Reflective Practice Report

reflective practice

forgotten spaces 2011

richard james maccowan_ma urban design_2010/12

summary Reflective

Practice

is the ‘active use of learning while doing’ which is an important facet of the designer’s toolkit. With competitions offering the chance to gain exposure within the design sector, using reflective practice techniques successfully can aid the designer a great deal. This report seeks to contextualise various reflective models whilst carrying out an in-depth review of the competition process. This will enable practitioners the chance to understand the qualities, skills and techniques that have been used by designers in the past to produce successful designs that will not only highlight their work, but also win them competitions.

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contents i. summary 01. introduction 1 02. critique of reflective practice models 4 03. previous experience 9 04. design competitions 14 05. forgotten spaces competition 22 06. site research and analysis 27 07. concepts and designs 39 08. critique of winning entries 49 09 reflection of the competition process 53 10. conclusions and recommendations 58 references

appendices a. b.

digital copies of report, entries and interim presentation project management

1. introduction

introduction “Without deep reflection one knows from daily life that one exists for other people.�

Albert Enstein (undated)

1.1 overview

This report is concerned with a personal reflection of my entry to the Forgotten Spaces design competition run by the RIBA. It includes subsequent research into success in design competitions. Competitions have long been held as a way to promote emerging talent in the design industry with many notable designers coming to prominence by this means such as Herzog + De Mueron and Bjarke Ingels. In terms of design competitions in the fields of architecture and urbanism, the UK lags behind the rest of the world when it comes to running competitions as states Ellis Woodman (2011).

1.2 report structure

This report will begin by introducing reflective practice methods. It will then delve into previous competition experience, leading into

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desktop research of design competitions, followed by an overview of the competition brief.

A site analysis (based on the location in figure 1.1) and design concepts will be developed and reviewed. The winning entries will be analysed, leading to a review of the design competition process developed throughout this project.

I don’t want to be forgotten

The report will conclude with a summary of the project and recommendations following a reflection of my entry into the Forgotten Spaces competition.

Figure 1.1: aerial view

of ‘forgotten space’ in Shefffield (2011)

2. critique of reflective practice models

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reflective practice 2.1 introduction

Given that this report is reflecting on a design competition it will be necessary to look at the theories of reflective practice and review a number of reflective practice models.

2.2 definitions

Reflective Practice came to prominence in the work of Donald Schön and is described by Moon (2004, pg 35) as, ‘emphasing the use of reflection in professional or other complex activities as a means of coping with situations that are ill-structured and/or unpredictable.‘ Schön describes this in his 1983 book, The Reflective Practitioner, as “the capacity to reflect on action so as to engage in a process of continuous learning”, which, according to Schön, is “one of the defining characteristics of professional practice”. According to Bolton (2010) it involves “paying critical attention

Experiential learning is the process of making meaning from direct experience.

(Itin, 1999)

to the practical values and theories which inform everyday actions, by examining practice reflectively and reflexively. This leads to developmental insight”. Gourley (2000) states that reflection and self-evaluation skills are critical to learning.

2.3 experiential learning

The model used throughout this report is Kolb’s model of experiential learning.

“Experiential learning is the process of making meaning from direct experience” (Itin, 1999).

This model fits with my learning style in that allows me to ‘learn by doing’. By not making the same mistakes twice and improving with each subsequent task. This learning style was gained whilst studying for my undergraduate degree and then my subsequent learning for accreditation by the Royal Institution of Chartered Surveyors (RICS).

reflective = deep thought practice = repeated exercise (Oxford English Dictionary, 2011) Concrete Experience

Reflective Observation

Active Experimentation

Kolb’s model (figure 2.1) proposes four stages required to gain worthwhile knowledge: Concrete Experience - Willingness to be actively involved in the experience Reflective Observation - Ability to reflect on the experience Abstract Conceptulisation - form an idea from the experience via analytical skills Active Experimentation - Use problem solving

Abstract Conceptualisation Figure 2.1 : Kolb’s model of reflection (adapted from Kirk, 2011)

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Reflection

What Governing variable

Action Strategy

Description of the experience

Consequences

Influencing factors

single-loop learning double-loop learning

Learning

What Next

Could I have dealth with it better

So What

Figure 2.2 : Argyis + Schon’s model of reflection

Figure 2.3 John’s reflection cycle (adapted from Meredith,

Figure 2.4: Rolfe’s model of reflection (adapted from

(adapted Joyce, 2011)

2011)

Rolfe’s model of relfection, 2011)

A number of academics (such as Argyis + Schon to Rolfe) have developed other models Despite the simplicity of Kolb’s model, there of reflective practice over the years. These are a several criticisms as highlighted by Smith will be reviewed in the following pages.

