Academic Portfolio by George Pop

masters of architecture

portfolio

[2019/2021]

academic

george-michael pop [MArch2] edinburgh school of architecture and landscape architecture

[2021]

ACADEMIC PORTFOLIO academic portfolio 2

masters of architecture

portfolio

academic

modular pathway

ACADEMIC PORTFOLIO 2

MArch2 [SemesterII]

[2019/2021]

[a p]

[LO1] The ability to produce a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities through coherent projects; and that synthesizes and presents work produced in diverse media (sketch books, written work, drawings and models, etc). [LO2] An understanding of the relation of the ARB Part 2 criteria and Graduate Attributes to the student’s own work, as demonstrated through a referencing system, covering the totality of the criteria, in the portfolio. [LO3] The acquisition and development of transferable skills to present work for scrutiny by peers, potential employers, and other public groups through structuring and communicating ideas effectively using diverse media.

[adrian hawker]

[a p]

GC[1] Ability to create architectural designs that satisfy both aesthetic and technical requirements.

[2021]

ACADEMIC PORTFOLIO academic portfolio 2 MArch2 [SemesterII]

The graduate will have the ability to:

masters of architecture

criteria

graduate

GC[2] Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

ARB Criteria at Part 2

PRESCRIPTION OF QUALIFICATIONS:

GC1.1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; GC1.2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; GC1.3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of it construction and the needs of the user.

The graduate will have knowledge of: GC2.1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; GC2.2 the influence of history and theory on the spatial, social, and technological aspects of architecture; GC2.3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC[3] Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of: GC3.1 how the theories, practices and technologies of the arts influence architectural design; GC3.2 the creative application of the fine arts and their relevance and impact on architecture; GC3.3 the creative application of such work to studio design projects, interms of their conceptualisation and representation.

GC[4] Adequate knowledge of urban design, planning and the skills involved in the planning process. The graduate will have knowledge of: GC4.1 theories of urban design and the planning of communities; GC4.2 the influence of the design and development of cities, past and present on the contemporary built environment; GC4.3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. 3

GC[5] Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of: GC5.1 the needs and aspirations of building users; GC5.2 the impact of buildings on the environment, and the precepts of sustainable design; GC5.3 the way in which buildings fit in to their local context.

GC[6] Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC8.3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC[9] Adequate knowledge of physical problems and technologies and the f unction of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have knowledge of: GC9.1 principles associated with designing optimum visual, thermal and acoustic environments; GC9.2 systems for environmental comfort realised within relevant precepts of sustainable design; GC9.3 strategies for building services, and ability to integrate these in a design project.

The graduate will have an understanding of: GC6.1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; GC6.2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; GC6.3 the potential impact of building projects on existing and proposed communities.

GC[7] Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of: GC7.1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; GC7.2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; GC7.3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC[8] Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of: GC8.1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; GC8.2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques;

GC[10] The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to: GC10.1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; GC10.2 understand the cost control mechanisms which operate during the development of a project; GC10.3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC[11] Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of: GC11.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; GC11.2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; GC11.3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

[a p]

[2021]

[GA2] With regard to meeting the eleven General Criteria at Parts 1 and 2, the Part 2 will be awarded to students who have:

ACADEMIC PORTFOLIO academic portfolio 2 MArch2 [SemesterII]

GA[2.1] ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;

masters of architecture

attributes

graduate

ARB Criteria at Part 2

PRESCRIPTION OF QUALIFICATIONS:

GA[2.2] ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals;

GA[2.3] ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;

GA[2.4] critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design;

GA[2.5] understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation;

GA[2.6] problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances;

GA[2.7] ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. 4

[a p]

[2020]

MODULE / STUDIO TITLE: module / studio subtitle course title

module / project subtitle

[course aims]

[ unit synopsis]

[learning outcomes]

title

module/project

module / studio subtitle

MODULE / STUDIO TITLE

Academic Year of Study [Semester of Study]

[year]

[mod ule]

[course organiser(s) / studio tutor(s)]

[mod ule]

GA[2.1]

[mod ule]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

[2020]

MODULE / STUDIO TITLE: module / studio subtitle course title

Academic Year of Study [Semester of Study]

Graduate Attributes at Part 2 (GA)

brief/task/move TITLE subtitle

TASK

Visual markers of General Criteria Paper Models developed for Island Temporalities Venice during design studio G.

Graduate Criteria at Part 2 (GC)

Visual markers of General Criteria Graduate Sub-Criteria at Part 2, Paper Models developed for for instance: Island Temporalities Venice during GC[11] design studio G. GC[11.1]

GC[11.2]

Collaborators

GC[11.3]

Module Brief Excerpt

Link to video (click on icon)

RESPONSE

Reflective Paragraph

Drawing Key

DRAWING TITLE // DRAWING SUBTITLE drawing subtitle / type of drawing scale (if applicable) 0m

page number

North Point zm

Scale Bar

[mod ule]

page 08 CITY FRAGMENTS: neapolitan porosities

CITY FRAGMENTS: neapolitan porosities

page 15

Semester 01 MArch1

design studio D MArch1 [Semester 2]

design studio C MArch1 [Semester 1]

architectural technology research MArch1 [Semester 1]

page 26

[2019] [2019] [2020] page 38

Semester 02

[2020] page 48

DESIGN REPORT: island temporalities

[2020]

ISLAND TEMPORALITIES: island making vii

[ds b]

page 58 page 74

Semester 01

design report MArch2 [Semester 2]

[ds g]

design studio B MArch2 [Semester 2]

[am pl]

design studio G MArch2 [Semester 1]

[sc at]

ISLAND TEMPORALITIES: island making vii

[ds d]

architectural management, practice MANAGEMENT & PRACTICE and law MArch2 [Semester 1]

[ds c]

studies in contemporary CLOUDS OF ARCHITECTURE architectural theory MArch1 [Semester 2] reflections & essay

TECHNOLOGY RESEARCH generic & contextual reports

[at r] [ds r]

[2020] [2021] [2021]

page 90

Semester 02

MArch2

[a p]

[2019]

TECHNOLOGY RESEARCH: architectural technology research

generic & contextual reports

research

technology

ARCHITECTURAL TECHNOLOGY RESEARCH

MArch1 [Semester I]

[2019]

[at r]

[A1] [A2] [A3]

[course aims]

[course synopsis]

[learning outcomes]

To develop approaches for research in technology and environment, and reflect on its role in the design process. To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form. To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

This course emulates the role of the researcher-practitioner, recognising that most architectural projects necessitate a level of technological investigation as a prerequisite to successful integrated design. The course runs throughout Semester 1 of the first year of study with a series of trigger lectures on contemporary architectural technology and environmental issues. The requirements of this course are to do with the development and research of a particular technological theme.

[LO1] GC 5.2, 7.1, 7.2, 8.1, 9.1, 9.2; GA 2.3 An ability to appraise the technological and environmental conditions specific to issue in contemporary architecture, eg. sustainable design.

This course is intended to accumulate various sets of information that are both contextualand responsive to contemporary technological issues. This will be achieved by means of the student's involvement in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.

[LO2] GC 5.1, 5.3, 8.1, 8.2, 8.3, 9.1, 9.2; GA 2.3 An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment). [LO3] GC 8.2, 9.1, 9.2; GA 2.2, 2.3 An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. [LO4] GC 5.2, 5.3, 8.3; GA 2.3 An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

[kate carter]

[at r]

GA[2.1]

[at r]

[2019]

TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

brief 01 GENERIC STUDY TASK The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world. The research question must be agreed with your tutor.

Submission requirements: An illustrated summary document appraising and presenting the key issues of the topic with a clear conclusion (approximately 2000 words); Relevant data and case studies (within the report and/or as appendices);

RESPONSE FRAMING THE QUESTION // ‘WIND PATTERNS

an investigation into the effect of various building volumetries on wind behaviours’

As part of a pair, Alice and I decided on researching the relationship between wind dynamics and the urban environment. Cities grow faster than ever before. Consequently, the air pollution within our urban environments lead to heat islands . In this scenario, understanding wind behaviours in our cities is crucial. The report investigates patterns of wind movement for typical building configurations and explains the principles and factors behind this phenomenon.

a. Wind effect on people according to the Beaufort Scale. b. Sketches showing three different scales for analysing the wind data: mesoscale, local scale and microscale.

[at r]

GA[2.1]

[at r]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

[2019]

TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 01 GENERIC STUDY

A CRITICAL ANALYSIS // ‘WIND PATTERNS

an investigation into the effect of various building volumetries on wind behaviours’

INFLUENCERS & EFFECTS

As part of the research, we understood the importance of a building's dimensions, shapes and orientation. We explored through sketching the factors which influence different wind patterns to emerge both in the case of an isolated building and a cluster of buildings.

The identified influencers led us to their effects which ultimately served as parameters and points of reference in developing the computer simulation.

a. Sketches of the relationship between the wind patterns and the dimension of an isolated obstacle. b. Sketches of the relationship between the wind patterns and the shape of an isolated obstacle. c. Sketches of the relationship between the wind patterns and the orientation of an isolated obstacle. d. Wind flows and various shapes of buildings. e. Sketches of wind movements through street canyons. f. Channelisation effect. g. Venturi effect. h. Bar effect.

[at r]

GA[2.1]

[at r]

[2019]

TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

brief 01 GENERIC STUDY

COMPUTER SIMULATION // ‘WIND PATTERNS

an investigation into the effect of various building volumetries on wind behaviours’

A Computer Fluid Dynamics experiment aided the analysis and comparison of the data gathered for three different shaped buildings on the site of Union Square, Hong Kong. The aim of this experiment was to gather and analyse the wind data keeping in mind the principles previously covered and reflecting on how multiple external factors impact the wind flows. The simulations showed what we have expected to see after undertaking the research into the fundamental principles of winds: dimensions and shapes can change the strength of the wind in certain areas around the building so it is exciting to realise that, although complex, we can work with the winds and turn any issue into an opportunity. Running the wind simulations not only taught us that there are softwares out there that could come in extremely useful for architects or planner at an early stage in the design process, but it gave us an insight into how much impact we can make as architects.

[at r]

GA[2.1]

[at r]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

[2019]

TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 02 CONTEXTUAL STUDY TASK Successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio. The research should consider a particular context (eg design studio). You may wish to discuss this with your studio course leader. The topics for the studies are subject to agreement with the course organiser.

Submission requirements: An illustrated document critically analysing and synthesising key issues of a technological and/or environmental issue or intervention and considering the impact of it on a context (approximately 2000 words) Relevant data and case studies (within the report and/or as appendices)

RESPONSE

a. b. c.

Comparison of average temperatures recorded at different meteorological stations in Naples. Comparison of average temperatures in July 2014 in Naples and Bacoli. Comparison of average temperatures in July 2015 in Naples and Bacoli.

FRAMING THE QUESTION // ‘NAPOLI an exploration into the thermal effects of green roofs and vertical gardens in the city of Naples’ c

As a continuation of the generic study, this research paper allowed for further investigation related to the environmental aspects within the urban fabric of Naples, Italy. The paper investigates the causes, manifestations and solutions of the UHI (Urban Heat Island) effect in the context of the city of Naples, Italy. Naples is the densest city in Italy and therefore green public spaces are crucial for the well-being of its citizens. Due to its organised crime and corruption issues , the urban planning policies currently fail to address the effects of the UHI. Therefore, Naples is a relevant instance of a city where the UHI could be considerably reduced through small interventions. Evelyn and myself focused on vertical gardens and living roofs as means to mitigate the negative thermal effects of UHI.

[at r]

GA[2.1]

[at r]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2019]

TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

AM ES AZ KLe KLa SG PX

brief 02 CONTEXTUAL STUDY

A CRITICAL ANALYSIS // ‘NAPOLI an exploration into the thermal effects of green roofs and vertical gardens in the city of Naples’

We started to interrogate the broader and immediate surroundings of Spaccanapoli so that the factors for the existence of UHI in Naples can be identified. We found that the major causes driving the UHI effect to worrying levels are as follows: the heavy Neapolitan traffic, high levels of pollution such as chemicals , household and industrial waste being disposed in proximities of roads and smog generated by the industrial quarter, the lack of vegetation around the city centre and the highest population density in Italy. A close analysis was also undertaken with regards to the orientation of Spaccanapoli and the condition of the urban canyon with the aim of adopting the most suitable solution to mitigate the levels of UHI.

a. b. c1. c2. d.

Statistics regarding different Neapolitan urban aspects which might worsen the UHI. A shadow analysis investigating urban canyons and focusing on Spaccanapoli. Emissivities of common surfaces. Typical sample of albedo values. Aerial view of Naples and photograph of San Domenico Maggiore emphasising the lack of vegetation in the Old Town of Naples.

[at r]

GA[2.1]

[at r]

[2019]

TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

brief 02 CONTEXTUAL STUDY

A COMPARATIVE ANALYSIS // ‘NAPOLI an exploration into the thermal effects of green roofs and vertical gardens in the city of Naples’

As a result of a comparative analysis between the vertical garden and the green roof, we came to the conclusion that the latter is more ideal in reducing the UHI in this specific context in the city of Naples. In receiving full sunlight at the peak possible times, the green roof has been shown to be orientated in the direction which would allow for maximum absorption of solar energy, in return benefitting the growth of vegetation, and reducing the UHI effect. In comparison to the green wall which is limestone rendered plaster, the green roof is concrete, with the albedo rate at 0.55 in contrast to 0.1 of limestone. The green roof further reduces energy consumption through evapo-transpiration, reducing ambient air temperatures which will lower the need for air conditioning.

Another factor in assessing the two systems was the increased biodiversity and plant species that a green roof could offer in contrast to a vertical garden. Furthermore, a green roof would be easier to maintain, and provide potential public access, without changing aesthetically the facade of a historic building in the historic center of Naples.

[at r]

[2019]

CITY FRAGMENTS: neapolitan porosities design studio C

tracing encounters

napoli

the seven acts of

neapolitan porosities

CITY FRAGMENTS:

MArch1 [Semester I]

[2019]

[ds c]

[unit synopsis]

[learning outcomes]

The emphasis in this course, which gives students the opportunity to initiate a major design project, is upon exploratory and creative work. It seeks to encourage projects that are investigative, poetic, theoretically informed, and that deal in a critical way with issues and questions of contemporary relevance. It looks for a sustained and rigorous process of study in all aspects of the student's work.

