Academic Portfolio 2
Silvia Maria Gioia Puddu Master of Architecture 2019-2021 S1346413
YEAR 1
Semester 1
Architectural Design Studio C
Architectural Technology Research [ATR] Investigating D aylight / A study i nto the qual i tati ve and quanti tati ve l i ght i n a worki ng envi ronm ent Lewis Brown & Gioia Puddu MArch 1 28th October 2019
Fieldwork
Semester 2
Architectural design studio D
Studies in Contemporary Architectural Theory [SCAT]
Summer project
YEAR 2
Semester 3
Architectural Design Studio A
Semester 4
Architectural Design Studio H
Architectural Management, Practice and Law [AMPL]
Design Report
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Courses
ARB General Criteria
4
[GC]
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Students: Silvia Maria Gioia Puddu SMGP Lewis Brown LB Yuchen Liu YL Jack Parmar JP Kevin Lee KL Mohd Ridwan Naim MRN Mok Chit Yeung MCY
ARB Graduate Attributes
[GA]
2.1
2.2
2.3
2.4
2.5
2.6
2.7
SMGP
The Cosmology of a Palimpsest. Memories of Ahmedabad.
The thesis evokes the Palimpsest that constitutes Ahmedabad as a multistratification of times and cultures, that are expressed both in presence of absences and in absence of presences. The focus of the thesis, like a primary cell of the complex cosmology of the city itself, is an area in the south east riverbank of Ahmedabad, at a critical point that marks the end of the historic city. The “Palimpsest” is a writing that has been superimposed on effaced earlier writings. It is a situation of multiple writings and multiple simultaneous readings. In the old wall times and spaces collide. In the new walls times and spaces collide. The methodology studied here deals with extrapolating different elements (material, immaterial, natural...) from the site and making them become new “spaces” that will be described in a specific time chosen from an infinite number of possible times. This echoes the title of the studio: “Ahmedabad: Past, Present and Possible.” The results are a cosmogeny of elements and an incomplete cosmology of “immaterial” materials, like a shore that collects and connects to give a new sense to once disparate drifting material fragments,
fecundating them with greater life as the Sabarmati wetness does to the Gujurat dryness. The project culminated in semester 4 with the introduction of a parallelism with a card game, in which each hand represents an incomplete cosmology in a deck of infinite cosmological possibilities. The site is illustrated as if there was a cosmogenic principle of assembly between the parts, an incomplete cosmology with a cosmogenic principle that follows a chronology of development which is the one through which I developed the architecture. Parts of the “old” are also part of the cosmology, as if to mean that the new design has the task of bringing a forgotten past to life. The table on which the cards are laid down becomes a cosmological device, like a horrery, a machinery that realizes the cosmological rules of invention to establish the orders and relationships among the parts. The architectures are part of an incomplete cosmological system, a hand extrapolated from an infinite deck or infinite layers of Palimpsest. Like in a memory theater each of the parts occupies a precise space that speaks for itself, has its own cosmogenicity that is evoked in its own shapes, but at the same time, as part
of a totality which is more than the sum of the parts, it could not be separated from its cosmological position. Concretely the site is enclosed by a southern lower level and changes towards the north following the curved lines of the road and the Sabarmati river in a northerly direction until it reaches the other focal point, that of the building embedded in the old wall, which best embodies the “Palimpsest”. To evoke this methodological concept, the new architecture is expressed with different materials. Steel, corten, aluminum, concrete, bricks, wood and climbing plants. The city of Ahmedabad itself, could be seen as a Cosmology, one composed and nourished by a multitude of realities that coexist in the chaotic metropolitan city in constant evolution in which Monuments of the Mugal era coexist with the traces of a landscape of abandoned mills and urban beautification projects; stone monuments and modernist architecture. During the field trip we were able to witness to this complex reality, but at the same time, I noticed how strong the communitarian dimension of sharing, communicating and narrating is. This, lead many people to occupy the city
in the most disparate and often non predictable meeting places. I feel like India is less linked than the western world to the private dimension of the home. With this in mind, and, moreover, because of the tragic reality that India is currently experiencing, that keeps people apart and damages an already precarious system, I thought that it could be a good general approach to offer managed meeting places to the local communities, with rules, times and distances to be respected. In my thesis, this concrete idea has its roots on an architectural "dream" of a place of possible timeless suggestions, a cosmology of invention, a Pantheon without gods.