(2001). It pays insufficient attention to the process of reflection. The claims made for the 2.5 argyis and schön (1978) four different learning styles are extravagant. This model is concerned with the identification The model takes very little account of different of a perceived error or fault. A single loop cultural experiences/conditions. The idea is used to show the continuation of the of stages or steps does not sit well with the technique (strategy or policy) after an error or reality of thinking. Empirical support for the fault, and double loop learning for changing model is weak. The relationship of learning the technique (strategy or policy) after an processes to knowledge is problematic. error or fault. The diagram for this model can Nevertheless, the model is simple to follow be seen in Figure 2.2. and fit for my purposes. and decision making skills to develop ideas.

2.6 johns (1995)

2.4 further reflective practice models The Johns model of structured reflection is

based on reflective practice in the nursing profession. It is carried out with a mentor or colleague and examines “looking in” at thoughts and feelings, whist “looking out” at the situation (Figure 2.3). This is required as our natural tendency is to judge ourselves harshly (as states Moon, 2004).

2.7

rolfe et al (2001)

This is a simplistic model of reflection similar to the Johns model, was also based developed for the nursing profession. It is a continuous process on three levels from ‘WHAT’ to ‘WHAT NEXT’ (Figure 2.4). The complete way of learning is to continually work through the process questioning your methods.

2.8 conclusions

This section highlighted a number of contrasting models of reflective practice.

For my goals the use of Kolb’s model was deemed to be most suitable. A number of other models were introduced to provide a comparison. For each section of the report, where applicable, I will provide an overview of my reflective learning (based on figure 2.5) from each set of tasks whilst undertaking the designs and research into competitions.

The next two sections will deal with design competitions and my previous experience.

task doing

feedback

reviewing learning planning (or trying out) Figure 2.5: review of reflection learning

3. previous experience

previous experience The key to reflection is learning how to take perspective on one’s own actions and experience (Amulya, 2004)

3.1 introduction

Despite having a limited design background I have had experience of design competitions (below) whilst working in real estate consultancy. For confidentiality reasons the names of clients, partners and exact details of the projects have been omitted.

3.2 billund

As part of a team setup by my employers, we brought together an international team to enter an open design competition to masterplan an area of Billund (figure 3.1), Denmark, outside the town centre. Our client was a major Danish toy company, and we were supported by two internationally renowned Danish design practices.

With the combination of resources and experience in the competition process, the

11 ....[developing] an internationally acclaimed desitination for learning, meeting and playing.

(Vision for competition entry, 2009)

Biillund

Figure 3.1 :

Aerial map of Denmark (2011)

bid was successful at both stages of the competition process.

3.3 helsinki

At the same time as the Billund project, a retained client, was considering entering a design competition for a new transport interchange and shopping destination to the east of the city centre. This was part of the larger regeneration of the docklands of Helsinki (figure 3.2).

The main barrier to the best outcomes is the client who obeys the letter of the regulations and processes without remembering the spirit and intention.

(Pirhohen and Papa, 2009)

We had known about the competition for some time, as it was an open international competition publicised at a number of international festivals. However, given that we had yet to determine that the client was wishing to enter, we did not proceed further than brief background research.

With 10 weeks until the deadline, the client decided to instruct us, along with a Swedish design practice, to design and manage the competition entry.

The entry was unsuccessful due to the short timescale as a major contributing factor.

Figure 3.2 :

Helsinki Docklands

as seen from the air

(Passing over Helsinki, 2007))

3.4 conclusions

From experience, it has become apparent that to be a successful project, a team needs to run in a cohesive manner. My previous employer has succeeded with design competitions in the past by employing design consultants that they know and trust to achieve the desired results. In instances such as the Helsinki competition, when the project was delivered to us at a late stage, it reduced our chances of success.

The next section will look into strategies of design competitions in more depth.

13 Buildings should not exist to demonstrate principles (Lyons, 1968)

4. design competitions

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design competitions 4.1 introduction

“I think there were five open design competitions in the UK last year. There were 200 in Germany and 1,600 in France. I think that’s shocking.” stated David Chipperfield in The Architects Journal in April 2011. Searchs on the internet does not take long to see this in evidence with a variety of competitions ranging from small-scale designs to masterplans offered throughout the rest of the world.

This section serves as the fundamental part of the report identifying the importance of competitions and gives a snapshot of professionals views on the subject.