[LO1] GC 1.3, 2.3, 3.3; GA 2.1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

The first semester of City Fragments: Neapolitan Porosities offers the opportunity to accept, challenge, develop or contest that Naples might be thought of as porous. Understanding the Neapolitan Porosity may allow for further consideration upon how porosity more generally affords alternative means by which to develop architectural and urban design practices. brief 01 ANIMATE DRAWINGS (representing porosity) is concerned with questions of representation, of how to make certain conditions visible, indeed, how to make porosity visible. These drawings will constitute the first moves toward developing a thesis for the city of Naples and proposing new Neapolitan Porosities. brief 02 PERFORMATIVE CONSTRUCTIONS (spatial porosities) is aimed at investigating the spatial condition of the Neapolitan Porosity. These Performative Constructions might be perceived as extensions of the Animate Drawings in such a way that the apparatuses employed in the making of the latter become constructions for the former.

[chris french] [maria mitsoula]

[LO2] GC 1.1, 1.3, 2.3, 5.1, 5.3; GA 2.1 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. [LO3] GC 1.1, 3.3; GA 2.2 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

[ds c]

GA[2.1]

[ds c]

[2019]

CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

brief 01 ANIMATE DRAWINGS representing porosity

The central thesis offered by this brief (to accept, challenge, develop or contest) is that Naples might be thought of as porous, and that understanding this Neapolitan Porosity might allow us to consider how porosity more generally affords alternative means by which to develop architectural and urban design practices. To test this thesis, you will develop theses—in the form of architectural proposals—for Naples. Central to developing these theses will be questions of representation, of how we make certain conditions visible. You will explore how to make porosity visible. [...] Through the production of a series of large drawings (i.e. drawings that are in themselves spatial) and supporting studies you will explore the means by which to represent conditions of porosity as they pertain to the city, landscape, material, atmosphere, and environmental phenomena of Napoli. The content of the drawings should be determined through your particular approach to porosity, and the specific conditions that ‘interpenetrate’ as a result of thinking through this porosity. The scale of the drawing will be determined by the subject; this could range from 1:1 to 1:10,000. RESPONSE Naples is historically porous, with rich and dense happenings and occurrences in shaping the city into the way it is today. It is a city defined by gestures; the conquering and overtaking of the monarchy, eruptions from the nearby volcano Vesuvius, a fleeting image from Caravaggio, a deadly plague. These ambiguous moments in time were buried under layers of history, keen to be unfolded and gathered. The Seven Acts of Napoli looks to seven points of defining moments in time, which have each contributed into shaping Naples into the city as it stands, focusing on the brazen and dense street Spacannapoli meaning “Naples Splitter”: a cluster of churches, convents, palazzos and schools. In memory of these notions, intervening within these ancient city walls, emerges a Painters Restoration school, a voice for the city of Naples, and a reminiscence of Caravaggio. 16

[ds c]

GA[2.1]

[ds c]

[2019]

CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

brief 01 ANIMATE DRAWINGS representing porosity

Michelangelo Merisi da Caravaggio (1571-1610) was an Italian artist most famously known for his piece “The Seven Acts of Mercy” (1607) which currently resides in the Pio Monte Della Misericordia in Naples, (Via dei Tribunali, 253), depicting seven corporal acts of mercy: Refresh the thirsty, visit the imprisoned, feed the hungry, bury the dead, visit the sick, shelter the homeless, and clothe the naked. His works vivdly express torture, death, and struggle, often portraying the harsh reality of Italy at the time. Caravaggio spent his early years training in Milan beforre moving to Rome. Whilst there, he was involved in a violent brawl leading the death of a young man. Upon sentencing, Caravaggio fled to Naples where he further established his prominence as a controversial painter in his generation. His influence on the new Baroque style flourished, impacting the works of artists in the generations to follow, namely Peter Paul Rubens, Jusepe de Ribera, Gian Lorenzo Bernini, and Rembrandt. Collectively, this was known as the “Caravaggisiti”. Three of Caravaggio’s paintings are currently held in Naples for display; The Flagellaion of Christ (1607), held at The Capodimonte National Musuem, The Martydom of Saint Ursula (1610) held at Gallery of Palazzo Zevallos Stigliano at Via Toledo, 185 and lastly the Seven Acts of Mercy (1607) held at Pio Monte Della Misericordia.

[ds c]

GA[2.1]

[ds c]

[2019]

CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

AM ES AZ KLe KLa SG PX

brief 01 ANIMATE DRAWINGS representing porosity

We collectively saw the porosity of Naples primarily in its rich, varied history, Naples as a microcosm of European history, the imprints and ruins of which lie above and below modern Naples. Naples contains thousands of years of history, of development, of rulers, laws and wars. In order to achieve a level of understanding necessary to develop an architecture from, this history was distilled into a series of drawings, and from there, a process of printing took place. We identified 7 eras of particular importance with regards to urban and political developments: Roman, 11th, 16th, 17th, 19th, 20th, and 21st centuries.

[ds c]

GA[2.1]

[ds c]

GA[2.2]

GA[2.3]

GA[2.4]

GA[2.5]

GA[2.6]

GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

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AM ES AZ KLe KLa SG PX

[2019]

CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

roman neapolis act I: POUR(verb)

duchy naples

renaissance naples

17th century naples

risanamento naples

world war ii naples

21st century naples

// REFRESHING THE THIRSTY

// VISITING THE IMPRISONED

act II: SPLIT(verb)

act III: SWELL(verb)

act IV: SKIN(verb)

act V: GUT(verb) // VISITING THE SICK

// SHELTERING THE HOMELESS

act VI: PATCH(verb)

act VII: STITCH(verb)

1. to make a liquid or substance flow out of a container that you are holding; 1a. to flow continuously and in large amounts;1

1a. to divide or break something into smaller groups; 2. to make a long thin cut or break in something;1

1. to become larger than normal, usually because of liquid collecting inside; 2. to increase in amount or number; 3. to become gradually louder;1

1. to remove the skin from an animal, fruit or vegetable;1

1. to remove the organs from inside a fish before you cook it; 2. to destroy the inside of a building or vehicle;1

1. to cover a hole in clothes by sewing a patch over it;1

1. to join pieces of cloth together by sewing them;

Although conquered by the Samnites in the fifth century BC, and then the Roman Empire, Naples retained, and still does, its Greek heritage.

In Roman urban planning, a decumanus was a east-west-oriented street which would typically intersect with the Cardo Maximus, usually the main street of a Roman city running north-south.

In this context, Roman Naples attracted thousands of people to which became a flourishing centre of Hellenistic culture. It is in this period of development under Romans that Naples linked to the rest of Italy via roads and connected to Pozzuoli through excavated galleries. Vectors of connection poured across Naples and beyond. The Ancient port had been enlarged and public baths had been dotted within the city. Crucially, a significant improvement for the Nealopitan life of this time, the aqueducts flowed underneath and above the city, providing water from outside sources to supply public baths, latrines, fountains and private households.

The Neapolitan decumanus via Benedetto Croce starts at Piazza Gesù Nuovo and stretches eastwards crossing the Old Town of Naples. Also known as Spaccanapoli, via Benedetto Croce is the southernmost (Decumanus Inferiore) of the three Neapolitan decumani. Seen from above, Spaccanapoli, literally meaning “Naples splitter”, appears as a canyon cutting deep into the Neapolitan urban fabric.

// FEEDING THE HUNGRY

The 16th century Naples is known for its period of expansion under the viceroys as Neapolitan population ‘swelled’ from 100,000 to 300,000 inhabitants. Naples become to second most populous city in Europe, after Instanbul. This increase in population resulted in a topographical alteration where new tufa buildings grew out of the Neapolitan grounds. Under don Pedro Álvarez de Toledo , Naples became the largest and best fortified city within the Spanish Empire with strengthened and expanded defence walls, restored buildings flourishing alongside new constructions and new paved roads such as via Toledo which still today bears his name.

Macmillan English Dictionary. Oxford: Time Life, 2002.

In an inter-play of natural and man-made violence, 17th Naples is characterised by shocking the senses. From the eruption of Vesuvius in 1631 to the plague of 1656 which killed half of the locals, Naples’ scars were visible not only on the outside, but in its inhabitants’ subconsciousness. The shocking catastrophes of the 17th century influenced the emergence of a new aesthetic and intellectual transformations. Paintings adopted a violent contrast of light and dark known as tenebrism the inventor of which was Michelangelo Merisi da Caravaggio. Alongside with Caravaggio’s works, Jusepe de Ribera’s paintings talked about a woundedcity of whose protagonists are the people of Naples in a search for an identity. In this context, the motif of ‘skinning’, which is represented in Ribera’s Martyrdom of Saint Bartholomew, raises a dychotomy relevant to Naples’ questions of identity - what is on the surface (skin) versus what is beneath it.

These aqueducts added yet another layer of intricacies to the Neapolitan urban morphology, where water would pour underneath its grounds, flow on its hovering bridges and give birth to gardens and farms across the city.

// BURYING THE DEAD

Macmillan English Dictionary. Oxford: Time Life, 2002.

In 1885, 25 years after the unification of Italy, the Italian legislature passed the Legge per il Risanamento di Napoli, which means the “Law for the ‘Cleaning Up’ of Naples”. Risanamento meant ‘to make healthy again’, solution of which was a “Haussman” urban planning type, referring to Georges-Eugène Haussmann, who bull-dozed many of the Parisian slums a few years earlier. Amongst other objectives, this new ‘order’, still debatable in its positive effects for Naples, aimed at creating a new industry, facilitating east-west expansion of the city and building a transit system. New roads connecting the railway station to the rest of the city dissected the Neapolitan urban fabric of spatial entanglements. The broad boulevard of Corso Umberto stands as an evident corroboration of the ‘cleaning up’ order of the 19th century. Also called rettifilo, ‘the straight line’, the street is one of the most striking materialisations of Risanamento di Napoli passing through the central area from Piazza della Borsa to the railway station.

Macmillan English Dictionary. Oxford: Time Life, 2002.

// CLOTHING THE NAKED

2. to join someone’s skin together after it has been cut;1

In 1906, Mount Vesuvius erupted once again as a premonition for the destruction yet to come. The consequences of the World War I and II led to a lenghty process of ‘patching up’ Neapolitan areas of historical and social importance which had been entirely or partially destroyed during the conflicts: Like Palermo, Naples was severely damaged by air attacks and, once more, Baroque churches with their broad naves and large domes were heavy sufferers. Here, as elsewhere, first aid was given as soon as possible by our Monuments officers who were assiduous in supervising the reinforcing of walls, the shoring up of arches and ceilings as well as the removal of rubble and its careful sifting for fragments of painting or sculpture that it might contain. About forty churches or 10% of the total in Naples were damaged; but in less than one month after the Allied occupation six projects of rehabilitation and restoration were under way and not many months later twenty-six projects had been started, with twelve more approved.2

1 Macmillan English Dictionary. Oxford: Time Life, 2002. 2 Rensselaer, Lee. “The Effect of the War on the Renaissance and Baroque Art in Italy” in College Art Journal 4,2 (College Art Association, 1945), 82-83.

A microcosm, or rather, a micro-”Chaosmos” of European history, the previous Naples’ cultures and civilisations left traces: This is no easy task because Naples, the city of obstructed meaning par excellence, presents itself to those who wish to comprehend it as a ‘Chaosmos’, as a collision between Cosmos and Chaos, order and disorder, law and freedom, harmony and dissonance, beauty and ugliness, the euphoric and the dysphoric, the Apollonian and the Dionysian.2

The thesis proposes to stitch together the Neapolitan historical, social and topographical intricacies resulting in an epitome of Neapolitan quintessence: a ressurection of art practices situated at the heart of the Old Town reminiscent of the 16th and 17th century artistic zeal.

1 Macmillan English Dictionary. Oxford: Time Life, 2002. 2 D’Acierno, Pellegrino. “Introduction”, in Delirious Naples: A Cultural History of the City of the Sun (New York: Fordham University Press, 2019), 9.

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CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

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AM ES AZ KLe KLa SG PX

brief 01 ANIMATE DRAWINGS representing porosity

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Animating the history of Naples through drawing as a collective proved to be a crucial moment within our thesis on the Neapolitan Porosity. We found ourselves coming back to our re-imaged Neapolitan ground every time when our architectures would tend to move away from the quintessence of the project - porosity.

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AM ES AZ KLe KLa SG PX

brief 01 ANIMATE DRAWINGS representing porosity

We used Carravagio’s Seven Act of Mercy to derive seven actions, which we paired with a Neapolitan era, and colour representative of the time. We took these seven actions and teased them apart, by tracing them through history and unfolding their many identities. The lexical meanings and implications of these actions created personal interpretations that established architectural attitudes. The methodology culminated in creating abstract drawings of the different Neapolitan eras, Animate Drawings.

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[2019]

CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

brief 02 PERFORMATIVE CONSTRUCTIONS μ

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Naples remembers.

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The Neapolitan school of painting has started flourishing at the beginning of the 17th century when Caravaggio revolutionised the way Naples perceived art previous to his arrival. Painters such as Jusepe de Ribera, Battistello Caracciolo and Luca Giordano are just a few names of influential artists who, inspired by Caravaggio’s genius, kept Naples’ artistic flame alive. For the development of an architectural language that would respond to Neaples' porous conditions, we used the hand drawn maps that abstractly represented the actions identified throughout Naples ‘ history. We begun to index the overlaps and to study the volumetry against the hand drawings.

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RESPONSE

The research undertaken provided us with the insight into the socio-political aspects of Naples alogside with the richness of cultural figures closely tied to the city. From the “Caravaggisti” of the 17th century, which opened new ways for artists to represent the world through neoclassical lenses, to an architecture of different eras: Medieval, Rennaissance and Baroque .

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spatial porosity

Secondly, we might conceive of the PERFORMATIVE CONSTRUCTIONS as explorations of an architecture emerging from the ANIMATE DRAWINGS. These drawings have been constructed, in certain cases, through the use of different surfaces, thicknesses, layers, materials. These have their own (material) limits, conditions, qualities, in short, their own architectures. How might these architectures of the drawing correspond to an architecture in the city? How might we develop the drawing itself as an opening onto architectural language? In this sense the PERFORMATIVE CONSTRUCTIONS entail a development of an architectural proposal consistent with the logics of the ANIMATE DRAWING.