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Para-situation [Ahmedabad]: "Past, Present and Possible" Walls, Wells, Pols and Gates
"In this research-by design project focusing on Ahmedabad, we will operate principles of Ecosophic Urbanism and we will be interested in relations between places of work, civic amenities and dwellings and how each of these categories engage with the environment. We also explore water as a principle theme. The Sabarmati Riverfront Project is one aspect of a Gujurat-wide hydro-economic landscape. Ahmedabad and the Gujurat environment has a rich history of water architecture and this studio will engage with re-invigorated waterphilosophies and their respective architectural embodiments. We too, as Patrick Geddes, will look for, “a civic policy for the opening generation, in which the heritage of the past may be respected, the best activities of the present maintained and increased, yet the free expansion and activity of the enlarging future found fuller and fuller scope also.”
Learning Outcomes [LO]: LO1 - The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. LO2 - 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 - LO3 – A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.
Historically, production in Ahmedabad has concentrated around “family, community and guild.” Ahmedabad has always been a historic trading city, Hindu, then Mughal in the 15th century and then with Jain and Vaishnava Bania merchants taking economic control in the 19th and 20th centuries with textiles mills becoming a major economy. It is unlikely that the relationship between the mill owners and mill workers operated with great sensitivity to the ecology of the landscape. We propose that Ahmedabad offers its own resistance to Integrated World Capitalism so that the fecund and loving metropolitan landscape delivers nutrition and economy. Therefore, we will be particularly interested in the various employments in Ahmedabad, the richness of the guilds, how they are instituted, how they are maintained, how they give reason to the people of Ahmedabad to be there and which situate and condition their domestic and social relations."
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[GA]
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
The city of Ahmedabad is composed and nourished by a multitude of realities that coexist in the chaotic metropolitan city in constant evolution. Monuments of the Mugal era coexist with the traces of a landscape of abandoned mills and urban beautification projects; stone monuments and modernist architecture. An exemplary image of this multifaceted reality, is a 1954 photo that shows the dye workers in foreground with the Millowners Association, seen from the east side of the Sabarmati.
7
[GC]
1.1 1.2 1.3
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3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
The following collection of images, geometric manipulations and diagrams represent the way in which I interfaced with some of the various possible “Situations” that characterize the city of Ahmedabad. The study situations.
started
with
two
The first one was the Rani no Hajiro, a place suspended within the life of the market, that is parasitically intertwined with the monument, and the dead world within its chore, consisting of a cemetery dedicated to the queens of Ahmedabad. The second one was the Mill Owners’ Association’s building, a temple of modernism signed Le Corbusier, home of the association of cotton manufacturers.
Shadow of two worlds
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[GC]
1.1 1.2 1.3
2.1 2.2 2.3
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
2.1
2.2
2.3
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SMGP
Rout
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Mill Owners’ Association Building and Rani No Hajiro. Comparison of their entrances.