4.2 design competitions

Design competitions are a good way of younger practices getting noticed, says

“I think there were five open design competitions in the UK last year....

I think that’s shocking” (Chipperfield, 2011)

Metropolitan Workshop principle, David Prichard (Hopkirk, 2011). Two examples of this are: Joern Utzon (Denmark) - the designer of the Sydney Opera House (figure 4.1) in 1957.

Mr Utzon, a housing designer, produced a concept completely different to the other entries. The judges stated, “Because of its very originality, it is clearly a controversial design.

We are, however, absolutely convinced about its merits.” It had been noted that the design was both acoustically and structurally well designed.

Herzog and DeMeuron (Switzerland) - worldacclaimed designers who won their first design competition for the SBB SwitchTower (figure 4.2) in Basel, Switzerland in 1997.

The design merges form and function, that annouced the world to the talents of this design duo.

A number of distinguished architects have commented that during this time of economic uncertainty design competitions offer a level playing field.

It is not always the winners of the competitions that are successful in these competitions, such as Metropolitan Workshop (Figure

Because of its very originality, it is clearly a controversial design.

We are, however, absolutely convinced about its merits.

(Judges of Sydney Opera House, 1957)

Figure 4.1: Sydney

Opera House (Opéra de Sydney, 2007)

Figure 4.2 SBB Switch Tower, Basel (2006)

4.3). In the article by Elizabeth Hopkirk in Building Design (figure 4.4), Hopkirk states that Metropolitan Workshop have landed a number of projects in Denmark after coming second behind Gehl Architects. As the major projects are awarded to the larger firm, Metropolitan Workshop have been given a number of commissions on the basis of their designs.

Figure 4.3: A place in the heart of Oslo by Metropolitan Workshop (undated)

The perceived standing of the designer is also important. Sutherland Hussey Architects won a design competition in Germany a number of years ago. Despite winning, David Chipperfield Architects convinced the client that their design was the best option for construction. This is despite finishing fifth in the competition! Sutherland Hussey have since admitted that Chipperfields design was the ‘better option’ (Hopkirk, 2011).

4.3 competition experiences

Various factors need to be taken into account to be successful in winning design competitions. I have already found a number of these from carrying out preliminary research. To find out this information, desktop research could have been carried out to obtain a better understanding of this.

Figure 4.4: Newspaper clipping from Building Design focusing on Metropolitan Workshop (Hopkirk, 2011)

However, the approach that I took differed.

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Using the LinkedIn community (www.linkedin. com) I posted a number of questions on the following group discussion boards, Design Council, Archello, Landscape Urbanism, Urban Design Network, The Academy of Urbanism, and the World Architecture Community.

These 3 questions were posed to promote discussion: 1. What benefits do you get from entering design competitions?

2. How successful have you been?

3. What is the key to being successful?

This was done to produce a sample of answers and not as an extensive piece of field research. Fifteen responses were obtained over a week-long period.

4.4 analysis of respondents

In figure 4.5, the word map shows the most important words used by the respondents to question 1. This identifies the key words as, new, design, explore, work, types.

Figure 4.5: Word cloud of key words of survey respondents (larger word more common response

Figure 4.6: Results of

success in competitions, Question 2.

66% The responses to question 2 are represented in the pie chart in figure 4.6 showing that the majority of respondents, 66%, have been unsuccessful in competitions. One-third of the respondents had been successful, with only 1 having been successful on more than one occasion.

33%

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To answer question 3, the respondents gave a range of answers that are highlighted below:

“I think we have been successful because we have entered competitions that were outside of our usual market and that we have put together teams that included other experts with experience we don't have.

This means we bring fresh insight, without the baggage from that sector, but also ensure the technical expertise is present to enable delivery.”

“I think this is like a high competition sport, you must train to get a good condition, you must perfect techniques, you must learn from your experience and from others experience... you must endure, you must work in team.”

“Setting myself aside from the rest I assume as most winners appear to have done.”

“Mostly people will say thinking outside the box, but I am not to convinced about that.”

“The knack seems to be twofold: a) the ability to push the envelope just enough and b) the ability to capture the zeitgeist. I think if you look at recent winners (not the Fosters, Hadids, Gehrys, Eisenmanns) you will, I think, get the sense of this. There are, however, a number of other ways by which an architect might be successful in competition.”

Hepworth Wakefield by David Chipperfield

Architects (Hepworth Wakefield, undated)

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4.5 Conclusions

The importance of competitions in design has never been so pertinent given the current economic conditions states Chipperfield (2011). It offers designers the chance to showcase their work to a wider audience, and is especially good for up-and-coming designers. The results from the survey show that many designers view competitions as a way of experimenting on new design techniques whilst looking for new business.