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CITY FRAGMENTS: neapolitan porosities design studio C MArch1 [Semester I]

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brief 02 PERFORMATIVE CONSTRUCTIONS spatial porosity

Palazzo Venezia gives an opportunity for raising awareness with regards to the importance of reminiscing the artistic zeal of our predecessors. Located on Spaccanapoli, one of the oldest Neapolitan Roman street, the Palazzo acts as a catalyst for dormant cultural identity.

The programme proposes a small painting restoration studio which would facilitate keeping original paintings in a healthy state in order to be served back to the Neapolitan society. The programme was informed by our methodology of collography which is closely tied to the act of painting and printing.

The programme proposes a journey through the Palazzo which culminates at the rear of the its West wing with a series of rooms designed to accommodate the processes of painting restoration:

1. The Test Clean: dimly lit room 2. Photography: dark room 3. Total Clean: strong white light, ideally direct sunlight needed 4. Relining Works: a wood workshop 5. Re-touching: northern light is ideal in order to avoid direct sunlight 6. Varnishing and Finishing: also northern light and a dry environment.

test clean room

pouring

dark room

splitting

total clean room

swelling

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skinning

re-touching room

gutting

finishing room

patching stitching

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CITY FRAGMENTS: neapolitan porosities design studio D

tracing encounters

napoli

the seven acts of

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CITY FRAGMENTS:

MArch1 [Semester II]

[2020]

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[synopsis]

[learning outcomes]

The emphasis in this course, which gives students the opportunity to develop or initiate a major design project, is to bring students' explorative and creative process into dialogue with technological and environmental decision making.

[LO1] GC 1.3, 2.3, 3.1, 7.2, 7.3; GA 2.1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

The second semester of City Fragments: Neapolitan Porosities focuses on acting upon the programmatic, spatial, material, tectonic, or technological momentum gained through Animate Drawings and Performative Constructions in order to design a complex public building. This project aims at enabling a more complete articulation of the architecture of the developing thesis. brief 03 TECTONIC ASSEMBLAGES (material porosities) is concerned with the design of a public building with a spatial, organisational and programmatical complexity - a building of multiple functionalities, each with their concomitant material, formal and technological enunciations. The proposal will contain a series of interpenetrating spaces of both primary, secondary and tertiary f unctionalities, and will work in the contingent space between the public and private realms that pervades Naples.

[LO2] GC 1.1, 1.3, 2.3, 5.1, 5.3; GA 2.1 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. [LO3] GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3; GA 2.3 The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. [LO4] GC 1.1, 3.3; GA 2.2 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

[chris french] [maria mitsoula]

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AM ES AZ KLe KLa SG PX

[2020]

CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

brief 03 TECTONIC ASSEMBLAGES material porosities

Taking programmatic, spatial, material, tectonic, or technological impetus from the ANIMATE DRAWINGS or PERFORMATIVE CONSTRUCTIONS, you are to select an appropriate (series of) site(s), and put forward proposals for a new (series of) building(s) and associated public spaces. These should be public buildings charged with engaging the cultural and social concerns of the city, developing from the interests explored through Brief 1 and Brief 2. They will be more spatially, organisationally and programmatically complex than the work completed to date; they will have multiple parts and multiple functionalities, each with their concomitant material, formal and technological enunciations.

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RESPONSE Extending out of the research undertaken on the 17th century Neapolitan painting practices, this project proposes a centre of restoration and revival of artistic implementations located within the Neapolitan Ancient town. Situated within the courtyard of Instituto ‘Alfonso Casanova’, the project aims to establish a symbiotic relationship with the school not only spatially, but also programmatically by providing facilities which could potentially be used by the students. Historically, since its establishment in the 19th century, Instituto ‘Alfonso Casanova’ had been an important vocational hub for Neapolitans: carpenters, gunsmiths, mechanics, cabinet makers, carvers, printers, piano makers, shoemakers, bookbinders, turners, goldsmiths and watch mechanics, sculptors and painters.

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PROGRAMME OVERVIEW 1. Instituto ‘Alfonso Casanova’ 2. entrance from Via S. Sebastiano through existing building 3. artist studio 4. artist studio terrace 5. access to artist studio and viewing platform 6. green plants plot 7. berries plot 8. onions plot 9. pigment cultivation workshops 10. main path 11. secondary access to painting restoration library and studios 12. main access to painting restoration library and studios 13. reading area 14. library 15. painting restoration studios 16. courtyard for potential use in conjunction with students 17. underground corridor connecting the library to the existing building 18. courtyard for potential use in conjunction to Palazzo Venezia

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[2020]

CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

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AM ES AZ KLe KLa SG PX

brief 03 TECTONIC ASSEMBLAGES material porosities

In this light, the project is seen as the means through which Neapolitan artistries are stitiched together by providing facilities such as painting studios, restoration studios, pigment cultimation workshops and a library focused on painting techniques. The action of stitiching is carried throughout the project from city scale to room scale and is also perceived as a gathering of fragments, instances, events, chances and indeed, encounters.

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[2020]

CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

brief 03 TECTONIC ASSEMBLAGES material porosities

A series of investigational tracings of Instituto 'Alfonso Casanova' have been developed to create a field of forces and encounters.

These exploratory drawings begun to assign architectural gestures to the seven acts developed in the previous semester and drove the thesis towards an architecture of splits, swells and stitches.

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CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

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Naples National Archaeological Museum

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CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

brief 03 TECTONIC ASSEMBLAGES

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THE ‘PIANO NOBILE’

material porosities

The thesis is perceived as a process of initiation in the Neapolitan practices of painting restoration and other art related practices such as pigment making. This became particularly relevant as the contemporary Neapolitan society would benefit from engaging in the local art practices emerged along the centuries.

THE RESEARCH

THE JOURNEY

THE INITIATION

INDEXING THE UNSTABLE NEAPOLITAN GROUNDS

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CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

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UPPER GROUND FLOOR

1. Instituto ‘Alfonso Casanova’ 2. access from Via S. Sebastiano through existing building 3. path 4. access to artist studios 5. main access to painting restoration library and studios 6. bridge 7. reading area 8. painting restoration studios 9. toilets 10. courtyard for potential use in conjunction with students 11. courtyard for potential use in conjunction to Palazzo Venezia

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brief 03 TECTONIC ASSEMBLAGES material porosities

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LOWER GROUND FLOOR 1. toilets 2. photography dark room 3. photography equipment storage 4. library 5. semi-covered terrace 6. pigment cultivation workshops 7. event space 8. plant room 9. water collector room 10. green plants plot 11. berries plot 12. onion plot 13. connection to existing building

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[2020]

CITY FRAGMENTS: neapolitan porosities design studio D MArch1 [Semester II]

brief 03 TECTONIC ASSEMBLAGES material porosities

The studios' light timber structure is elevated from the ground by means of metal posts which borrow from the tectonic language of an easel. Direct and diffused natural lighting is achieved by the angles of the timber structure, double height spaces and skylights that channel light from above inside the space. The structure also allows for the collection if rain water into gutters that would manipulate its course towards the gardens. The thermal mass of the concrete sandwich walls in the restoration library and studio provide an environment that would be less dependent on expensive air conditioning. Attention to the manipulation of light is equally as important here as in the artists' studios.

skylight allowing diffused light above working area

terrace providing views over the pigment cultivation gardens structure allows for placement of gutter in order to collect rain water which would then be used for growing plants rich in pigments bespoke timber frame component consisting of two 75mm deep beams with 50mm gap in between

horizontal timber solar shading panels for regulating the amount of direct southern light in the painting restoration

skylight above the painting restoration facility balcony accessed from the painting restoration studios skylight above the main circulation area between the facilities timber solar shading panels regulating the amount of direct southern light in the library skylights allowing light in the atrium of the library

viewing platform overlooking the working area and providing additional wall space for paintings

an intersection of staircases enabling a different experience of the building access to the artist studios

structure allows for placement of gutter in order to collect rain water which would then be used for growing plants rich in pigments working area featuring the exposed timber structure

corridor serving access to studios and featuring a portal timber frame

the width of the windows borrow the proportions of the existing columns and engages in a dialogue of rhythm

easel-like supporting posts

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AM ES AZ KLe KLa SG PX

[ds d]

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory

architecture

clouds of

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

MArch1 [Semester II]

[2020]

[sc at]

[course aims]

[ unit synopsis]

[learning outcomes]

[A1] The development of an understanding of what theory is, and how it relates to architecture, design and the city.

Clouds of Architecture explores the relations between text, image and theory by focusing on architectural thinking in writing and forms of writing on architecture and the city. The unit focuses on close examination of a number of different texts and critical modalities, beginning with the essay as a distinct way of thinking, and including investigation lectures/talks, visual essays and radio essays. Clouds of Architecture considers different printed collections of texts and images as critical assemblages (essay collections, magazines, journals and anthologies) and explores the surface of design, the page layout and book space in relation to architectural thinking in writing.

[LO1] GC 2.1, 3.1, 4.1; GA 2.4 A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

[A2] The enhancement of skills in critical reading and analysing the ideas presented in texts. [A3] The refinement of an ability to write and communicate a focused critique of, and response to, texts.

This examination also includes key paratextual forms (book reviews and blurbs, introductions, illustrations, titles, and book covers) as well as typically unpublished architectural texts that have been afforded little critical attention as forms shaping architectural discourse. The course begins with examining the writing of the architect, pedagogue and theorist Mark Dorrian whose work focuses on modes of seeing and the limits of aesthetic experience. Selected texts by philosophers and theorists such as Theodor Adorno, Jacques Rancière, Georges Didi-Huberman, Elizabeth Grosz are being investigated from an architectural perspective as well as different study examples of experimental forms of writing and textual assemblages on the city by Laszlo Moholy-‐Nagy, Walter Benjamin and Italo Calvino.

[ella chmielewska]

[LO2] GC 2.2, 3.1, 3.2 An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture. [LO3] GC 2.2 An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 00 A SET OF INSTRUCTIONS HOW TO READ A DADA ESSAY

part 00 A SET OF INSTRUCTIONS

‘HOW TO READ A DADA ESSAY’

Take the sleeve in your hands. Slide the papers out the sleeve. Choose from this sleeve the order in which you would like to read the reflections. Read the reflections first.

part 01 READING JOURNAL ‘BETWEEN [INSIDE AND OUTSIDE] THERE IS SILENCE’ ARCHITECTURAL WRITING 1:

week 02

critical object, voice, emergence

‘[TOPO]PHOTO OF [TYPO]PHOTO’ DYNAMIC OF THE METROPOLIS:

week 06

Next carefully pick up the essay and unfold it. Unfold on a flat surface.

typophoto, photography, topography of typography

week 07

‘IN SEARCH FOR THE ABSENT’

EXACTITUDE or Visible and Invisible Cities

‘IT’S AN ANTI-SPECTACLE’ CLOUDS OF ARCHITECTURE vs WRITING ON THE IMAGE:

week 09

text and paratext, titles and covers, sites and resonance of writing

week 10 ‘SURFACES

OF ENCOUNTER’

THE EXHIBITION AS AN URBAN THING The sleeve measures 210mm x 148mm. When collapsed, the concertina fold measures 201mm x 143mm. The sizes and colours for the paper have been carefully considered in relation to the aesthetic and exact measurements of Tristan Tzara’s first edition (1975) of Cosmic Realities Vanilla Tobacco Dawnings.

paper: 220 gsm, light blue sleeve height: 210 mm width: 148 mm

paper: 220 gsm, cream height: 201 mm width: 143 mm word count: 500

part 02 ESSAY ‘KNOTS: [TRANS]LATING SPACES OF ENCOUNTER tzara and other minglings’

paper: 220 gsm, cream height: 201 mm width: 143 mm word count: 3000

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 01 READING JOURNAL week 02 architectural writing 1: critical object, voice, emergence

TASK The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

RESPONSE ‘BETWEEN [INSIDE AND OUTSIDE] THERE IS SILENCE’

This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

BIBLIOGRAPHY Dorrian, Mark. “Voice, Monstrosity and Flaying: Anish Kapoor’s Marsyas as a Silent Soundwork”, in Writing on the Image: Architecture, the City and the Politics of Representation (London: IB Tauris, 2015), 162-175. Chmielewska,Ella. “Afterword: ‘Postscript as Pretext’”, in Dorrian, Mark. Writing on the Image: Architecture, the City and the Politics of Representation (London: IB Tauris, 2015), 186-203. Dorrian, Mark. “Mediating Silence”, in The Place of Silence: Architecture / Media / Philosophy, ed. Dorrian, Mark and Kakalis, Christos (London: Bloomsbury Visual Arts, 2020): 7-20. Gintrowski, Przemysław. “Apollo i Marsjasz” (Apollo and Marsyas), YouTube Video, Posted October 12, 2012, https://www.youtube.com/ watch?v=W6BRG77OvIY&t=1s Herbert, Zbigniew. “Apollo and Marsyas”, in Collected Poems (London: Atlantic Books, 2009), 165-166. Herodotus. The Histories, Book 7, n.d. Niżyńska, Joanna. “Marsyas’s Howl: The Myth of Marsyas in Ovid’s Metamorphoses and Zbigniew Herbert’s ‘Apollo and Marsyas’”, in Comparative Literature. 53, no.2 (Spring 2001), 163. Ovid. “Book VI”, in Metamorphoses, ed. Kenney, E. J. and Melville, A. D., trans. Kenney, E. J. (Oxford: Oxford University Press, 2008).

Serres, Michel. “Veils”, in The Five Senses: A Philosophy of Mingled Bodies (London: Continuum, 2008), 17-84.

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 01 READING JOURNAL week 06 dynamic of the metropolis: typophoto, photography, topography of typography

RESPONSE ‘[TOPO]PHOTO OF [TYPO]PHOTO’

BIBLIOGRAPHY Lissitzky, El. “Topography of Typography”, in The Book, (n.p.,1923). Moholy-Nagy, Laszlo. Painting, Photography, Film (London: Lund Humphries, 1969).

Stetler, Pepper. ““The New Visual Literature”: László Moholy-Nagy’s ‘Painting, Photography, Film’”, in Grey Room 32 (Summer 2008), 88-113.

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 01 READING JOURNAL week 07 exactitude or Visible and Invisible Cities

RESPONSE ‘IN SEARCH FOR THE ABSENT’

BIBLIOGRAPHY Calvino, Italo. “Exactitude”’, in Six Memos for the Next Millennium (Cambridge, Mass.: Harvard University Press, 1985), 55-80. Calvino, Italo. Invisible Cities (London: Vintage, 1997). H. Gass, William. “Invisible Cities”, in Tests of Time: Essays (New York: Alfred A. Knopf, 2002), 37-68. D’Acierno’s. “Introduction”, in Delirious Naples: A Cultural History of the City of the Sun (New York: Fordham University Press, 2019).

Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern”, in Critical Enquiry. 30 (Winter 2004), 225-248.

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 01 READING JOURNAL week 09 clouds of architecture vs writing on the image: text and paratext, titles and covers, sites and resonance of writing

RESPONSE ‘IT’S AN ANTI-SPECTACLE’

BIBLIOGRAPHY Dorrian, Mark. “Clouds of Architecture”, in Writing on the Image: Architecture, the City and the Politics of Representation (London: IB Tauris, 2015). Dorrian, Mark. “Clouds of Architecture”, Radio 4 lectures. Diller + Scofidio. “Blur Building, Expo 2002, Yverdon-les-bains, Suisse”, in Lotus International 125 (Liquid Architecture) (2005). Mallarmé, Stéphane. Un coup de des jamais n’abolira le hasard: A throw of the dice will never abolish chance (New York: Tiber Press, 1956). The Oxford Dictionary (Oxford: Oxford University Press, 1992).

White, Stephanie. “Notes on Writing on Architecture”, in On Site Review. 34 (Fall 2015).

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 01 READING JOURNAL week 10

the exhibition as an urban thing

RESPONSE ‘SURFACES OF ENCOUNTER’

BIBLIOGRAPHY Carbone, Claudia. “Expanding Surfaces”. Architectural Research Quarterly. 16 (2015), 107-109. Dorrian, Mark and Hawker, Adrian. “The Exhibition as an Urban Thing”, in Interstices: Journal of Architecture and Related Arts, 16 (2015) 7-16. Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern”, in Critical Enquiry. 30 (Winter 2004), 225-248. Coteanu, Ion. Dicţionarul Explicativ Al Limbii Române (The Romanian Language Dictionary) (Bucureşti: Univers Enciclopedic, 1996). Finger, Anke, Guldin, Rainer and Bernardo, Gustavo. ‘Translation and Multilingual Writing’. Vilem Flusser. An Introduction (n.p 2011), 45-64.

Muller, Herta. “In Every Language There are Other Eyes”, in Cristina and Her Double (London: Portobello Books, 2013), 15-47.

[sc at]

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

The inability to physically print the essay proved to be a wonderful opportunity to experience the artefact from a completely different perspective. Different arrangements between the pages of the essay never ceased unfolding different architectural surfaces.

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 02 ESSAY abstract

TASK An illustrated essay (approximately 3,000 words + abstract + references + captions) that explores an issue of your choice, arising from the seminars and readings. The essay is not intended to be a comprehensive analysis or overview of the material covered in the seminar option, but rather an investigation of a specific topic connected to it that interests you.

RESPONSE ‘KNOTS: [TRANS]LATING SPACES OF ENCOUNTER

tzara and other minglings’

This essay investigates the relationship between visual and acoustic motifs in Tristan Tzara’s œuvre as expressed in Vingt-cinq Poèmes. A collection of works which materialised through the collaboration between Tzara and Jean Arp, it serves as the ‘knot’ for architectural and semiotical spaces of encounter. ‘Going back and forth’ between Romanian and English, the paper mimics the efforts of writers and artists situated in-between languages or, as Serres notes in his essay “Veils” in relation to ‘things’, “in the midst of their mixture”. The essay allowed me to play with thoughts and ideas about my own 'displacement', far away from my native country, that I never thought I could infuse into my academic writings. The paper demonstrates how Tzara’s reverberating stanzas and highly visual poetic experimentations, both characteristic of the Dada movement, intertwine in an inter-play between precision and chance. Keeping Tristan Tzara’s (Samuel Rosenstock) ‘dual identity’ as a central focus of this essay, I investigate his poems as extensions of the inner tensions generated by an ethno-national rift. Tzara’s constant attempt for self-positioning echoes, or rather, screams out of the page reminding of Marsyas’s howl in Zbigniew Herbert’s poem Apollo and Marsyas.

BIBLIOGRAPHY Andel, Jaroslav. Avant-garde Page Design 1900-1950 (New York: Delano Greenidge Editions LLC, 2002). Bahun-Radunovic, Sanja and Pourgouris, Marinos. “Opting-in, Opting-out: The Radical Melancholy of the Modernist Margin or, Tristan Tzara Places a Double Bet”, in The Avant-Garde and the Margin: New Territories of Modernism (Newcastle-Upon-Tyne: Cambridge Scholars Press, 2006). Bahun-Radunovic and Pourgouris. “Prefaces and Faces”, in The AvantGarde and the Margin: New Territories of Modernism (Newcastle-UponTyne: Cambridge Scholars Press, 2006).¬ Calvino, Italo. “Exactitude”, in Six Memos for the Next Millennium (Cambridge Mass.: Harvard University Press, 1985), 55-84. Chmielewska, Ella. “Situated in-between”, in Architecture & Situation, 4 (Edinburgh: University of Edinburgh, 2014). Chmielewska, Ella. “Writing with the Photograph: Espacement, Description and an Architectural Text in Action”, in Representational Machines: Photography and the Production of Space (Aarhus: Aarhus University Press, 2013), 83-105. Coteanu, Ion. Dicţionarul Explicativ Al Limbii Române (The Romanian Language Dictionary) (Bucureşti: Univers Enciclopedic, 1996). Dorrian, Mark. “Voice, Monstrosity and Flaying: Anish Kapoor’s Marsyas as a Silent Soundwork”, in Writing on the Image: Architecture, the City and the Politics of Representation (London: IB Tauris, 2015), 162-175. Lissitzky, El. “Topography of Typography”, in The Book (n.p.,1923). Finger, Anke and Guldin, Rainer and Bernardo, Gustavo. “Translation and Multilingual Writing”, in Vilem Flusser. An Introduction (n.p 2011), 45-64. Forcer, Stephen. Modernist Song. The Poetry of Tristan Tzara (London: Modern Humanities Research Association and Maney Publishing, 2006).

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AM ES AZ KLe KLa SG PX

[2020]

CLOUDS OF ARCHITECTURE: studies in contemporary architectural theory MArch1 [Semester II]

part 02 ESSAY abstract

‘KNOTS: [TRANS]LATING SPACES OF ENCOUNTER

tzara and other minglings’

For Latour, a ‘thing’ is an arena of contingencies, a gathering of trajectories, and I would add, in Serres’s terminology, a ‘merging’ of events. […] things have become Things again, objects have reentered the arena, the Thing, in which they have to be gathered first in order to exist later as what stands apart.1

I wish to return to the instance of the knot and reflect on how its intricacies carry abstractions which are perceived artistically and architecturally. Understanding the ‘knot’ as a ‘thing’ not only physically, but semantically also, generates spaces of encounter where vectors of thought cross-over and/or connect waiting to be unfolded, or rather, ‘unknotted’. While in English the action of ‘unknotting refers to ‘releasing’, ‘untying’ and ‘undoing’2, the Romanian equivalent deznoda, besides the meaning of ‘releasing’, carries connotations of chance: deznodãmânt (mot-à-mot, ‘the unknotting’), means on one hand, ‘outcome’, on the other, ‘chance’. Finally, the knot presents itself to us in a paradoxical inter-play of associations not only from within the ‘thing’, but from the in-betweens of linguistic surfaces brushing against each other.

(extract from essay)

Herbert, Zbigniew. “Apollo and Marsyas”, in Collected Poems (London: Atlantic Books 2009), 165-166. Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern”, in Critical Enquiry. 30 (Winter 2004), 225-248. Lewis, Pericles. “The Avant-Garde Moment”, in The Cambridge Introduction to Modernism, ed. Lewis, Pericles. (Cambridge: UP, 2007). Motherwill, Robert. “Dada Manifesto, 1918“, in The Dada Painters and Poets: An Anthology (New York: Witterborn, Schultz, Inc., 1951), 78-81. Müller, Herta. “In Every Language There are Other Eyes”, in Cristina and Her Double (London: Portobello Books, 2013), 15-47. Poggi, Christine. In Defiance of Painting: Cubism, Futurism, and the Invention of Collage (New Haven: Yale University Press 1992), 215-216. Serres, Michel. “Veils”, in The Five Senses: A Philosophy of Mingled Bodies (London: Continuum, 2008), 17-84. The Oxford Dictionary (Oxford: Oxford University Press, 1992). Tzara, Tristan, Conoley, Gillian and Stansberry, Domenic. On Feeble Love & Bitter Love: Dada Manifesto (San Francisco: CA: Molotov editions, 2016). Tzara, Tristan. Cosmic Realities Vanilla Tobacco Dawnings, trans. Harwood, Lee (Arc Publications:1974). Tzara, Tristan. “Furtuna si Cântecul Dezertorului”, in Chemarea, n.d.

1 Latour. Critical Enquiry. 30, 236. 2 The Oxford Dictionary (Oxford: Oxford University Press, 1992).

Tzara, Tristan. “L’orage et le chant du déserteur”, in Œuvres complètes, 1 (Paris: Flammarion, 1975), 30-33.

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[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law

exam, contract game & regulator y drawing

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW

management,

practice & law

MArch2 [Semester I]

[2020]

[am pl]

[iain scott]

[course aims] [A1] Acquire understanding of processes and delivery of design, project and practice management. [A2] Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title 'architect'. [A3] Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project. [A4] Develop an awareness and understanding of the financial matters bearing upon the creation and construction of the built environment. [A5] Develop an awareness of the changing nature of the construction industry, including inter-relationships between individuals and organisations involved in modern-day building procurement.

[course synopsis]

[learning outcomes]

The course aims to develop the student's understanding of the professional requirements of an architect in practice and being admitted to the title of 'architect'. The course is also intended, in part, as being a preparation for fulfilling the requirements of the Part 2 Examination in Professional Practice & Management. It is delivered through a series of previously recorded lectures presented by architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can be built on and developed by further reading. Further teaching vehicles include an on-line contract simulation exercise and a regulatory drawing project supported by on-line tutorials.

[LO1] GC 6.1, 6.2, 11.1, 11.3; GA 2.5, 2.7 An understanding of practice management and codes of professional conduct in the context of the construction industry. [LO2] GC 6.2, 10.1, 10.2, 11.1, 11.2; GA 2.5, 2.6 An understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. [LO3] GC 4.3, 6.1, 10.3, 11.1; GA 2.5, 2.6, 2.7 An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

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[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

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AM ES AZ KLi KLa SG PX

task 01 REGULATORY DRAWINGS re-animating relics

TASK Students will co-produce two drawings critically analysing the relationship between a selected precedent project(s) and two from three regulatory frameworks (Planning, Building Regulation and CDM).

RESPONSE Kevin and myself decided to base our regulatory drawings on Stanton Williams Architects' scheme for Whitby Abbey Visitor Centre. We felt the most interesting topics in relation to this building were the planning aspects (given its location in an Ancient Monument Area) and the building regulations (in particular Part M) as Mawson Kerr recently upgraded the accessibility strategy within the building.

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AM ES AZ KLi KLa SG PX

[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

task 01.1 PLANNING conservation policies - design driver for re-activating an Ancient Monument Area HERITAGE LISTING KEY:

Fig. 1

Scheduled Ancient Monument Area Garden Walls and Gatepiers to the Abbey House - Grade I P1. Initial proposed 1992 site designated for the Visitor Centre (extent and location of site is approximate). P2. Initial proposed 1992 pedestrian route designed as a thoroughfare between the Visitor Centre and town centre. H1. Whitby Abbey Cross - Grade I H2. Former Youth Hostel - Grade I H3. Whitby Abbey (Benedictine. Founded AD 1109) - Grade I H4. 17th century court yard discovered to the north of Banqueting House in 1997 - Grade I H5. Whitby Abbey Visitor Centre and Museum (Banqueting House) - Grade I H6. The Abbey House - Grade I H7. Whitby Abbey House & Gardens - Grade II

55m

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Abbey Plain

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45m

Nort Entrahern nce

Abbey Farm

H2.

A DIALOGUE

H3. H4. pond

H5.

Appointed by English Heritage to design the new visitor centre in 1998, Stanton Williams Architects2 proposed a lightweight steel structure which marries with the ruins of the Banqueting House (Fig. B3) (DEC5). The proposal seeks to re-imagine moments from the existing structure’s original programme whilst recognising the historical and archaeological value of the relics (DEC4). The absent 17th century bridge (Fig. B2) which connected the Banqueting House to the grounds was reinstated with the intention of not only preserving the integrity of the relics, but re-animating movements through site that were long gone. Steel columns present themselves in a portal frame fashion running along the east-west axis of the building (iii). The sharpness of the C-shaped sections welded together juxtaposes the fluidity of the ruins (NPPF7, DEC1).

Fig. 2

Fig. 3

H6. 55m

H7. 5. ern Southance Entr

Abbey Lands Farm

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Car Park

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55 m

40 m

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KEY:

LEGISLATIVE CONTEXT LOCAL

National Planning Policy Framework in particular NPPF7 (requiring good design) and NPPF12 (conserving and enhancing the historic environment).

Scarborough Borough Local Plan in particular DEC1 (Principles of Good Design), DEC4 (Protection of Amenity), DEC5 (The Historic and Built Environment) and DEC6 (Archaeology).

m 50

NATIONAL

Ancient Monuments and Archaeological Areas Act 1979. Whitby Conservation Area Character Appraisal and ManPlanning (Listed Buildings and Conservation Areas) Act 1990 in particular S66 and S72.

agement Proposals.

Fig. 1 Heritage Listing and Identification of Key Aspects of WAHP. Site Plan, original scale 1:2500. Fig. 2 Ground floor plan of the Visitor Centre showing new insertion within the relics of the Banqueting House, original scale 1:100. Fig. 3 Bridge section showing former access to Whitby Abbey grounds being restored. Section AA’, original scale 1:200. Fig. 4 The dialogue between the old and the new. Section BB’, original scale 1:100.

Existing Relics of the Banqueting House Proposed Structure by Stanton Williams Architects 1. Suspended floor 2. Superstructure lightly touching the floor 3. Re-opened former blocked off window openings provide views over the Headland and North Sea 4. Floor resting lightly on relic walls 5. Roof resting lightly on relic walls

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H5.