9
[GC]
1.1 1.2 1.3
2.1 2.2 2.3
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
2.1
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Mill Owner’s Association Building
SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Two situations and their fragments
Two situations and their fragments
Relics of a non-existent world
Relics of a non-existent world
10
[GC]
1.1 1.2 1.3
2.1 2.2 2.3
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
2.1
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Rani No Hajiro / Ahmed Shah’s Tomb Geometrical patterns and chaotic paths
Ran
Rani No Hajiro and Ahmed Shah’s Tomb. Geometrical patterns and chaotic paths
11
[GC]
1.1 1.2 1.3
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Rani No Hajiro plan and section
[GA]
2.1
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Rani No Hajiro perspective and detail of the Jaali windows
12
[GC]
1.1 1.2 1.3
2.1 2.2 2.3
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[GA]
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Rani no Hajiro - perspective and patterns of the Jaali windows
SMGP
Studio C
13
[GC]
[ATR]
1.1 1.2 1.3
2.1 2.2 2.3
Studio D
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[SCAT]
[AMPL]
Studio A
[GA]
2.1
2.2
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Studio H
2.5
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Design Report
SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Perspective synthesis of the Mill Owner Association Building
Perspective synthesis of the Mill Owners’ Association Building
14
[GC]
1.1 1.2 1.3
2.1 2.2 2.3
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
2.1
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Riverfront Riverfront
Baba Lului’s Mosque Baba Lului's Mosque
Chawls Chawls
Design Report
Studio H
Calico Mills Land Calico Mills Land
Chawls Chawls
Road Road
Residence Residences
Bukhari Kabristan Bukhari Kabristan
The researh carried out on the first semester lead me to study two other situations just outside the historic walls and close to the “new wall” on the south-east bank of the Sabarmati river. The first site was the Baba Lului’s Mosque, part of the borders of a large forlorn area called Calico Mills.
Sardar Bridge
Here, as it was clarified during the Field Trip, there exist many contradictions that concern Ahmedabad, such as neglected heritages, large slums and bad management of spaces. Its fragmentation make it a right place for testing architecture.
0
10
20
40
Planimetry and section of the Calico Mills
80 m
Planimetry and section of the Calico Mills
15
[GC]
1.1 1.2 1.3
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[GA]
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Baba Lului’s Mosque. East elevation and detail of a Minaret
16
[GC]
1.1 1.2 1.3
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[GA]
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Khan Jahan's Mosque Khan Jahan Mosque
The second situation was the one in front of the Khan Jahan' s Mosque, in an area North of the Calico Mills and beyond the Sardar Bridge. The site, is marked by an attempt at urban design, with its different levels and circular stairs right in front of the Kahan Jahan's Mosque and gate of the same name. The interesting features of this Situation-Site led me to focus on this closing point of the historic city, surrounded by many different components: the Sabarmati river, the slums, the great Mosque and the educational building annexed to it, the road that separates two parts and, most importantly, the Old Wall, which here takes on evocative details.
Sardar Bridge
0
17
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1.1 1.2 1.3
2.1 2.2 2.3
10
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
20
40
80 m
Planimetry of the South East Riverbank close toBetween the old wall and walls Khan Jahan's the old and theMosque Calico Mills
[GA]
2.1
2.2
2.3
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Khan Jahan’s Mosque. South West Elevation and details of the Old Gate
18
[GC]
1.1 1.2 1.3
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[GA]
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
External suggestions: Caravanserai External suggestion: Caravanserai of Izdakhast, Iran of Izadkhast, Iran External suggestions: Caravanserai of Izadkhast, Iran
Other suggestions from the city: entrance of the Jama Mosque
Other suggestions from the city: Amritvarshini Vav Amirtvashini Vav, Ahmedabad
Other suggestions from the city: entrance of the Jama Mosque Entrance of the Jama Mosque, Ahmedabad
19
[GC]
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[GA]
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External suggestion: Stepwell External suggestions: stepwellininRajasthan rajasthan
SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
The concept of Mandala became a reinterpreted symbol of the city, from a still image, a dynamic reality. As Glauco Gresleri pointed out: “when the man moves he completes a real shift and, in the case of a more complex spatiality involving the third dimension, a crossing. This event in primitive cultures, where the sense of anchoring to the site expressed ancestral value bacause life and place were more closely connected, had a founding meaning. Mandala in the oriental culture is the sign of the passage and with the same sound indicates both the act of crossing and the punctual site in which - and through which - it takes place.” (...) “How architecture has been able to grasp the value of the “passing” moment is demonstrated by the whole history of man’s constructive creation. From the igloo tunnel, from the fall curtain of the redskin hut, to the arched portal in the enclosure of the Nordic settlements to protect the churches, but also of the flocks, to the monumental spurs decorated with figures of saints in scaled progression of the entrances in the Gothic cathedrals, the space-time moment of the “passage” receives an emblematic connotation”.