Creativity is the key and for the graphic style and design to stand out from the crowd.

The table on the right (figure 4.7) shows my experiences from this carrying out this research.

The next section will introduce the Forgotten Spaces competition

task doing

feedback researching design competitions

reviewing

Success is multi-facted with key components being experimentation, passion, and teamwork

learning

developing an understanding of what I can use for the next competition and make me stand out from the crowd

planning (or trying out) developing a framework to ensure that I can be successful in my next entry Figure 4.7: Personal relection of competitions

5. forgotten spaces competition

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forgotten spaces 5.1 introduction

I have been interested in design competitions and what it takes to win them since starting the MA in Urban Design. Having been involved in research aspects in the past (detailed in Section 3), being able to visually communicate my ideas was extremely appealing. I identified a number of competitions that could be suitable for my needs and that would fit within the university timescale.

5.2 motivations

There are a number of reasons why I chose to enter a design competition given my nondesign background. These are: Design experience - to give me a chance to work on something that I may not get through regular coursework Portfolio - to enhance my design portfolio and

“....could be small or large - a grassy verge, a wasteland, an unused car park, a derelict building, underpass or flyover.�

show potential employers that I am willing to put in extra effort.

Give me a break - I have been interested in using time away from one thing to generate ideas such as the ‘The Breakout Principle’ by Benson and Proctor (2003), By expanding my design skills this will hopefully be evident.

Publicity - all the competition entries will be on the Architect’ Journal and RIBA website.

My designs will be ‘showcased’ to a larger online audience.

5.3 competition brief

The Forgotten Spaces Competition 2011 is an open design competition set up by the RIBA. It has been running a similar competition for forgotten spaces in London for a number of years. As stated in the entry brief it is, “Open to entrants across the country, this design competition asks architects, artists, engineers and landscape designers to nominate an existing site in the Sheffield area and propose an idea for its improvement.”

The competition started in January, with a 12 week design process, ending on the 12th May 2011, to produce two A1 boards, one for the site analysis and one for the design concepts. The project management workflow can be seen in Appendix B.

25 A ‘forgotten space’ could be small or large - a grassy verge, a wasteland, an unused car park, a derelict building, underpass or flyover. The proposal could be simple or complex, a commercial or public facility, a piece of public art or a new building, the main requirement is that it responds to the area and serves a function for the local community.�

5.4 conclusions

This section introduced my motivations behind entering this competition and the overall brief for the competition. Entering competitions such as this, will hopefully allow me to develop my design skills whilst working within parameters set out in the competition brief.

The next section expand on the competition requirements in more detail.

6. site research + analysis

site research + analysis “A shared understanding of the context of the scheme is the foundation of a successful project.”

(Meeda and other, 2007)

6.1 introduction

I entered this design competition to provide me with further design work for my portfolio (and compliment the work I have done in the past). This section will deal with site selection and the site analysis, a requirement for the competition entry.

6.2 competition selection

After a Thames Estuary competition was postponed until 2012. I decided to enter the RIBA Forgotten Spaces competition to provide me with another oppurtunity with competition.

6.3 site selection

Having decided to enter the competition, I needed to then chose a site as my “forgotten space”. I looked at four sites, and carried out inspections of each.

29 6.4 london

Site 1: The land above the entrance to the Blackwall Tunnel (figure 6.1) The entry to the tunnel from both north and south bound is featureless and there could be the option of some interesting design concepts that would provide both uses for the public and pleasant vistas for the motorists.

Site 2: Land on Victoria Dock Road, Docklands (figure 6.2) This site is a small parcel of land in a residential area of east London facing the towards the Excel Arena. The land could provide space for the locals as either a small allotment and/ or park.

6.5 sheffield

Site 3: Roundabout and civic space at Charter Square (figure 6.3) I chose this site as I had walked past it on a number of occasions whilst visiting Sheffield and felt that the dark underpasses and square could be improved upon with some interesting concepts.

Figure 6.1: northern

entrance to the Blackwall

Tunnel (2011)

Figure 6.3:

Streetview of site at Victoria Dock Road (Google, 2011)

31 Site 4: land off Arundel Gate (figure 6.4) The final site was proposed by the estates team at Sheffield Hallam University, one of the sponsors of the competition. The site is above a chemical laboratory and cannot be accessed from the street at present.

6.6 site choice

I chose the Sheffield competition as logistically it was easier for me to enter the Sheffield competition than London. It would also reduce my costs and the entry could be hand delivered to the RIBA offices in Leeds.