Fig. 4

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Full Planning Permission granted for works to 98 conversion of ruined Planning banqueting mission granted hall into visitor works to centre and museum nversion of ruined

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KEY:

[2020]

MANAGEMENT & PRACTICE:

Stanton Williams Mawson Kerr

architectural management, practice and law MArch2 [Semester I]

01.2 BUILDING REGULATIONS

Fig. A1

part M - provision of full accessibility whilst re-activating historic levels

B Fig. C1

Fig. 1

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Fig. A1

[C] A REFLECTION Mawson Kerr Architects were commissioned to look at im[C] A REFLECTION Accessibility was a key requirement as English proving the entrances to the Heritage had a desire of creating safe public access site andrequirement interior ofas the visitor Accessibility was aand key English removal of traffic and clutter from the Abbey centreofincreating 20182. safe Withpublic access Heritage had a desire access Headland. Thus, the accessible design went beyond the clutter driver from for the and removal of being traffic and thedesign Abbey the building and ensured that the Whitby Abbey Mawson Kerr aimed Headland. Thus,changes, the accessible design went beyond monument was accessible through two levels (fig A.1); the building andtoensured Whitby Abbey ensurethat thatthe their work were Abbey Plain and the ground floor entrance of the monument was inclusive accessibleand through two levels accessible for(fig A.1); visitor centre and up the first floor where a reinstated Abbey Plain andallthe ground floor entrance of the people in align with Part M bridge leads onto pedestrian access routes to the visitor centre and up the first floor where a reinstated 2015. bridge leads onto pedestrian access routes toThis the configuration reflected level of the monument. level of the monument. This configuration the access strategy ofreflected what it was in the 17th century. COURTYARD

Full Planning 00 Permission granted for works to Planning landscape mission granted restoration oftonorthern entrance works dscape restoration courts to Banqueting northern entrance House

KEY: Stanton Williams Mawson Kerr

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the access strategy of what it was in the 17th century.

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With the courtyard being the core accessible route place did not exist when Stanton Stanton towhich the visitor centre, Williams and SGS went to the visitor centre, Stanton and Williams and SGSWilliams worked on the SGS site, went beyond Part M (1992) clause 0.2 as it states “ if, as in which it complied with Part M 1992. beyond Part M (1992) clause 0.2 as it states “ if, as part of the reconstruction of a building, other than a It is evidential in the new work Mawson part of the reconstruction of a building, other than a Kerrdwelling, has done, as in the new idenit seen is impractical to make adjustments to the dwelling, it is impractical to make adjustments to the tifiable access route in the courtyard level of the existingorprinciple level of the existing entrance any otherentrance or any other from principle the disabled parking bays which appropriate existing entrance, toexisting permit appropriate entrance, to permit independent complied with clause 1.9 from independent Part M access for wheelchair users, to provide ausers, new or to provide a new 2015. access fororwheelchair As the main existing cobbled acentrance is suitable the other Part M entrance isrequirements suitable theofother requirements of Part M cess route may provide difficulty for should still apply.” should still apply.”

rks granted for 2018 to provements Works granted for rance, courtyard improvements to d interior of visitor entrance, courtyard tre

and interior of visitor centre

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STANTON WILLIAMS PART M 1992 Accessible staff WC complied with dimensions beylow 1500mm by 2000mm. (clause 4.16)

Fig. C1

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WHITBY ABBEY VISITOR CE EAST CLIFF, WH NORTH YORK STANTON WILLIAMS ARCHIT

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Stanton Williams Mawson SeveralKerr regulationsCOURTYARD has been put in place which did

THE VISITOR CENTRE Despite the Visitor Centre being located centrally not exist when Stanton Williams and SGS worked to the site, only one toilet is in the existing design. on the site, in which it complied with Parthas M 1992. Kerr seeked Several regulations been put in Mawson place which did to address Despitethe theshortfall Visitorof Centre being located A. centrally It is evidential in the new work Mawson Kerr Williams has to the public through provision of toilets not exist when Stanton andfacilities SGS worked to thethe site, only one toilet is in the existing design. done, as seen in the access route in with and accessible new design therefore onnew theidentifiable site, in which it complied Part M 1992.toilets in the Mawson Kerr seeked to address the shortfall of the courtyard fromItthe disabled parking bays which removing the need for the public to return to thethrough the provision of toilets is evidential in the new work Mawson Kerr has facilities to the public Fig. C1 complied with clause 1.9 from Part M 2015. South Entrance WC’s (car parking area).

and accessible toilets in the new design therefore

With the courtyard being the core accessible route to the the courtyard from1998 the disabled parking bays which removing the need for the public to return to the As the main existing cobbled access route may Stanton Williams did not comply with part M 1992 as it Full Planning visitor centre, Stanton Williams and SGS went beyond Part complied with clause 1.9 from Part M 2015. South Entrance WC’s (car parking area). provide difficulty for wheelchair users,Permission the new ramp M (1992) clause 0.2 as it states: “if, as part of the reconstrucgranted did not meet clause 4.9 (fig.v1)as it did not provide for by the sanitary ware for visitors within the building however tion of a building, other than a dwelling, it is impractical to entrance and a new clear defined forsurfaced works to Astothe existing cobbled route may Stanton Williams did not comply with part M 1992 as it make adjustments to the level of the existing principle en- route (fig. c1) access themain principal entrance hadof access south entrance WC was deemed accessible. conversion ruined the trance or any other appropriate existing entrance, tobeen permit difficulty wheelchair users, the new ramp did not meet clause 4.9 (fig.v1)as it did not provide for laid allowing provide for people to travelfor along themhall into banqueting independent access for wheelchair users, or to provide a new visitor centre and defined easily, without the by riskthe of tripping or falling. Mawson Mawson Kerr had to meet new requirements such aswithin the building however entrance and a new clear surfaced sanitary ware for visitors entrance is suitable the other requirements of Part M should museum Kerr to the main gate and removed the existing clause 5.10.g where doors opened outwards, however access route (fig. c1) to the principal entrance had the south entrance WC was deemed accessible. still apply”. shallow steps (fig.c2, and c3) within the courtyard was not able to meet 5.10.e (fig.v2) where dimension It is worth noting, within Part M in 1992, no specific requirebeen laid allowing for people to travel along them and replaced theseeasily, with ramps thatthe abided to Part increase from 1500Mawson to 2000mm its the ments were given for historic buildings. without risk of tripping orwidth falling. Mawson Kerrif had to only meet new requirements such as 3818

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MAWSON KERR PART M 2015 Does not comply with clause 5.10 as dimensions width is not 2000mm despite being the only accessible WC.

ensure that their work were inclusive and accessible for all people in align with Part M 2015. THE VISITOR CENTRE

done, as seen in the new identifiable access route in

Accessibility was a key requirement as English Heritage had a desire STAFF of creating safe public access and removal of traffic andWC clutter from the Abbey Headland. Thus, the accessible design went beyond the building and ensured that the Whitby Abbey monument was accessible through two levels (fig STAFF 4); Abbey Plain and the ground floor entrance of the visitor WC centre and up the first floor where a reinstated bridge leads onto pedestrian access routes to the level of the monument. This configuration reflected the access strategy of what it was in the 17th century. 1614

Fig. V1

wheelchair users, the new ramp by the entrance and a new clear defined It is worth noting, withinaccess Part M in 1992, no specific surfaced route (fig. 1)within to the prinIt is worth noting, Part M in 1992, no specific requirements were forhad historic buildings. Fig. 2.1 cipal given entrance been laid allowing requirements were given for historicRELICS buildings. RE-ANIMATING for people to travel along them easily, without the risk of tripping or falling. 1:15 1:15 Mawson Kerr to the main gate and removed the existing shallow steps (fig. 250 250 3) within the courtyard and replaced [D] A RE-IMAGINATION 3750 3750 PART M - PROVISION OF FULL ACCESSIBILITY WHILST RE-ACTIVATING HISTORIC LEVELS these with that abided to Part Fig. C3 [D] A ramps RE-IMAGINATION A. B. M (2015) clause 1.8, although it is worth The new ramps installed complied with clause 1.26 in which the gradient is 1:15 where the Mawson Kerr Architects were commissioned noting the previous design complied to look at improving the entrances to the site and interior 2 . With access being the driver for the design changes, Mawson Kerr aimed of the visitor centre in M 2018 withMawson Part (1992) clause 1.10 as well rise istobelow 330mm replacing Kerr Architects were commissioned to look at improving the entrances to the site and interiorthe shallow steps making it accessible for wheelchair users. since a ramp is adjacent to the ensure that their work were inclusive andexisting accessible for all people in align with Part M 2015. 2 of the visitor centre in 2018 . With access being the driver for the design changes, Mawson Kerr aimed to shallow steps.

KEY:

Several regulations has been put in place which not exist when Stanton Williams and SGS worke on the site, in which it complied with Part M 1992 It is evidential in the new work Mawson Kerr has done, as seen in the new identifiable access rout the courtyard from the disabled parking bays wh THE VISITOR CENTRE complied with clause 1.9 from Part M 2015.

shallow (fig.c2, Stanton Williams didsteps not comply withand c3) within the courtyard part M 1992 as itreplaced did not meet clause and these with ramps that abided to Pa 4.9 (fig. 2.1) as it did not provide for saniM (2015) clause 1.8, although it is worth noting th tary ware for visitors within the building previous designWC complied with Part M (1992) clau however the south entrance was deemed accessible. 1.10 as well since a ramp is adjacent to the existin Mawson Kerr had tosteps. meet new reshallow quirements such as clause 5.10.g where doors opened outwards, however was not able to2 meet 5.10.e (fig. 2.2) where English Heritage. 2020. Major Investment For Whitby Abbey | dimensionHeritage. width increase from 1500 to [online] Available at: <https://www.english-heritage.org.uk/abou 2000mm search-news/major-investment-for-whitby-abbey/> if its the only accessible WC. (Accessed 1 Novembe Under clause 0.18 in historic builiding, Fig. V2 this would have been deemed not “practically possible” therefore feasible. New clauses such as 2.13 were also met where effective clear width through single leaf door that did not exist in part M 1992.

BUILDING REGULATIONS

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Kerr to the main gate and removed the existing

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COURTYARD

Despite the Visitor Centre being As thetomain existing located centrally the site, only onecobbled access route may toilet is inprovide the existing design. Mawson difficulty for wheelchair users, the new r Kerr seeked to address the shortfall by the entrance and aof new clear defined surface facilities to the public through the proaccess (fig.toilets c1) to the principal entrance ha vision of toilets androute accessible allowing for people to travel along them in the newbeen designlaid therefore removing the need for the public to return theof tripping or falling. Maw easily, without the to risk South Entrance WC’s (car parking area).

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M (2015) clause 1.8, although it is worth noting the accessible WC. Under clause 0.18 in historic builiding, Kerr to the main gate and removed the existing clause 5.10.g where doors opened outwards, however previous design complied with Part M (1992) clause this would have been deemed not “practically shallow steps (fig.c2, and c3) within the courtyard was not able to meet 5.10.e (fig.v2) where dimension 2000 1.10 as well since a ramp is adjacent to the existing possible” therefore feasible. and replaced these with ramps that abided to Part width increase from 1500 to 2000mm if its the only Full Planning shallow steps.

Fig. 4

[C] A REFLECTION

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[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

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task 02 CONTRACT GAME contract simulation group report

TASK Students will operate in study groups of six in order to complete the exercise. [...] There are a total of 34 contract scenarios. For each scenario the study group should decide on an appropriate course of action which is decided through the selection of an appropriate clause or clauses in the contract. At the end of the project each student will have to produce the following documents: [1] Group Document: Each study group to produce a Word document detailing in sequence all attempted scenarios and including for each scenario; the scenario question, the final group answer and the correct answer. RESPONSE Despite taking place digitally, I was surprised to have realised that I thoroughly enjoyed taking part in the Contract Game as part of a group of students. The legislative side of architecture has never been one of my strengths hence I found the idea of working in group in order to solve real-life scenarios not only helpful, but refreshing.

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AM ES AZ KLi KLa SG PX

[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

task 02 CONTRACT GAME contract simulation individual report

TASK Students will operate in study groups of six in order to complete the exercise. [...] There are a total of 34 contract scenarios. For each scenario the study group should decide on an appropriate course of action which is decided through the selection of an appropriate clause or clauses in the contract. At the end of the project each student will have to produce the following documents: [2] Individual Report: Each individual team member is to submit one document for assessment: A 1500 (max) word reflection on how a different form of procurement and contract would have had an impact on the delivery of the Contract Simulation project in relation to time, cost and quality. The report should include an analysis of how particular cost control mechanisms evidenced in the simulation exercise, would operate differently under an alternative form of procurement and contract.

RESPONSE This report seeks to reflect upon the manner in which the delivery of the scenario project would be influenced by a different form of procurement and contract. Four crucial factors in the delivery of a successful project are being identified and scrutinised according to two procurement routes and their forms of contract: relationships, responsibilities, risks and costs. The scenario project utilised a Traditional procurement route with a 2016 version of the Scottish Standard Building Contract with Quantities (SBC/Q/ Scot). The report aims at comparing the above with a Design and Build procurement method with a 2016 version of the Design and Build Contract (DB 2016). In order to successfully enable a building project to be completed, it is vital that thoughtful consideration is given to potential procurement routes. The decision of choosing the most appropriate procurement method should be informed by the three most important facets of a building project: time, quality and cost.

BIBLIOGRAPHY Clamp, H., Cox, S., Lupton, S., Udom, K. (2012). “Which Contract? Choosing the appropriate building contract”. London: RIBA Publishing. Green, R. (2001). “The Architect’s Guide to Running a Job”. Oxford: Architectural Press. King, A., Knight, A., Griffith, A. (2001), “Understanding the dynamics of novation: a contractor’s perspective”. School of Environment and Development, Sheffield Hallam University. Lupton, S., Stellakis, M. (2019). “Which Contract? Choosing the appropriate building contract”. London: RIBA Publishing. RIBA (2020). “RIBA Plan of Work 2020 Overview”. London: RIBA Publishing. RIBA (2020). “RIBA Job Book”. London: RIBA Publishing. Speaight, A. (2010). “Architect’s Legal Handbook - The Law for Architects”. Oxford: Architectural Press.

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Shortest possible contract period

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Fig. 3 A comporative set of diagrams showing the on-site start date in relation to the design and construction phases for Traditional and Design and Build procurement methods.

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CONTRACTOR D.E.Struct Ltd.

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functional and contractual relationship

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Fig. 2 A comparative set of diagrams showing the contractual relationships for Traditional and Design and Build procurement methods for Bullgate House.

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CLIENT Charles Chore Ltd.