The Vashtu Purusta MandalaThe
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[GA]
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Vashtu Purusta m SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Design Report
Studio H
3.2 Application of The Vashtu Purusta mandala to the Calico Mills
0
1 PRODUCED BY AN AUTODESK STUDENT VERSION
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shika r garhs
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PRODUCED BY AN AUTODESK STUDENT VERSION
Calico mills
Applications of the Vashtu Purusta Mandala to different scales of Ahmedabad
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3.12.3 Application of2.5The 2.6 Vash-2.7 2.4 tu Purusta mandala to the city of Ahmedabad
SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Reconstruction attempts
Deconstruction Deconstruction of the Mandala
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of the human mandala [GA]
2.1
2.2
Methodologies in development I
2.3
2.4
2.5
2.6
2.7
SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Design Report
Studio H
Since the first semester, it became clear that the site needed an architecture that would promote the self-reflection of the site itself, trapped in a moltitude of forgotten times and covered by dust, washed away by wetness before being discovered and becoming a memory. Therefore the theme of of “Mnemothechnics”, became important as a device that gives the power to the architecture to evoke something forgotten, a not lived and documented enough time. The early attempts were to find a syntactic language to be extrapolated and recombined to generate new architecture.
Evolution of the section of the Jama Mosque Re-assebly of arches Evolution of a fragment of the Baba Lului's Mosque Methodologies in development II
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SMGP
Methodologies in development
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Calico Mills Chimney
Design Report
Studio H
Sabarmati River Shah Abbas Mosque and Tomb Slums
Baba Lului's Mosque
Siddhi Vinayak Ganesh Temple and cemetery
Khan Jahan's Mosque
Flower Market
Khan Jahan Mosque
Khan Jahan's Gate
Jamalpur Gate
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80 m
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Residential Quarter Bukhari Cemetery Between the old walls and the Calico Mills Hospital
[GA]
2.1
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Shree Jagannathij Temple
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Plan of the Design site
SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Design Report
Studio H
North Elevation
North Elevation
North Elevation
East elevation
East elevation
East elevation
Roof PLan
Roof plan
Roof plan 0
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First semester design proposal
50m
2.2
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Longitudinal section
Studio H
Transverse section
-1 floor plan
First floor plan
0
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First semester design proposal
50m
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Design Report
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Studio C
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Studio D
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Studio H
Design Report
First semester exhibition
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Studio C
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Studio D
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Studio H
Design Report
Metal study model of the Mill Owner's Association Building main facade
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1.1 1.2 1.3
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Studio C
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Design Report
Metal study model of one of the Rani No Hajiro Jali window.
29
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1.1 1.2 1.3
2.1 2.2 2.3
3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
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Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Architectural Technology Research [ATR]
Generic Report: Investigating Daylight / A study into the qualitative and quantitative light in a working environment. Contextual Report: The Use of Sunshading Facades in Educational Spaces in Ahmedabad.
"The course focuses on the research process and the discovery of new knowledge in the context of architecture, technology and environment . The students will emulate 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 aims of this course are: 1. To develop approaches for research in technology and environment, and reflect on its role in the design process. 2. To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form. 3. To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2. The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio or another selected area of study."
30
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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Learning Outcomes [LO]: LO1 An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design. LO2 An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment). LO3 An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4 An undewrstanding of the potential impact of technological and environmental decisions of architectural design on a broader context.