In deciding between the two Sheffield sites.

My preference was Arundel Gate, but having checked the planning history, the site already had planning permission for redevelopment (this is not permitted under competition rules), thus leaving the site next to Sheffield Hallam University (figure 6.4). Nevertheless, I felt that I could use the site to mimic conditions placed upon by a client and could work with and challenge the brief.

6.7 site analysis

Having made the choice for the site, the next stage was to carry out a site analysis, through desktop and physical inspections.

“Sheffield is a great place to be…you’ll soon realise why we’re so proud of our city.

We just love it.”

(Sheffield City Council, 2011)

Figure 6.3:

Charterhouse Square, Sheffield

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6.8 entry requirements

As part of the entry requirements for the competition it was necessary to prepare an A1 site analysis board with the following requirements (taken from the competition brief):

Figure 6.4: site off

Arundel Gate, Sheffield

1. The site must be vacant with no current applications for redevelopment logged at the local planning authority (entrants must check with the planning authority).

2. The site should be accessible to the public and access points should be indicated on the entry.

3. The submission should include a site plan at an appropriate scale to include road names and transport nodes (bus stops, train stations).

4. You should photograph the site from

all accessible sides to give a clear understanding of the site as it stands and how it is currently used.

5. You should include basic site history, contextual photographs with accompanying text to explain the local area and build a case for your design proposal which will be illustrated on the second board.

6. You should define the specific need of the local area that you are responding to.

7. You should endeavor to establish who the owner of the land is, whether the plot is managed by a commercial or private owner or a local authority.

This was a simple checklist exercise, that could be accomplished using skills developed in the Site Analysis module.

I visited all the site’s before deciding which to

Figure 6.5: Bird’s eye

view of chosen site off

Arundel Gate, Sheffield

(Bing, 2011)

35 N

Key Academic use

develop further it was not necessary to carry out a a further site visit.

Government use Leisure use Car parking SU RR EY

Retail ST RE ET

Public House Commercial use Hotel POND STREET

Open space Bus Station Bus Stops Node Visual routes

L DE UN R A

TE GA

Figure 6.6: Site Analysis for area

surrounding site off Arundel Gate, Sheffield

Movement routes

SU HO RR W AR EY D LA ST NE RE ET

Views Forgotten Space

6.9 site data analysis

The requirements to section 7.2 can be seen below: 1. The current site has no planning applications in place 2. There is no public access to the site at present.

3. See Figure 6.6 (opposite) 4. See Figure 6.7 5. See Figure 6.8 6. The purpose is to provide a more useful space for both the public and natural environment. I was informed of the nesting habits of pied wagtails on the site by the competition organisers.

7. The landowner is Sheffield Hallam University, with the alleyway owned by Sheffield City Council. Access is required to an electricity box attached to the

Figure 6.7:

site location

photographs from various angles

37 Area defined by tight building patterns.

Train Station

Figure 6.8. (a) - Building grain in the 1880’s

Building grain developing into larger blocks.

Train Station

(b) - 1930’s

(c) - 1960’s

First indication of Arundel Gate.

Train Station

(d) - 1990’s

The area is similar to the present day, with the notable exceptions of the new builds off Arundel Gate.

Train Station

(e) - current situation

Figure 6.8 site history showing building grain from 1880’s to 2011.

Blackwells Bookshop. In addition, I was informed that the venting turrets on the site are required to vent from the chemical laboratory.

task doing

feedback Carried out site visits to both London and Sheffield. Chose site based on locality, planning, and ease of maximisation of design potential reviewing Reviewed once into the design process that choice of site could have been better given the broad scope of the competition. learning Analyse the site in depth to fully meet the challenges of the brief. In this case I could have used a site to have fun with designs. planning (or trying out) As above.

6.10 conclusions This section was concerned with analysis of the site. A task I have been carrying out for a number of years whilst working as a property consultant. The analysis was carried out using both desktop and site research to produce the required information for the first board (figure 7.4) for the submission to the competition. My learning for this section can Figure 6.9: Personal Reflection of site analysis and research be found in figure 6.9.

Figure 6.10: completed site survey submission board

7. concepts + designs

concepts + designs “Underlying some of the literature on creativity is the notion that creativity is itself a single talent.... held in varying quantities by different people.�

(Lawson, 1980)

8.1 introduction

In this section, I will detail a number of options that led to the final concept. This will show the design process and will enable me to reflect on this stage of the competition process.