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A hypothetical contract profile comparing Traditional vs. Design and Build procurement methods for Bullgate House.

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Certainty over contract price, no fluctuation

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[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law

MArch2 [Semester I]

AM ES AZ KLi KLa SG PX

task 02 CONTRACT GAME contract simulation individual report

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[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

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task 03 ON-LINE EXAMINATION TASK Student will work in their pairs to answer two scenario based questions on the subject of architectural practice. PRACTICE SCENARIO Three recently qualified Part 3 students, (including you!) have won an open architectural competition to design and see through to completion an archive and education centre building project for Leith Docks worth £2.5 million with a fee of £180,000. The project will be funded by the Forth Ports Authority. As a result of this you intend to formally start up an architectural practice in Edinburgh. Please note your examination pair are two of the three individuals who will be involved in the setting up of the practice. This exam paper makes no reference to the Covid-19 pandemic. RESPONSE Kevin and myself worked at answering the examination questions digitally, from separate countries. Despite this, we organised our time well and decided to answer one question each. Once we completed the question we chose out of the two, we switched papers and challenged each others' answers with the aim of getting a well-rounded response to both questions.

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AM ES AZ KLi KLa SG PX

[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

question 1 FORMS OF BUSINESS

RESPONSE

Note from Practice Formation meeting:

Deciding on a legal structure is a crucial step for our practice as it is going to dramatically influence not only the business’ finance but also the public perception and future development of our company. The form of business should reflect our ethos as a practice. Alongside the three suggested business forms, two other options are common within the architectural industry: sole practitioner and partnership. However, these two business forms pose high financial risks as liability is unlimited to the extent of not only business but personal assets as well (Brookhouse, 2012). These are not feasible options for our practice as it would prevent us from taking the financial risks required to grow our business as envisioned.

We need as a fledgling practice to consider clearly our form of business options. Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any. Limited Liability Partnership, Limited Company or a Co-operative. Can you investigate the above ‘form of business’ options and provide a brief critical appraisal of their advantages and disadvantages. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding on a form of business? Look at key factors, such as business structure, professional liability, tax and administrative duties etc. A suggestion for an analytical framework might be Overview/ Ownership-Legal Structure/ Risk/ Tax/ Perception and Future development, feel free to add any other critical terms you might think appropriate. Conclude by making a recommendation as to which ‘form of business’ we should adopt and how this might shape the future direction of the practice.

OVERVIEW & LEGAL STRUCTURE A Limited Liability Partnership (LLP) is a legal structure established between two or more people, usually also owned by them, which distinguishes between a physical and legal entity. An LLP can be perceived as a “hybrid” that combines the flexibility of a partnership and the protection of a limited company (Brookhouse, 2012). A Limited Liability Company can be public (plc) or private (Ltd). The difference between the two lies in that the former provides members of the public with the opportunity to buy or sell shares in the company. However, the latter is much more prevalent within our industry and it allows members of staff with useful expertise to become directors or shareholders subject to availability of shares (Ostime, 2013). For the purposes of this critical appraisal, we will focus on the Private Limited Liability Company. An Ltd is a business owned by its shareholders and run by its directors. Although the two roles can coincide, it is important to distinguish between them, as shareholders can also be staff members, separate individuals, or companies (Foxell, 2015). Various forms of practice fall under the term ‘co-operative’, also known as ‘collaborative’. It refers to businesses in which the individuals who work for the enterprise both own it and control it. Within our industry, the most common collaborative is a common ownership cooperative – a collectively owned company (Ostime, 2013). PROFESSIONAL LIABILITY Unlike a traditional partnership, an LLP carries limited liability. Its members, either individuals or companies, are neither jointly nor severally liable for the debts of the business. Rather, every member is accountable by law to the extent of their nominal value invested in the enterprise (Foxell, 2015). Similarly, because it is a legal entity separate from its shareholders, an Ltd shareholder’s

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liability is limited to their stake within the company (Foxell, 2015). Cooperatives also benefit from limited liability. DOCUMENTATION & ADMINISTRATIVE DUTIES It is crucial to understand the relevant documentation applicable to each form of business. To register our practice as an LLP or Ltd, incorporation is required at Companies House. A cooperative can either register with the Registrar of Companies or the Register of Friendly Societies. The Limited Liability Partnerships Act 2000 and the Limited Liability Partnerships Regulations 2001 provide guidance and knowledge on legislation relevant to an LLP while the Companies Act 2006 refer to the lawful running of an Ltd (Foxell, 2015). We must carefully consider relevant legal agreements. In the case of an LLP, although not required, a deed of partnership will help steer clear of misunderstandings and confusion. In the context of an Ltd, a memorandum of association and articles of association are required. Both LLP and Ltd are required to submit annual accounts to Companies House giving information on the LLP and its members for the former and key details on the company and its directors for the latter. Additionally, an Ltd is also obliged to inform Companies House of certain changes such as new shareholders or allocated shares and mortgages entered into by its shareholders (Foxell, 2015). TAX Concerning taxation and NI implications, we consider an Ltd a more suitable business form as both directors and employees are subject to PAYE. This would prevent any occurrences of unexpected tax demands. Indeed, a corporation tax of 17% will apply on our income and capital profits after salary deduction (Foxell, 2015). However, in the context of an LLP, we are obliged to register as self-employed with HM Revenue & Customs within three months of embarking on our journey. As self-employed individuals, we are subject to income tax a year in arrears. This might prove troublesome as profits would likely fluctuate yearly. Although these implications are not to be neglected, we would strongly advise not choosing a business form solely for taxation reasons as contributions legislation changes frequently. PERCEPTION Given the thorough regulations requiring LLPs, Ltds and cooperatives to annually update their accounts and remuneration

details with Companies House (Osmite, 2013), all three forms of business would likely be perceived as credible enterprises. As this information is publicly available, potential clients, suppliers, and investors would acknowledge the transparency of the business and deem our practice as reliable and trustworthy. This is a significant advantage when compared to traditional partnerships or sole practitioners which may appear secretive with regards to sharing information on their finances. Although public recognition for these business forms may be positive, we must acknowledge that banks’ perception regarding lending funds can constitute a challenge because our liability is limited to the extent of our assets in the practice. ETHICAL ASPECTS Alongside our obligations as architects under the ARB and RIAS Codes of Professional Conduct, we must carefully consider our ethical attitude towards our future employees and the current industry. It is part of our ethos as a practice to nurture a pleasant, friendly working environment. Our chosen form of business should allow for an environment where a healthy work-life balance and the well-being of our employees are cherished and deemed essential in growing professionally. HIERARCHICAL / FLAT STRUCTURE

CONCLUSION In light of these considerations, we propose a Private Limited Liability Company (Ltd) as our form of business with a hierarchical organisational structure. As shareholders and directors of the company, we recommend starting with an equal share in the business. The flexibility of transferring shares will cater for any unforeseeable changes in administration and will also enable us to expand as a practice, potentially reaching international recognition. Despite relatively arduous administrative duties, our aspiration for transparency and credibility in the eyes of our future clients, suppliers, and investors will be met. Moreover, the practice will benefit from relevant tax systems by retaining profits within the business and contributing towards pensions. As directors, we will avoid sudden fluctuations in taxation at a later stage by benefitting from the PAYE system. Additionally, we are confident that choosing Ltd as our form of business will provide a solid foundation for the ethical values we wish to nurture within the practice.

We would like to offer our future employees opportunities for advancement within the business and possibilities in focusing on particular aspects of design they particularly enjoy. Therefore, we suggest a hierarchical organisational structure for our practice. Defined levels of leadership and responsibility are proven to enable individuals to specialise and master a specific function within the practice. It also accommodates a natural progression towards promotion within the practice which would sow the seeds of a pro-active, can-do attitude amongst our future employees. A cooperative tends to operate in a flat structure. This may lead to a paradox in public perception, therefore we consider this business form unsuitable for our practice. FUTURE DEVELOPMENT BIBLIOGRAPHY

As a fledgling practice, a crucial aspect for us is fostering an ability to prepare for and adapt to unforeseen changes. An Ltd is internationally recognised therefore business relations overseas might be easier to establish. Moreover, changes in ownership and directorship are relatively straight-forward as this form of business allows for the transfer of shares (Foxell, 2015). Thinking ahead, we consider that an LLP may not offer the same overseas opportunities as an Ltd.

Brookhouse, S., 2012. Professional Studies in Architecture: A Primer. 1st ed. London: RIBA Publishing, pp.27-33. Foxell, S., 2015. Starting a Practice, A Plan of Work. 2nd ed. Newcastle Upon Tyne: RIBA Publishing, pp.39-45. Ostime, N., 2013. RIBA Handbook of Practice and Management. 9th ed. London: RIBA Publications, pp.90-98.

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AM ES AZ KLi KLa SG PX

[2020]

MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

question 3 GETTING WORK Obviously we are delighted to have won our first commission and we look forward to working on this in the coming months. We have also been approached by a family member to design a house extension in the Borders, including some internal alterations to the existing Victorian property. All new work is welcome! But we need to now ensure that we continue to attract more work on a regular basis and we need to devise a set of clear and carefully considered methods for getting that work in. I wonder if you could write a short memo on the development of a ‘Getting Work’ practice-strategy. It should include both general points on good practice and any specific targets we should have.

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RESPONSE As a recently formed practice, establishing our brand and creating a network is crucial for our practice to be recognised and to get work. Attracting more work would be pertinent for our architectural practice and several strategies and tactics can be deployed to achieve this. Below I have developed a “Getting Work” practice-strategy our practice should adopt as we move forward which includes some general points and specific targets. “GETTING WORK” PRACTICE -STRATEGY BRAND Building and establishing our architectural firm’s brand should be at the forefront of our marketing strategy. The brand will embody our company’s ethos and should be evidential throughout our marketing collateral, therefore, overtime clients will be able to associate our ethos throughout our work (Ostime, 2013). As seen in the architectural competition we recently won to design the archive and education centre, sustainability and innovative construction were a focus of the design, therefore these themes should be evidential in our brand. By focusing on sustainability and innovative construction for projects in Scotland initially, this helps the firm to be more efficiently marketable and have a better opportunity to stand out in the industry. Our practice culture is embedded with a thrive for continuous learning and an awareness of the latest trends within the industry therefore this ensures the practice is continuously evolving.

future opportunities (Ostime, 2013). ADVERTISING Advertising and actively promoting the business is essential as it is imperative to have a constant stream of work. As a new practice, we should aim to get a new job every month to ensure a flow of new work and fees, regardless of scale; with this target advocated by John McAslan (Littlefield, 2012). A form of promotional tools that we will utilise is becoming a registered RIAS chartered practice. Through this, we will be able to feature within their directory therefore our practice’s information and projects can be viewed by potential clients (Ostime, 2013). Another promotional tool that can be beneficial for the practice, is media and press coverage in trade magazines or websites, such as Architect’s Journal. It is worth considering in the future contacting the magazines to advertise, although this can have high-cost implications, therefore, this is subjective to the practice’s financial situation at the time. When our projects, the archive and education centre and the house extension work in Borders is completed, the practice should aim to obtain press coverage which will generate publicity. It is worth noting we will need to obtain the client’s permission before the publication (Ostime, 2013). Another means to get work is taking the time responding to the advertisements looking for architectural services featured in the architectural press or online, although, not too much resource should be dedicated to this as an immediate result is not guaranteed (Foxell, 2015).

MARKETING

NETWORKING

To be approached by clients passively, marketing must be done effectively. There are several venues we will pursue with and a strong online presence is important in today’s digital era (Foxell, 2015). Through the creation of a carefully curated website and actively using social media platforms, such as Instagram, this allows us to further improve brand reputation and engage with a potential large plethora of clients (Ostime, 2013). These platforms can connect the clients directly to our business and bring in more work. As our practice grows and we undertake more projects, the firm should aim to publicise their work within an exhibition and aim to give presentations to provide more evidence of our professional record to establish a presence (Foxell, 2015). Within these venues, we will be able to advertise and promote our practice’s story and showcase a record of the work. A general good point of practice to note is monitoring is vital to marketing. This can be done by recording marketing activity against business activity (Littlefield, 2012).

Networking is a crucial form of creating new business opportunities as it is often a long-term method and can start from building upon existing contacts. Conversing and establishing personal relationships with colleagues, ex-classmates from university, contractors, construction professionals and existing clients/contacts is important as they may transpire to business opportunities (Osmite, 2013). This has proven effective already as our latest approach to design a house extension is obtained through personal recommendation from an existing contact. Another method of networking is to attend events and exhibition or joining associations to meet fellow construction professionals. Joining network such as Architects Declares and attending events regarding sustainability and innovative construction would be beneficial for our practice as these are the sector that resonates with our ethos. Our practice should aim to schedule a time to attend events roughly once per month. Through networking and meeting as many people, the relationship developed may provide

CLIENT APPROACH AND RELATIONSHIP If prospective clients and leads are identified, we must be proactive and devote time to follow up on leads (Foxell, 2015). Time and resources should be spent to understand where the best prospects may lead from as well as understanding the people and organisation targeted as potential clients. When approaching and selling to potential clients, an explanation of how our practice is perfect and can effectively resolve their problems should be given.

to engage in open tendering is worthwhile but many clients are seeking for competitive price and some occur registration fees to access their platform (Ostime, 2013). It is worth noting following Brexit, FTS has replaced OJEU/TED for procurement in the UK (Public-sector procurement, 2021). As a newly established practice, getting placed on a list of approved framework supplier will be difficult, therefore once the practice grows and gain more experience, we should aim to get placed on the frameworks supplier. This can be hugely rewarding as being part of an integrated supply team gives us more credibility in the eyes of public sector clients (Foxell, 2015). WORK

As noted in the “Handbook of Practice Management”, marketing data has suggested in the Architecture industry most of the work Practices’ procure is through existing clients or are through repeated commissions (Ostime, 2013). This is therefore crucial to be proactive in building a relationship with existing clients, and existing contacts. By keeping in touch with clients regularly, obtaining client satisfaction and achieving an excellent client relationship, this can lead to word-of-mouth references and personal recommendations leading to future new clients (Foxell, 2015).

As a new practice with interests in sustainability and innovative construction, we should aim to impose our ethos throughout our work. However, we must start to impose a track record of built work, therefore, we should not turn down small scale-built projects such as house extensions or internal alterations. By undertaking these works, this can lead to valuable experiences and a larger client base (Foxell, 2015).

