojanavilaivudh Craigleith Retail Park -
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TECTONICS
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EDINBURGH MATERIAL LIBRARY
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OPEN STUDIO
Open studio provides students opportunity to practice, research and learn in a partnered & supported learning environment on a project of their choice. Open Studio tutors offer joint responsibility by involving students in the planning of the unit
STUDIO LEADERS Killian Doherty Douglas Cruickshank
- they select their own project, by defining personal responses
OPEN STUDIO
to the Tectonic course agenda. Students often choose to
UNIT 1
deepen written Dissertations, where previous research and
UNIT 2
readings are used to inform design enquiries. Others draw on
UNIT 3
an elective course, or a personal agenda. Personal opinions,
UNIT 4
views and experiences are fundamental to the Unit’s approach to
UNIT 5
architecture. Diversity is openly celebrated and accommodated in the studios’ approach to learning.
Postscript As COVID -19 emerged the physical space of open studio closed.
CO-TUTORS Fiona McLachlan Rachael Scott
Retreating into our personal domains, many scattered across the globe remote-learning was the imperfect but connective tissue that allowed conversations to remain open, to produce the rich, array of final degree projects.
1 Callum Symmons Study drawing for a corner building in Berlin: a cacophony of sheds 2 Holly Goodwin Constructing and Eco Tone 3 Angela Lehner The Strippers’ Club -
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OPEN STUDIO
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TRANSFORMING SCOTLAND’S TOWNS: RE-THINKING THE HIGH STREET
This studio focussed on “ Re-thinking the High Street ” of a traditional Scottish town in the context of unprecedented change. The site of the studio was Falkirk, a large town in the central TRANSFORMING SCOTLAND’S TOWNS
lowlands of Scotland and an important location in its nation’s
STUDIO LEADERS Iain Scott Mark Bingham
ancient and industrial history. We re-imagined ‘ Fawkirk ’ High Street as a place to live for all, reversing a fifty year trend of
UNIT 1
housing people on the perimeter of towns, reducing the mixed use
UNIT 2
character of town centres. We also investigated the opportunities
UNIT 3
presented by seismic changes in High Street retail and falling
UNIT 4
commercial demand.
UNIT 5
Initially working in teams, students undertook fieldwork research and generated proposals for the programme and urban design of their selected sites, looking to deliver intergenerational housing and supporting community uses. Students then worked on these architectural and urban projects to a level where their formal, spatial arrangements and tectonic qualities were clearly expressed.
1 Ilia Anisimov Falkirk Fusion Hub 2 Imogen Phillips Falkirk Gateway: Intergenerational Housing 3 Chin Yu Wong Falkirk Theatre & Performing Arts Residency -
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TRANSFORMING SCOTLAND’S TOWNS
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LOGISTICS
4—5 ARCHITECTURAL DESIGN LOGISTICS
COURSE ORGANISER FIONA MCLACHLAN
The course bridges between architectural practice experience and the design studio. It asks students to engage with an aspect of building design and procurement relevant to the workflows experienced in the design and construction sector. Students
TUTORS -
select a theme and re-contextualise it within the framework of their own parallel design studio work in AD: Tectonics.
Alex MacLaren
Just like life, real life architectural practice is unpredictable,
James Mason
sometimes messy, sometimes frantically busy and complex.
Jim Grimley Andy Summers
This course provides an opportunity to learn from practice and
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Robin Livingstone
practitioners. The learning is subject to practice circumstances and not all students have the same experience. Students learn to
GUEST LECTURERS
be agile and responsive.
James Mason
Logistics is taught in 3 stages:
Nicky Thomson Graeme Acheson Colin Hamilton
Fundamentals A short series of orientation classes, providing knowledge and skills to the student in relation to specific themes; procurement and programme, sustainability, assemblage, and legislation.
Reflection Students work in small groups to research the challenges and processes at work through a typological case study, drawn from a list of suggested Scottish contemporary architectural projects. This work is developed into an illustrated report.
Application Students use their acquired knowledge of a particular theme to consider and apply an analytical lens to enrich their own design work through an individual drawing.
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Opposite Mingxin Xie Spa Centre Sustainability: Water Recycling Application Drawing (Excerpt) -
BA/MA [HONS]
Spa Centre Sustainability: Water Recycling.
Spa Centre Sustainability: Water Recycling Mingxin Xie
s1616525 The project is located on port allen road，which is a place with remarkable natural scenery. It takes about fifteen minutes to drive from the errol. The building is designed on the bank of the river, facing the River Tay, surrounded by reeds, and there are a lot of animals living here, such as shelduck, geese and goldeneye. It is mainly used for spa treatment, the purpose is to bring a touch of warmth for the cold winter in errol. While encouraging the elderly and their family in errol, even in Perth or Dundee to come out to socialize and relax, and at the same time drive the economic development of errol through this public building. In order to protect the surrounding ecological environment as much as possible, the architecture will exist as a sustainable building. Water cycling systems is mainly topic at this point，which are worked by taking waste water and treating it until it is suitable for reuse in the intended application. It is aimed that through the water recycle system, not only can reduce sewage discharge,the energy consumption and cost of water transmission, but also can protect the ecological environment and increase the utilization rate of water resources.