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8.2 concept 1 - art sculpture

The thought behind this concept is a large art sculpture that could provide a visual impact for both those working in the university building and passersby on Arundel Gate. The concept would call for a large globe (figure 8.1) similar to what was found in Leicester Square, London, in the middle of the 19th century. This was designed by James Wyld (figure 8.2).

Figure 8.1: Sketch idea of globe sculpture.

Figure 8.2: James

Wyld’s Globe (2011)

8.3 concept 2 - public greenhouse

This concept would allow for the growing of crops for the local community and offices and call for the construction of a small greenhouse on the site. Due to the lack of space a green wall would also increase the square footage for plants. The greenhouse would be in keeping with the Winter Gardens (figure 8.3).

Figure 8.3: Sketch idea for greenhouse

FIgure 8.4: Winter Gardens, Sheffield

8.4 concept 3 - flexible office space

Alternatively, the site could be built up to be used as temporary office space. The building could incorporate green walls and sustainable construction techniques. A sketch of the idea can be found in figure 8.5.

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8.5 concept 4 - art sculpture + decking A more sophisticated multi-purpose concept would combine an art sculpture with five columns representing Sheffield. With vents for the chemical lab below. In addition, the concept would provide a space for the public to use the site by way of a deck raised up to the street level and access provided.

See figure 8.6 for a sketch and 3D model examples.

8.6 chosen concept

The concept that I chose for the final submission was a combination of the initial ideas. This concept would call for a raised deck with public seating around an art sculpture of a large fork reflecting Sheffield’s steel industries. The fork would provide ventilation for the chemical lab below. The concept would call for the removal of the planting on the site, but the south-facing wall of the bookshop would have a green wall installed. This would provide a pleasant

Figure 8.5: Sketch of flexible office space

Figure 8.7: 3D models of scupltire and decking

Figure 8.10 (left): Shuttlecocks (2007)

Figure 8.6: Sketch of

scuplture and decking

Figure 8.9: Sheffield Gas Towers (2010)

Figure 8.9:

Sheffield Steel (2010)

45

Figure 8.11:

Photomontage of final design concept

Figure 8.12: Sketches of final design concept

47 view for the public using the space as well as those from the university building adjacent. I was working on the principles of using plants to improve the productivity of office workers, as stated by Kaplan (1993). A number of the submitted images can be seen in figures 8.7 to 8.9. The submission board can be seen in figure 8.14.

8.7 conclusions

task doing

feedback Sketching a number of ideas reviewing Evaluating ideas against competition criteria and feedback from peers learning Developing awareness of producing a concept from pen sketches planning (or trying out) Using skills developed from concepts to produce the final design and submission

This section detailed the ideas that were generated from carrying out the site analysis and from sketching some basic ideas. Having produced a number of ideas in a rough format, I presented them to a lecturer to see if they could work at the site. This enabled me to develop the proposals for the site from a number of ideas to a design that would fit Figure 8.13: Personal reflection of design concepts within the criteria of the competition and show an appreciation for the site constraints, whilst developing my creative and graphical skills as is stated in figure 8.13.

“Desk workers who have a view of nature report greater job productivity....�

(Kaplan, 1993)

Figure 8.14: FInal Submission sheet - Proposal

8. critique of winning entries

critique of winning entries “I have been inspired to see such a fantastic range of creative, innovative, thought-provoking and, in some cases, controversial ideas for transforming forgotten spaces in Sheffield.”

(England, 2011)

9.1 introduction

In October 2011, the winning entry to the Forgotten Spaces competitions (both London and Sheffield) were announced. Having not been shortlisted, it was evident that there were a high number of creative and wellthought out designs that had been entered in the competition, both from students and design practices.

9.2 winning entries

Figure 9.1 shows ‘Frog Walk’, the winning entry to the Sheffield competition. It describes “previously dark, isolated and foreboding, is brought to life by animated creatures which accompany travelers on their journey between Ecclesall and Sharrow.”

51 “....brought to life by animated creatures which accompany travelers on their journey....�

Figure 9.1: Winning entry for Sheffield

competition (RIBA, 2011)

Given that the competition allowed for any forgotten space across the whole of Sheffield to be developed it is difficult to compare the entries against each other. The winning submission by Chris Patterson, clearly attempts to provide a creative way of lighting a dark and dangerous spot in Sheffield near the cemetery. The entry is sustainable in that it only lights when people are walking past, thus saving energy and reducing the costs of permanent street lighting.

In terms of the London winner, Alex ScottWhitby produced an idea for the use of bell towers throughout the city. As he puts it, “A live project creating a series of low rent creative studios for a new generation of St Jerome’s nesting within the belfries of the City of London’s Church Spires. His entry can be found in figure 9.2.