DESIGN COMPETITION Having won our first commission through a design competition, this methodology of getting new work has proven successful for our practice in the past. Being a new practice, competitions invite will be rare therefore we should aim to enter open competitions that allows us to explore our design ideology and showcase our strengths. Competitions can be hugely rewarding as it allows us to potentially gain commission over more established practices (Ostime, 2013). Competition entries provide a great platform to further publicise our work and establish a presence within the industry, and sometimes competition losers work is still published. The process and publicity can lead to gaining useful contacts. However, it is worth noting our resources should not be mainly focused on competitions as this can be costly and often architectural competitions tends to fail to go into construction (Littlefield, 2012). PROCUREMENT AND TENDERING Another form of gaining work is through public procurement and getting listed on approved lists such as frameworks. Many public sector architectural opportunities are listed online on platforms such as Public Contract Scotland, Hubscape and FTS. Taking time

BIBLIOGRAPHY Foxell, S., 2015. Starting a Practice, A Plan of Work. 2nd ed. Newcastle Upon Tyne: RIBA Publishing, pp.99-106. Littlefield, D., 2012. The Architect’s Guide to Running a Practice. Oxford: Taylor and Francis, pp.9-37. Ostime, N., 2013. RIBA Handbook of Practice and Management. 9th ed. London: RIBA Publications, pp.112-127. GOV.UK. 2021. Public-sector procurement. [online] Available at: <https:// www.gov.uk/guidance/public-sector-procurement> [Accessed 21 January 2021].

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G

a series of processional performances [part i]

acqua alta

the garden of

island making vii

ISLAND TEMPORALITIES:

MArch2 [Semester I]

[2020]

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[course synopsis]

[learning outcomes]

The emphasis in this course, which gives students the opportunity to develop or initiate a major design project, is to bring students explorative and creative processes into dialogue with technological and environmental decision making.

[LO1] GC 1.3, 2.3, 3.3, 7.2, 7.3; GA 2.1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

The first semester of Island Temporalities: island making vii is broken down into four moves:

move 01

REGISTER, move 02 SURVEY, move 03 INHABIT, and move 04 CURATE. The studio is concerned with the nature of uncertainty, with change as it plays out over time in architecture and its landscapes. Building on six past iterations of the island territories programme, the studio seeks to address the nature of insularity in extreme environments where climate, economy, culture, politics and art - the stories that we tell about ourselves - inform the architectural language of a place creating agile, responsive, highly inventive, strange and beautiful buildings.

The following thesis investigates and designs for the city of Venice. A liquified landscape, it is tethered down by the Chimera - Querini Stampalia - a building which encompasses the concept of shifting identity and exemplifies the architectural uncertainty sought within the studio.

[LO3] GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3; GA 2.3 The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. [LO4] GC 1.1, 3.3; GA 2.2 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

[adrian hawker] [victoria bernie]

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

00:21

move 01 REGISTER things we draw from the storm

TASK

“Quick, Dorothy! she screamed. Run for the cellar!”

Before engaging with the archive of island cities and beginning our process of surveying, of mapping on the ground, we need to build a machine of sorts, a tool for calibrating our position in relation a terrain of layered histories and narratives; of possible ideas and proposed futures. A device for drawing out an attitude. Unlike ‘machine’, the word ‘device’ suggests a more intimate scale. To be ‘left to your own devices’ means that you are given a freedom to do your own thing. It is intimate and it is personal. At the start of the programme we are all in a state of estrangement, amongst strangers and entering a different way of doing things. To create a device in this context is therefore a form of introduction, a declaration of self.

RESPONSE Inspired by the musical fantasy film 'The Wizard of Oz', a device for registering the Kansas storm has been designed through tracing movements. In the midst of the cyclone which sends Dorothy's house spinning into the air, a re-ordering of things happens. Suddenly the cosy room becomes a strange place : peculiar objects spin around the trembling house.

[...] She was awakened by a shock, so sudden and severe that if Dorothy had not been lying on the soft bed she might have been hurt.”

THE CYCLONE

assemblage of text and images evoking the storm from the 1939 The Wizard of Oz movie

02:16

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

device(noun)

1. a thing made or adapted for a particular purpose, especially a piece of mechanical or electronic equipment: a measuring device 2. a bomb or other explosive weapon: an incendiary device 3. a plan, method, or trick with a particular aim: writing a letter to a newspaper is a traditional device for signaling dissent 4. a form of words intended to produce a particular effect in speech or a literary work: a rhetorical device 5. a drawing or design: the decorative device on the invitations 6. an emblematic or heraldic design: their shields bear the device of the Blazing Sun 7. (mass noun) archaic the design or look of something: works of strange device

“[...] Here is a larger pore; perhaps it was the nest of a larva. Not a woodworm, which would have continued digging after it was born, but a catterpillar that nibbled on leaves and was the reason the tree was chosen to be felled... This edge was trimmed by the woodworker with a gouge as to fit flush against the square beside it, which bulges...” Italo Calvino, “Invisible Cities” A PERFORMATIVE STORM[1]

assemblage of images, collages and text

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

“ Without detracting from the experience, I have sought to take some of the mistery out of intuition. It can be crafted. Tools used in certain ways organize this imaginative experience and with procutive results. Both limited and all-purpose instruments can enable us to take the imaginative leap necessary to repair material reality or guide us towards what we sense is an unknown reality latent with possibility.”

00:56

The process of image transfering onto the surface of the storm register turned into a performative storm in itself through the gestures of the hand scratching the paper with the pencil.

A PERFORMATIVE STORM[2]

series of photographs showing the process of image transfering

11:34

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ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

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08:47 - tape on corners of the table 09:13 - coffee 12:10 - intercom buzzing 13:02 - tea 14:24 - coffee 15:01 - table rotation 17:44 - tea 18:19 - projector on bottom half of device 18:22 - record projection 08:33 - coffee 10:12 - move table closer to window 11:57 - draw shadow of mug cast on surface 14:06 - remove drawers 16:03 - coffee 18:45 - move table to centre 19:12 - tilt table 22:34 - move table back in position 07:56 - coffee 11:44 - tilt table 90o 11:54 - projector on top half of device 11:55 - record projection 18:32 - coffee spill 20:04 - move table back in position

The scene illustrating the extreme forces of the cyclone were of particular interest in creating the storm register. Both camera movements and the subjects moving within its frame provided points of origin for tracing vectors. The register is also interested , along side the precision of projecting movements, with the peculiarity of chance: day-to-day forces acting upon the drawing are being recorded on its surface.

Extract from diary

When she was halfway across the room there came a great shriek from the wind, and the house shook so hard that she lost her footing and sat down suddenly upon the floor. Then a strange thing happened. The house whirled around two or three times and rose slowly through the air. Dorothy felt as if she were going up in a balloon. The north and south winds met where the house stood, and made it the exact center of the cyclone. In the middle of a cyclone the air is generally still, but the great pressure of the wind on every side of the house raised it up higher and higher, until it was at the very top of the cyclone; and there it remained and was carried miles and miles away as easily as you could carry a feather.1 1

Baum, L. F. (2020). The Wizard of Oz. New York: Puffin Books.

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

lagan

jetsam

flotsam

derelict

[læɡən] (also called “ligan”) refers to goods that are cast overboard and are heavy enough to sink to the ocean floor, but are tied or otherwise linked to a floating marker, such as a buoy or cork, so that they can be found again by whoever marked the item. Lagan can also refer to large objects that are trapped within the sinking vessel.

[dʒɛtsəm] designates the portion of a cargo that is intentionally thrown overboard to lighten a ship, as during a storm or when in danger of sinking.

[flɒtsəm] (also known as “flotsan”) refers to the goods of a sunken or stricken vessel found floating on the surface of the sea.

[dɛrilikt] can refer to goods that have sunk to the ocean floor, relinquished willingly or forcefully by its owner, and thus abandoned, but which no one has any hope of reclaiming.

The storm register appears to me as a bathymetric mapping of objects and other findings. Its watery qualities speak to the Venetian lagoon and its flotsam and jetsam.

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ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

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[...] there is a channel, some three miles wide, between the city and the mainland, and some mile and a half wide between it and the sandy breakwater called the Lido, which divides the lagoon from the Adriatic, but which is so low as hardly to disturb the impression of the city’s having been built in the midst of the ocean, although the secret of its true position is partly, yet not painfully, betrayed by the clusters of piles set to mark the deep-water channels, which undulate far away in spotty chains like the studded backs of huge sea-snakes, and by the quick glittering of the crisped and crowded waves that flicker and dance before the strong winds upon the unlifted level of the shallow sea.

1. Lazarette Nuovo 2. Murano 3. San Michele 4. Castello 5. Sacca Sessola 6. Pellestrina Lido 7. Chiogga

John Ruskin, “Stones of Venice”, Vol. X

VENICE LAGOON map scale 1:200 000 0m

4km

16km

32km

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

move 02 SURVEY Chimera and the Plane Table

TASK Studio G continues through three further 'moves'. The individual drawing device will guide us to the atelier formation and a project of island making which will take place within the Chimera building allocated to your atelier. Here the island will be made manifest through a process of crafted investigation with the intention of constructing a device at the scale of a piece of furniture (The Plane Table) that both reimagines the island in question and works upon it by dint of its ability to pivot, invert, dismantle, mantle, dislocate, untether and dock forces, artefacts and conditions recognised as significant to the evolving understanding of the island as a condition of temporality and uncertainty.

‘swimming at the Querini Stampalia Foundation’ Travertine is petrified water and looks like it.

Michael Cadwell, “Strange Details”

Had the tide been only a foot or eighteen inches higher in its rise, the water-access to the doors of the palaces would have been impossible: even as it is, there is sometimes a little difficulty, at the ebb, in landing without setting foot upon the lower and slippery steps: and the highest tides sometimes enter the courtyards, and overflow the entrance halls. John Ruskin, “Stones of Venice”, Vol X

RESPONSE As explored by Michael Cadwell in ‘Strange Details’, Scarpa’s intervention for Querini Stampalia features misalignments of certain elements such as the columns leading to the garden. These are in contrast with a very precise positioning of surfaces in section. Datum lines run from the Campiello at the front all the way to the wall at the rear of the garden reminding oneself of a bathymetric section.

3 2

These reference lines have been scrutinised as part of the thesis and they informed architectural gestures in the developing of the workshops and yards in the Arsenale Vecchio in relationship with the existing urban fabric.

Horizontal Datum Lines 1. 2. 3. 4. 5.

Canal Water Gallery Floor Concrete Revetment Picture Rail and Bridge Crest Gallery Ceiling and Bridge Rail

CHIMERA // QUERINI STAMPALIA section AA scale 1:100 0m

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ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

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move 02 SURVEY Chimera and the Plane Table

The bathymetric quality of the sections in Querini Stampalia are further investigated through a process of liquification and alongside Scarpa’s environmental quality of the lagoon that we can experience in the building, a cultural caigo of artifacts invades and dissolves the spaces into a cloud of Venetian fragments.

A NEW TERRITORY parterre plan

Horizontal Datum Lines: 1. Canal Water 2. Gallery Floor 3. Concrete Revetment 4. Picture Rail and Bridge Crest 5. Gallery Ceiling and Bridge Rail

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ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

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The white cloud of artifacts transforms the Querini Stampalia and its parterre into a liquified territory. The parterre plan shows the early stages of a sciagraphical journey with the aim of developing an architectural language.

The stills from the storm video give a sense of a strange sub-merged landscape where past solid objects liquified into a white cloud - caigo.

I. THE BELL AND THE WHITE CLOUD

III. THE FICTION OF SOLIDITY

VI. DRIFTING LABYRINTH

II. THE VORTEX WELL

IV. JOSTLING FOR POSITION

V. THE CABINET OF CURIOSITIES

VII. UNPACKING THE CAIGO

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° 190

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

The Lagoon operates at the scale of clouds and its character is determined by their shifting presence.

LAGOON

151°

The Plane Table constitutes the results of precise and intentional dislocations at different scales: the lagoon, the insula, the piazza and the campo. Their ability to pivot is underpinned by key architectural moments from within the Chimera.

129 °

INSULAS

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location: Venice centering on lagoon -> Church within campo; orientation: Grand Canal parellel to entrance of the Church;

LAGOON CALLIBRATION 1:2,000,000

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133° ° 112

Lido Pellestrina: natural barrier between the sea and lagoon placed -> boundary of the chimera San Michel: island of cemetery -> sacrificial space of the North East room Castello: Arsenale and gardens -> garden of chimera Chiogga: central canal -> main circulation space on first floor Murano: glass factory -> glass chandelier in Green drawing room on first floor

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° 157 44°

PIAZZA

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Campos are not simply public squares in Venice; they are cisterns as well, floating cisterns.

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orientation: aligning axis between two wells in Campo Santa Maria Formosa to that of the water features in the Querini Stampalia garden

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° 83

ground floor plan scale 1:200 4m

CAMPO

CALLIBRATION AND NEGOTIATION 0m

133°

1. entrance bridge 2. foyer 3. watergate grilled gate 4. porch 5. northeast room 6. radiator column 7. main exhibition room 8. staircase to library 9. travertine door 10. southwest room 11. garden terrace 12. lawn 13. water source 14. water tray 15. dry well 16. potting yard 17. garden door 18. former entrance

location: pier of the Molo (arrival point of Venice) -> bridge of the chimera

33°

‘Throughout the centuries of turmoil it remained the place of meeting and assignation.‘

16m

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

THE PLANE TABLE

map bringing together the map callibrations and the chimera storm

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move 03 INHABIT Chamber Lock (i)

TASK The individual development of a prototypical architectural moment as a response to the analytical enquiry of the Plane Table in considered dialogue with the fabric of the Chimera. [...] As a Chamber, its architecture should provide sufficient accommodation for the private repose and obsessive activity of an occupant whose concerns are informed by a particular aspect of the research and analysis embedded within, and revealed through the design of the Plane Table. As a Lock, its architecture should engage with the spatial grain and fabric of the Chimera - it should lock in place, engage. The four Chamber Locks of the atelier should be in clear dialogue with one another across the terrain of the Chimera and in relation to the Plane Table.

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RESPONSE The Chamber Lock is caught within the storm, between the existing urban fabric of Chimera's immediate parterre. Emerged from the sciagraphical study of the Plane Table, the four chamber locks represent four distinct attitudes on Venice, for each member of the atelier. The paintings in the upper floor of Querini Stampalia are set adrift in the white cloud and get (re)stored and exhibited in the lock.