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Te c hof n o solar l o g y, radiation A h m e d a bbeing a d spread over a larger in the angle
Studio C
[ATR]
Investigating Daylight / A study into the qualitative and quantitative light in a working environment. Abstract
The research is centred around two spaces with differing positions to the equator, the first area of study is a studio room sited in Minto House Edinburgh, the second area of study is a studio space with matching spatial qualities and orientation in Ahmedabad. The studio spaces have been chosen as a context for the research as the use of light in areas of work / study is fundamental and has a direct impact on human development and carbon emissions. After outlining the building properties in relation to their positions to the equator, uses and exposure to daylight, the research begins by investigating the quantitative measures of light within the spaces as a method of gaining a series of data to be used as a base for the investigation. This data will then be cross referenced against the qualitative nature of the light, gathered by asking people working within the space for their personal experience of light, further analysed using CIBSE’s recommended lux levels guide. The final part of the research begins to investigate a specific type of daylighting system, the light shelf, as a means to create a more sustainable method of lighting within the spaces, reducing energy consumption and creating a more comfortable working environment. To address the contrasting challenges apparent in the differing equatorial locations, the proposed system has been tested and critically analysed over the course of a working day.
1.0 Introduction / Environmental and contextual issues There is no doubt that we are in a global climate crisis and today societies around the world are confronted with ever‐increasing environmental concerns, causing designers to incorporate new models and technologies. Although there is a wide understanding within contemporary discourse that the use of natural and artificial light has a fundamental impact on design and carbon emission (Chernyshov, 2008), there is still a growing issue in how we incorporate it when designing buildings.
[SCAT]
Studio D
Half of the carbon emissions created are generated from the production of electricity, and lighting alone creates 17% of carbon emissions (LEDone, 2019). Furthermore, the harm to people living with little energy is very real. Indoor air pollution from burning biomass as a source of light in developing countries releases black carbon into the atmosphere, and contributes to 3.5 million premature deaths per year.
2.0 Quantitative Light
vs
Qualitative
3.2 Centre for Environment Planning and Technology, Ahmedabad
The purpose of the research is to gain a better understanding of light, through the impact this has on a space in a specific context. For this purpose, it became useful to also consider the differing lighting conditions of a similar studio space in a context with a differing location to the equator. The Centre for Environment Planning and Technology in Ahmedabad was chosen due to its similar use, spatial qualities and orientation to the studio in Edinburgh. Ahmedabad is located 23 degrees north of the equator resulting in a higher concentration of sunlight over a smaller surface area. This more direct sunlight means that Ahmedabad experiences shorter hours of sunlight over the course of the day, but much warmer temperatures than Edinburgh.
Quantitative Light: relating to an amount that can be measured (Cambridge Dictionary, 2019), defined in this research as levels of illumination (lux). Qualitative Light: relating to the quality of an experience or situation rather than to facts that can be measured (Cambridge Dictionary, 2019), defined in this research as feedback based on personal experience Light becomes a quantifiable and controllable feature, existing mainly 1. 0 I n t r o d u c t i o n / E n v i r o nmental and as one checkmark on a long list contextual issues of sustainable design principles (Leadership in Energy and Environmental Architecture and design face necessary changes. There is no doubt Design, 2019., BREEAM, 2019., The we are in a global climate crisis and today societies around Building that Regulations, 2010). Further world are confronted with ever‐increasing environmental to this, the natural light, aside from its concerns, designerssignificance to incorporate new models and functional roles,causing has little in many contemporary spaces. technologies. Although there is a wide understanding within
Design Report
Studio H
teaching facility for Architecture and Art students. The studio classes in 1878 14m with a now serves as a high floor to ceiling height of 4.3m. The room is orientated along teaching facility for Architecture and Art students. The studio Ahmedabad is located 23 degrees north of the equator resulting the north / south axis and has large openings along the north room selected has a moderate floor plan in a higher concentration of sunlight over a smaller surface area.of 18m x 14m with a andmore south facades. This direct sunlight means that Ahmedabad experiences high floor to ceiling height of 4.3m. The room is orientated along House wasand built for extramural its similarMinto use, spatial qualities orientation to the studiomedical in
room selected has a moderate floor plan of 18m x Edinburgh. (University of Edinburgh, 2014). The building
shorter hours of sunlight over the course of the day, but much
the north / south axis and has large openings along the north Figure 7: Sun graph showing the hours of daylight in Ahmedabad on 30.09.19. (Time and Date, 2019) Edinburgh is located 56 degrees north of the equator resulting and south facades. in the angleshowing of solar beingweather spread over a larger Figure 5: Diagram sun pathradiation and graph showing condition in Edinburgh on 30.09.19. (Time and Date, 2019) warmer temperatures than Edinburgh.