The winning entries differ to my submission in that they are clear and simple in their objectives. My submission attempted to deal with a number of issues at the site, which could have confused the judges when considering my submission boards. The reflection of my submission will be dealt with in the subsequent sections.

9.3 conclusions

Figure 9.2: Winning entry of London

competition (RIBA, 2011)

Clearly a high standard of both creativity and technical ability is called for to win a competition such as this. The winning entry has provided a clear and simple answer to the competition brief, one that could be produced to “bring to life” as the entrant suggested the footpath where his design will be based.

9. reflection of competition process

reflection of competition The main thing that I look back on, is the reliance of putting together a successful team.

10.1 introduction

In the report at the end of each section a reflection on what has been developed at each stage of the process leading to the submission for the competition. This section will now bring this together to produce an understanding of what has been learned from the research, the competition process, and the winning submissions to develop a greater understanding for future competitions and design projects.

10.2 previous experience

Working with a number of experienced design consultancies has enabled me to look at the way they are successful at winning design competitions. The main thing that I look back on, is the reliance of putting together a successful team. This coupled with strong leadership gives the team a direction and

allows each member to focus on providing what is required of them.

This knowledge, can be useful for looking forward to my future career in the design sector. Whether I am working on projects with colleagues within the same firm, or with consultants brought in for their specialist skills, I can use my experience and knowledge to aid in the development of successful projects pitching for work, or as is the focus of this report, in design competitions.

10.3 design competition research

Moving on from my previous experience, desktop research was carried out to establish the thoughts of design professionals. What is evident is that there are few competitions in the UK. What does become apparent is that the “open” design competitions allow for upand-coming designers to be noticed and gain exposure that they would not otherwise be given, without spending large amounts of capital on marketing and business development. It is a ‘catch-22” in the UK that the competitions allow for exposure, but there are too few of them. This has led to a number of practices working on international competitions. Winning is not everything,

55 1. Enter for the Right Reason.

2. Pick the Right Project.

3. Be Passionate.

4. Make sure you can do it quickly.

5. Find a partner in crime.

(Roller, 2009)

the exposure and willingness (to enter) may provide entrants with further commissions, as the more established practices work on the flagship schemes. This was highlighted in the article in Building Design outlining the work carried out by Metropolitan Workshop.

competition was developing a “forgotten space”. The site that I used was under-utilised, however I had the potential to reinvigorate a neighbourhood.

I have learned from this project that it is important to choose a site in a neighbourhood that can provide a service or connection to 10.4 motivations The main focus of entering the competition the local inhabitants. This includes looking was to provide another outlet for my creativity at what is needed for the specific area, and and use it as a learning tool for freehand then providing the creative solution. sketching and digital design. The research allowed me to look at designs for small 10.6 concept development spaces, these being important for other Throughout the development of the concepts modules within my masters degree.

I had in mind that primarily the space needed to be usable, that it would also be necessary It was important throughout the year to to create a strong visual presence, especially develop my skills. This competition gave me taking into account the university building next this chance, as it required greater involvement to the site. I worked on a number of concepts than working through textbooks. I feel that from examples I had found in Sheffield and this aided my development as an urban by researching other projects. designer. As stated in earlier sections, I used the ideas developed by Benson and Proctor My final concept was a mix of visual and (2003) to provide tasks away from the main public use (figure 10.1). This also echoed task that allowed me to me to have my “break art works by Claes Oldenburg and Anthony out” moment.

Gormley. By re-examining my ideas, I have learned that I need to simplify my ideas, especially for a small site. My graphic style 10.5 site selection/analysis Having spent some time deciding on was a mix of sketches and 3D modeling. Due identifying sites, I felt that the choice became to the fact that I was using this competition as important in my designs. The key to the a way to learn new techniques, I had the

Figure 10.1: Plan view of design concept

57 tendency, like my designs, to mix too many styles. I could have better served my project with saving the different styles for my notebook, and excluding them from the competition sheet.

10.7 winning entries

raised throughout this section that I have acknowledged as being important as part of the learning process. Firstly, a successful team needs to be in place. Competitions are a good way of learning new design techniques and gaining exposure. It is important to identify the reasons behind the entry in order to mimimise wasted time and resources. If the competition allows, ensure that the site selected is viable for the proposed designs.

This could tie in with the competition choice.