Mingxin Xie
Filtered water tank
According to annual rainfall in Errol, it rains at least half of the days each month, and even 27 days were raining in July. Roof Rainwater Harvesting System can not only solve the problem of waterlogging caused by frequent rainfall or heavy rain, but also have good watersaving performance. The use of rainwater collected from the roof is usually low in salt content, low in pollution, neutral in PH value, and low in hardness. It can be used as toilet flushing and plant irrigation with a little processing. This building mainly collects rainwater by designing the slope of the roof and gutter with green roof. The slope of the roof is about 5%. Rainwater falls into the gutter and flows along the slope of the roof to the two catchment points, and then collected into the main rainwater pipe. There is a filtered water tank, in Fig.1. (with sand and gravel at the bottom for simple filtration of rainwater) underground, and then flows into the reservoir (with a pump inside), which is connected to the toilet water supply pipeline and can be used as toilet flushing. Reservoir
Water inlet
Pebble layer Quartz sand layer Activated carbon layer Water outlet
+ 150mm
The project is located on Port Allen Road, which is a place with
+ 100mm
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Fig.2.
Water Source Heat Pumps use groundwater, urban sewage, and industrial wastewater as cold and heat sources, evaporate and condensate through the compressor, and consume part of the electrical energy for cooling and heating, and achieve the purpose of energy saving and environmental protection. In order to realize the design requirement of the water supply temperature of 60 ℃ in the hot spring space in the building, and the project location is rich in water resources, the water source heat pump has become one of the most suitable heat sources. As can be seen in Fig.3, directly supply water by using hot spring water and reservoir water mixed with high temperature water source heat pump.
Emission
as shelduck, geese and goldeneye. It is mainly used for spa treatment, the purpose is to bring a touch of warmth for the cold winter in Errol. While encouraging the elderly and their family in Errol, even in Perth or Dundee to come out to socialize and relax, and at the same time drive the economic development of errol through this public building. In order to protect the surrounding APPLICATION
ecological environment as much as possible, the architecture will exist as a sustainable building. Water recycling systems are the main topic at this point, which are worked by taking waste water and treating it until it is suitable for reuse in the intended application. It is aimed that through the water recycle system, not only can reduce sewage discharge,the energy consumption and cost of water transmission, but also can protect the ecological environment and increase the utilization rate of water resources.
Integrated filtering treatment systems Water for irrigation
Water pump
River filtration system
Integrated filtering systems for hot spring water and rainwater
Water recycling system
65℃
55℃ 65℃ Tap water replenishment ＜ 60℃
60℃
Water point
are a lot of animals living here, such
≥15℃
Reservoir water 14℃
Water for landscape Fertilizer irrigation
High temeperature heat pump
Spring water 50℃
The Errol. The building is designed on
High temeperature heat pump
about fifteen minutes to drive from
Tay, surrounded by reeds, and there
Float ball
Remote control float valve Filter
Roof Rainwater Harvesting System
2019-2020 Avereage Rainfall Amout (mm) and Rainy Days in Errol
remarkable natural scenery. It takes
the bank of the river, facing the River
Fig.1.
However, when the rainwater storage time is too long in water tank, the water quality deteriorates and cannot be used, or when the rainfall concentration causes the building system to store too much water, the float ball plays a role.(Fig.3.) The float ball is a device installed at the nozzle connecting the reservoir and the tank. When the water level rises to the nozzle, the float will float to block the gate. When the water level in the reservoir drops, the float go away.
+ 200mm
Fig.3.
While sending the fresh water into the hot spring pool, the same amount of used hot spring water is excluded from the pool to keep the hot spring water in accordance with the required water quality. The discharged wastewater can be used for irrigation. Hot spring water is rich in minerals and trace elements. The content of COD, BOD and certain ions of the water species in the hot spring water after bathing is relatively new, which belongs to the category of available water. Moreover, the hot spring bath water output is stable, and it can replace drinking water to irrigate plants, which not only broadens the utilization range of hot spring wastewater, but also saves costs.
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ACADEMIC PORTFOLIO
4—6 ACADEMIC PORTFOLIO
COURSE ORGANISER MIGUEL PAREDES MALDONADO
The final step in the BA and MA(Hons) course sequences, Academic Portfolio: Part 1 requires students to curate the work produced during their degree and present it in the form of a single, integrated reflective document. This document – a digital
Ana Bonet Miró Moa Carlsson Douglas Cruickshank Soledad García-Ferrari
portfolio – is defined by the Architects’ 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’.
4—6
TUTORS
Laura Harty Fiona McLachlan
The work to curate and to present the portfolio is independent of the work from the courses themselves. Academic Portfolio: Part 1 emphasizes the design and conceptualisation skills required to integrate and present diverse knowledges and media. It is introduced during years 1, 2 and 3 to ensure that students document their work as part of a personal development plan. Ultimately, the goal of the reflective exercise carried out in Academic Portfolio: Part 1 is to demonstrate full student coverage of all ARB/RIBA criteria corresponding to Part 1 level, in accordance to the professional accreditation of the BA and MA (Hons) degrees.
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Opposite Josh Parker Academic Portfolio Template Excerpt 1, 2 Jean Rojanavilaivudh Academic Portfolio Sample Pages -
BA/MA [HONS]
SAMPLE PAGES
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ACADEMIC PORTFOLIO