surface area, subsequently hours of sunlight Edinburgh is located 56causing degreeslonger north of the equator resulting and generally cooleroftemperatures when compared latitudes in the angle solar radiation being spreadtoover a larger
8
closer surface to the area, equator. The investigation was conducted subsequently causing longer hours of over sunlight Figure 4: Sun graph showing the hours of daylight in Edinburgh on 30.09.19. (Time and Date, 2019) the course of a day during Autumn, when thecompared sun was moving and generally cooler temperatures when to latitudes towards a southerly declination and a reliance artificialover closer to the equator. The investigation was on conducted lighting becoming apparent. thewas course of a day during Autumn, when the sun was moving
Figure Sun graph showing thehours hours ofofdaylight in Edinburgh on 30.09.19. (Time and Date, 2019) 2. Sun4:graph showing the daylight in Edinburgh on 30.09.19
towards a southerly declination and a reliance on artificial
Figure 8: Diagram showing sun path graph showing weather condition in Ahmedabad on 30.09.19. (Time and Date, 2019)
lighting was becoming apparent. Ediburgh 55.9533oN, 3.1883oW
10
Ahmedabad 23.0225oN, 72.5714oE
3 .0 3. 0
C o n tex t f o r Resea rch Context for R esearch
3 . 2 5: Diagram C e n t rshowing e f o r Esun n v ipath ro n m e ngraph t P l ashowing n n n i n gweather a n d condition in 3. Figure and Edinburgh 30.09.19. sun (Time and and Date,graph 2019) showing weather condition in Edinburgh on 30.09.19 Diagramonshowing path 3 . 2 Te cChennot rl oe gfy, o r AEhnmv ei rdoanbma ed n t P l a n n n i n g a n d Figure 5: Diagram showing sun path and graph showing weather condition in Edinburgh on 30.09.19. (Time and Date, 2019) Te c h n o l o g y, A h m e d a b a d The purpose of the research is to gain a better understanding of
8 8
light, through the this has a space in a specific context. of The purpose ofimpact the research is on to gain a better understanding Forlight, this purpose, it became useful to also consider the differing through the impact this has on a space in a specific context.
contemporary discourse that the use of natural and artificial
3.0 Context for Research light has a fundamental impact on design and carbon emission 3.1 Minto House studio (Chernyshov, 2008), there3is Edinburgh still a growing issue in how we
Minto House was built for extramural incorporate it when designing buildings. Light is a requirement medical classes in 1878 (University of every human and directly effects human development, levels of Edinburgh, 2014). The building now of poverty and carbon emissions (Zelenko, serves as a teaching facility for 2015). Half of the carbon emissions created are generated The from the production of Architecture and Art students. studio room selected has a creates moderate electricity, and lighting alone 17% of carbon emissions floor plan(LEDone, of 18m2019). x 14m with a high floor Furthermore, the harm to people living with to ceiling height of 4.3m. The room is little energy is very real. Indoor air pollution from burning orientated along the north / south axis biomass as a source of light in developing countries releases and has large openings along the north carbon into the atmosphere, and contributes to 3.5 million and southblack facades. deaths per killing more people worldwide than Edinburghpremature is located 56year, degrees north of the equator resulting in (Carrington, the angle AIDS and malaria combined 2015). of solar radiation being spread over a larger surface area, subsequently causing longer hours of sunlight and generally cooler temperatures when compared to latitudes closer to the equator. The investigation was conducted over the course of a day during Autumn, when the sun was moving towards a southerly declination and a reliance on artificial lighting was becoming apparent.