By revisiting the winning entries to both London and Sheffield, it can be seen that a simple idea that gets the point across is more effective than trying to offer a concept that covers a range of answers. In hindsight, I should have chosen one theme, similar to The next point is on graphic styles. Use one how the London competition was judged via, or two styles, but don’t mix and match. There growing, play, civic and inhabited spaces. needs to be clarity in the presentation. Finally, the designs need to be refined and simplified 10.8 conclusions to ensure that they are understandable. It is There are some critical points that have been as much about the design as the idea that you are selling.

10. conclusions + recommendations

59

conclusions + recommendations 11.1 introduction

This report was concerned with gaining an understanding of the design competition process by using reflective practice as a method for experiential learning. The Forgotten Spaces competition was entered that formed the basis of this report.

11.2 overview

It is an important part of the designers toolkit to enable them to learn from previous experience to enable personal and professional development. There are various methods of reflective practice. The method chosen for this report is the model developed

by David Kolb.

It is an important part of the designers toolkit to enable them to learn from previous experience to enable personal and professional development

Where applicable in each section, reflective practice was undertaken after recording this in my notebook (figure 11.1). This has created a list of key tasks, the challenges, and how to use them in the future. What has become apparent is the fact that there are a number of key challenges and motivations for entering and ensuring success in design competitions. These can both be controlled and out of the control of the designer. At the end of the day, the client, who may have no design training has a defined role where the success of the competition will be judged not only on the entries but, also on the brief written to enable the designers to effectively produce an interpretation of them.

Ensure that if you need expertise in a specialist field you obtain this, unless you can supply it yourself

The word map detailed in Figure 11.2 shows the most important criteria, developed from this report, to be successful in entering design competitions.

11.3 recommendations

Following on from this reflective practice study of a design competition, I can make the following recommendations, personal to me, that would aid me in moving forward: 1. Develop a way of keeping track of tasks and continued learning 2. Ensure that you put together a successful

Figure 11.1: design

notebook, and desk!

3.

4.

5.

6.

7.

8.

team, or that the project leader is confident in running the team to ensure that each team member is fully aware of their role Ensure that if you need expertise in a specialist field you obtain this, unless you can supply it yourself Choose the design competition carefully and have the resources, manpower, and knowledge within the competition timescale Carry out a detailed site inspection and analysis as this will guide you towards idea generation Produce a number of concepts and work through each one until deciding on the best-fit Learn from the entries, both personally and the competition as whole to gain an understanding of how to develop your skills for the future Enjoy the experience and have fun!

11.4 conclusions

Figure 11.2: criteria for

success in competiitions

Reflective practice is becoming more important within the design professions, given its way of continuous learning and developing skills and tasks used in one situation and adapting them to another. The reason for this report is to highlight the strategies, motivations, skills, and knowledge that was gained and developed by undertaking

61 Enjoy yourself and have fun!

not only the design competition, but from researching learning styles, and speaking with more experienced practitioners on how they value (or de-value in some cases) design competitions.

What was hoped from the start of this project was the development of new skills. This has been a success and has led to be becoming a successful reflective practitioner. The overall reflection from this project can be found in figure 11.3.

task doing

reviewing

learning

planning (or trying out)

Figure 11.3: Overall personal reflection

Design Competitons Site Analysis Researching design Carried out site competitions visits to both London and Sheffield. Chose site based on locality, planning, and ease of maximisation of design potential Reviewed once into Success is multithe design process facted with key components being, that choice of site could have been betexperimentation, ter given the broad passion, and scope of the competeamwork tition.

Look at the site Developing an carefully how it understanding of could fully meet the what I can use for the next competition challenges of the and make me stand brief. In this case I could have used a out form the crowd site to have fun with designs.

As above.

Developing a framework to ensure that I can be successful in my next entry

Design Concepts Sketching a number of ideas

Evaluating ideas against competition criteria and feedback from peers

Developing awareness of producing a concept from pen sketches

Using skills developed from concepts to produce the final design and submission

references

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appendices

appendix a

appendix b FORGOTTEN SPACES 2011

DUE DATE:12 MAY 2011 ECO

WEEKS TO GO -->

12

11

EASTER HOLIDAYS 10

9

FEBRUARY 18

25

8

7

6

5

MARCH 4

11

18

4

3

2

1

25

1

8

15

0 MAY

APRIL 22

29

6

12

INITIAL PLANNING

RESEARCH

DESIGN CONCEPTS

DEVELOP DESIGNS

PREPARE DRAFTS

INTERIM REVIEW

CHANGES FOLLOWING REVIEW

FINAL PREPARATIONS

FINAL REVIEW

SUBMISSION

LAST DAY FOR POSTING

MEETINGS WITH CHRIS

richard james maccowan ma urban design 2010/12