CHAMBER LOCK WITHIN THE STORM sectional axonometric

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ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

8 4

1. Copper struts connected on the underside of a copper floor 2. Anodised black steel panels 3. Copper stair with copper struts and handrail 4. Portal timber frame 5. Copper panels for viewing deck 6. Metal frame fabric/translucent material canopy 7. Anodised black aluminium gutter 8. Timber frame panels 9. Limestone plates 10. Black metal rail mechanism to allow movement of paintings 11. White fabric light box 11. Limestone plates 12. Built in timber support featuring pivoting table

A MOMENT IN THE SERIES OF PROCESSIONAL PERFORMANCES OF THE GARDEN OF ACQUA ALTA axonometric projection

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[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

1 13

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a. Bow b. Stern c. Starboard Side (right) d. Port Side (left)

1. Canal 2. Bridge 3. Stair 4. Antechamber 5. Vestibule 6. Viewing Stool 7. Starboard Deck 8. Semi-enclosed space open to canal 9. Landing Platform 10. Gallery 11. Painting Racks 12. Limestone Plates 13. Limestone Lining 14. Port Side Deck 15. Painting Study Chamber 16. Studiolo

Frans Franken the Younger, “Cabinet of Curiosities”, 1636

A SPATIAL LANGUAGE[1] // CHAMBER LOCK floor plan scale 1:50 0m

One of the first known story of Italians who showed a selective approach to collecting, was the poet Petrarch. The genius of the sonnets collected decent even by today’s standards the collection of coins and books, as well as determined approach to the formation of the “studiolo” — separate rooms for storing collections of objects.

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ES AM SG PX KL AZ KL

[2020]

ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

plan cutting line

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a. Bow b. Stern c. Starboard Side (right) d. Port Side (left)

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1. Canal 2. Bridge 3. Stair 4. Antechamber 5. Vestibule 6. Viewing Stool 7. Starboard Deck 8. Semi-enclosed space open to canal 9. Landing Platform 10. Painting Racks 11. Limestone Plates 12. Limestone Lining on Existing Building’s Room 13. Port Side Deck 14. Painting Study Chamber 15. Sail 16. Lightbox 17. Window Carved into Existing Fabric

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A SPATIAL LANGUAGE[2] // CHAMBER LOCK section scale 1:50 0m

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ISLAND TEMPORALITIES: island making vii design studio G MArch2 [Semester I]

INHABITATION

sectional perspective

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[2021]

ISLAND TEMPORALITIES: island making vii design studio B

a series of processional performances [part ii]

acqua alta

the garden of

island making vii

ISLAND TEMPORALITIES:

MArch2 [Semester II]

[2021]

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[course synopsis]

[learning outcomes]

The emphasis in this course falls upon the development and refinement of the structural, material, technical, environmental and legislative aspects of the student's design project. These, however, are not pursued as ends in themselves, but as part of a fully integrated design project guided by conceptual, theoretical, contextual and ethical concerns. The course is structured around weekly studio meetings and discussions with structural and environmental consultants.

[LO1] GC 1.1, 1.3, 3.3, 5.1, 5.3, 6.3, 7.1, 7.2, 7.3; GA 2.1 A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts).

The second semester of Island Temporalities: island making vii is broken down into two moves:

move 05

FIELDS + GATES + LOCKS (stories within stories), and move 06 CURATE. The studio moves from the world of detail, the habitable, of looking in and seeing out in the Chimera and the Parterre, to the cultural landscape of the Field, the meaningful and complex architectural assemblage of the Gate and the material and structural specificity of the Lock. The thesis broadens its field of enquiry and, set adrift, it eventually re-locates within the Medieval walls of the Arsenale di Venezia.

[LO2] GC 1.2, 1.3, 4.3, 7.1, 8.1, 8.2, 9.1, 9.2, 9.3, 10.3; GA 2.3, 2.5 A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants. [LO3] GC 1.2, 5.2, 8.3, 9.1, 9.2, 9.3; GA 2.1 An understanding of the issues relating to the question of sustainability, and its concomitant architectural, technological, environmental and urban strategies. [LO4] GA 1.1, 3.3; A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

[adrian hawker] [victoria bernie]

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[2021]

ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

AM ES AZ KLi KLa SG PX

restoration workshop // small to medium sized paintings

workers’ reception, shower and toilet facilities

A series of workshops and yards populate the former warehouses re-activating the site on which ships were built centuries ago. The ship building process is therefore an integral part in the decision-making process with regards to materials and sequence of construction.

art studio // community led workshops

The arrangement of the pavilions allow for a transaction with the existing and is enriched by the collonades. The Medieval Wall becomes a gate to Castello and ensures a socially and economically integrated area. The thesis aims at creating a sense of community and stewardship by involving both locals and tourists. exhibition area // Venice Biennale & Arsenale Vecchio artwork for display

A PROGRAMMATIC ARRANGEMENT paper folds // Arsenale di Venezia

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

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AM ES AZ KLi KLa SG PX

1. Semi-enclosed space open to canal. The existing shell of a typical Castello building located on Calle Celsi also provides access to the series of Gates through the Lock 2. Portal steel structure supporting the existing wall and the existing timber beams 3. Pre-fabricated RHS steel beam to support existing masonry wall 4. Starboard Deck 5. Anodised black aluminium gutter 6. Sail 7. Bridge 8. Sluice gate - series of translating and revolving metal panels controlling the levels of water 9. Existing canal 10. Existing Medieval Wall 11. Proposed openings through existing wall 12. Port Side Deck 13. Metal structure 14. Proposed Istrian marble lades 15. Proposed Istrian marble gargoyles 16. Proposed marshy landscape 17. Painting Study Chamber 18. Lightbox 19. Painting Racks 20. Limestone sheets housing the painting racks LOCK // ARSENALE DI VENEZIA sectional perspective

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[2021]

ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

1] TERRITORY

2] CANALS

3] SHADOW STUDY

4] QUERINI STAMPALIA PARTERRE

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AM ES AZ KLi KLa SG PX

5] PAPER FOLDS

Just like the multiple layers of silt within the lagoon, the overlays constructing this map bring forth distinct qualities of a liquified marshy landscape.

A NEW TERRITORY

an emergence of ground conditions

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

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AM ES AZ KLi KLa SG PX

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AM ES AZ KLi KLa SG PX

[2021]

ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

[H] HUSK [m] timber + insulation + copper [e] creating a highly controlled environment tailored for Venetian artwork [c] precise openings which directly connect with the Medieval wall and the landscape beyond [f] painting restoration activities which require a regulated space in terms of humidity, temperature and light

[S] STAIR [m] [e] [c] [f]

steel + timber a vertical transition between different levels of ‘dryness’ addresses the Medival wall and masonry collonade circulation and viewing platform

[M] MASK [m] [e] [c] [f]

steel + timber + aluminium a threshold - a transition from one condition to another (inside/outside) facade which adresses the Arsenale Vecchio beyond framing, obstructing, revealing views

[B] BRIDGE [m] [e] [c] [f]

steel + timber + aluminium creating a journey through multiple micro-environments forms a connection between the existing masonry collonades and the proposed steel and timber portal frames circulation and viewing platform

[R] RAFT [m] [e] [c] [f]

steel + timber creating a dry environment in the marshy landscape yet open to flooding an anchorage into the marshy landscape painting restoration activities which require open space

[m] - materiality [e] - environment

VENETIAN ELEMENTS exploded axonometric

[c] - context [f] - function

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AM ES AZ KLi KLa SG PX

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AM ES AZ KLi KLa SG PX

[2021]

ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

4 A

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Cabinet making atelier, Calle del Tragheto, Venice

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1. Existing arches 2. Existing Medieval Wall 3. Existing canal 4. Proposed marshy landscape 5. Proposed Istrian marble lades 6. Access from canal 7. Painting stretchers’ metal hanger 8. Istrian marble cloak cupboard 9. Racks and flatfiles for storing paintings 10. Istrian marble chemicals cupboard 11. Istrian marble flooring for varnishing area 12. Opening for ventilation 13. Revolving timber desk for mounting paintings to stretchers 14. Photography area 15. Extruded aluminium frame for storing paper rolls and tools 16. Computer and technological equipment area

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AM ES AZ KLi KLa SG PX

[2021]

ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

18 16

upper level plan

1. Existing arches 2. Existing Medieval Wall 3. Existing canal 4. Proposed marshy landscape 5. Proposed Istrian marble lades 6. Metal frame resting on marble ‘swellings’ 7. Painting stretchers’ yard / sheltered outdoor space for restoration 8. Stair to studio 9. Access from canal 10. Metal frame and panels obstructing/ revealing views 11. Puncture through existing wall Hung metal deck floating between Castello and Arsenale Vecchio 12. Main entrance 13. Lower level - storing, recording and mounting paintings 14. Revolving timber desk for close investigations of paintings 15. Timber flatfiles for finished pieces between limestone sheets Velvet top for placing the painting onto upon discussion with client 16. Lightbox 17. Openings allowing for control of lighting within the studio 18. Lamp 19. Public bridge 20. Water gates manipulating the direction of water through the lades

lower level plan

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garden level plan

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SECTION AA

section originally drawn at 1:50

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

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AM ES AZ KLi KLa SG PX

1. Existing arches 2. Existing Medieval Wall 3. Proposed marshy landscape 4. Proposed Istrian marble lades 5. Metal frame resting on marble ‘swellings’ 6. Painting stretchers’ yard / sheltered outdoor space for restoration 7. Winding stair to upper level 8. Main entrance 9. Painting stretchers’ metal hanger 10. Racks and flatfiles for storing paintings 11. Photography area 12. Computer and technological equipment area 13. Revolving timber desk for close investigations of paintings 14. Timber chest for oils 15. Revolving extruded aluminium easels for painting restoration 16. Opening for ventilation 17. Glazed seam 18. Metal frame and mesh viewing deck SECTION BB

section originally drawn at 1:50

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

LIQUIFIED FIELD map

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[2021]

ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

1. Existing arches 2. Existing Medieval Wall 3. Existing canal 4. Proposed marshy landscape 5. Proposed Istrian marble lades 6. Metal frame resting on marble ‘swellings’ 7. Painting stretchers’ yard / sheltered outdoor space for restoration 8. Stair to studio 9. Access from canal 10. Metal frame and panels obstructing/revealing views 11. Puncture through existing wall Hung metal deck floating between Castello and Arsenale Vecchio 12. Main entrance 13. Lower level - storing, recording and mounting paintings 14. Revolving timber desk for close investigations of paintings 15. Timber flatfiles for finished pieces between limestone sheets Velvet top for placing the painting onto upon discussion with client 16. Lightbox 17. Openings allowing for control of lighting within the studio 18. Lamp 19. Public bridge 20. Water gates manipulating the direction of water through the lades

GATE

sectional perspective

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

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AM ES AZ KLi KLa SG PX

8 9

1. copper sheeting 2. 40/50 mm wood battens 3. 40/50 mm wood distance pieces in short lenghts 4. 50/50 horizontal wood battens and 50 mm multi-layer thermal insulation: wadding fleece/foamed material/reflecting foil 5. polythene sheet vapour barrier 6. 20/150 mm tongued-and-grooved timber boarding with staggered joints 7. 9.5mm squared edge custom sized plaster board 8. oculus, double glazing 9. 2 x 50/200 mm beams 10. white textile lightbox

SECTION CC

section originally drawn at 1:10 and 1:5

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

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AM ES AZ KLi KLa SG PX

// istrian marble

// steel

// timber

// aluminium

// copper

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AM ES AZ KLi KLa SG PX

Albrecht Durer’s Saint Jerome in His Study is a copper engraving from 1514 showing Saint Jerome engrossed in work

Similarly to Saint Jerome’s study, the interior of the gate focuses on providing an almost monastic way of working where the processional performance of restoring paintings is being celebrated.

SAINT JEROME IN HIS CELL north-east axonometric

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AM ES AZ KLi KLa SG PX

“Set out, explore every coast, and seek this city,” the Khan says to Marco. “Then come back and tell me if my dream corresponds to reality.” “Forgive me, my lord, there is no doubt that sooner or later I shall set sail from that dock,” says Marco, “but I shall not come back to tell you about it. The city exists and it has a simple secret: it knows only departures, not returns.” Italo Calvino, “Invisible Cities”

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ISLAND TEMPORALITIES: island making vii design studio B MArch2 [Semester II]

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[2021]

ISLAND TEMPORALITIES: island making vii design report

T H E G A R D E N O F A C Q U A A LTA

design report

island making vii

ISLAND TEMPORALITIES:

MArch2 [Semester II]

[2021]

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[course aims]

[course synopsis]

[learning outcomes]

[A1] Construct a design report as a designed object that effectively, efficiently and eloquently introduces an architectural design project or design thesis undertaken during the MArch Programme.

This course, taken in the final semester of the programme, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the programme. The design report sets out the research and design development undertaken, incorporating images including the key representations of the project itself.

[LO1] GC 2.1, 2.3, 3.3; GA 2.1, 2.4, 2.6 The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

[A2] Appropriately structure and present a comprehensive design report as a fully referenced academic document which demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design and reflects upon aspects of personal architectural practice.

The design report should allow the reader to follow the student's study process, allowing an understanding of the material examined, decisions taken, etc. The design report is also a reflective document allowing the student to reflect not only on their finished project but also a key aspect of their methodology and practice. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object.

[LO2] GC 2.2, 2.3, 8.1, 8.2, 9.3; GA 2.1, 2.2, 2.3, 2.4, 2.6, 2.7 Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context. [LO3] GC 1.1, 3.3; GA 2.2, 2.4 The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.

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ISLAND TEMPORALITIES: island making vii design report MArch2 [Semester II]

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AM ES AZ KLi KLa SG PX

A DESIGN REPORT

TASK The report is to be a designed object as well as an academic document. While the ongoing pandemic will demand that this is a digital submission, it should be conceived and presented as though ready for print.

RESPONSE "It is hoped that this report will be used as a guidebook, or rather a maritime chart of sorts, to steer the reader through the exhibition by means of drifting images and annotations on a wet page, and firmly tethered textual fragments and asides suggestive of a patch of dry land within these strange waters." (extract from Prologue)

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ISLAND TEMPORALITIES: island making vii design report MArch2 [Semester II]

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[2021]

ISLAND TEMPORALITIES: island making vii design report MArch2 [Semester II]

an architectural masquerade / masked characters

timber poles on wet surfaces / tethering points

two voices / doubling / reflection in the Venetian waters

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