[AMPL]
Studio A
surface area, subsequently causing longer hours of sunlight The purpose the 3 .generally 1 3 . 0of M i n tresearch oCo Hno tex uis stoegain tfauobetter drcompared i oRunderstanding 3esea , Etod rch i n b uofr g h and cooler temperatures latitudes tSwhen light, through the impact this has on a space in a specific context. closer to the equator. The investigation was conducted over Figure 4: Sun graph showing the hours of daylight in Edinburgh on 30.09.19. (Time and Date, 2019) For this purpose, it became useful to also consider the differing the course of a day during Autumn, when the sun was moving Mintoconditions House of was builtstudio for extramural medical lighting a similar space in a context with a classes in 1878 towards a3 .southerly 1 Mdeclination i n t o H oand u s ea Sreliance t u d i o on3 ,artificial E d i n b u rg h differing locationof to Edinburgh, the equator. The CentreThe for Environment (University 2014). building now serves as a lighting was becoming apparent. Planning and Technology in Ahmedabad was chosen due to
lighting conditions similaruseful studiotospace in a context with a For this purpose,of it abecame also consider the differing differing location to the The Centre lighting conditions of aequator. similar studio spacefor in aEnvironment context with a Planning and Technology Ahmedabad was chosen due to differing location to the in equator. The Centre for Environment its similar use, spatial qualitiesinand orientation to the studio in to Planning and Technology Ahmedabad was chosen due Edinburgh. its similar use, spatial qualities and orientation to the studio in Edinburgh. Ahmedabad is located 23 degrees north of the equator resulting
in aAhmedabad higher concentration smaller surface area. is located of 23sunlight degrees over northaof the equator resulting This direct sunlight means that Ahmedabad in more a higher concentration of sunlight over a smallerexperiences surface area. shorter of sunlight overmeans the course of the day, but much This hours more direct sunlight that Ahmedabad experiences warmer temperatures than Edinburgh. shorter hours of sunlight over the course of the day, but much Figure 7: Sun graph showing the hours of daylight in Ahmedabad on 30.09.19. (Time and Date, 2019) Figure Sun graph showing thehours hours of in Ahmedabad on 30.09.19. (Time and Date, 2019) 4. Sun7:graph showing the ofdaylight daylight in Ahmedabad on 30.09.19 warmer temperatures than Edinburgh.
Figure 1: Graph showing relationship of energy consumption and Human Development Index Score (Moss, 2016) 1. Graph showing relationship of energy consumption and Human development Index score
5
5. Diagram showing (Time sun path graph and graph showing weather condition in AHmedabad on 30.09.19 Figure 8: Diagram showing sun path graph showing weather condition in Ahmedabad on 30.09.19. and Date, 2019) Figure 8: Diagram showing sun path graph showing weather condition in Ahmedabad on 30.09.19. (Time and Date, 2019)
31
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10 10
ht
t was
nship.
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16
2.1m
2.1m 14m
Table 1
3.3m
Figure 14: Centre for Environment Planning and Technology, Ahmedabad (Varma, 2018)
7. Centre for Environment Planning and Technology, Ahmedabad (Varna, 2018)
2.1m
9
north
artificial lighting much earlier in the day with the sun setting
15:00,
equator. We can also assume that there would be a reliance on
igher
concentration of sunlight as a result of its position to the
thern
tables
of light dispersal, would be much greater due to the higher
Table 6
studio space in Ahmedabad , and therefore the inconsistency
els of
ht. In
y the
m, we
across
create an assumption that the strength of the light within the
much sooner thereby, increasing energy consumption.
TableTable 2 3Table Table 2 1
açade.
our understanding of the daylight within Ahmedabad, we can
2.8m
2.1m
Based on the recordings taken from Minto House, and using
4.2.2 Qualitative light
Table 3
en in
[GC]
Quantitative Light
To gain an understanding on what these recording meant with regards to the quality of the light within the studio, we began by cross referencing the quantitative data found in Minto House with recommended levels for a working environment – more specifically a room where drawing tasks are required. Using Figure 6: Photograph of Studio 3 Minto House, Edinburgh the CIBSE Guide for Lighting (2012), as 6. Photograph of Studio 3 Minto House, Edinburgh a reference point for suitable levels of illumination, it became apparent that although between the hours of 10:00 Research: Res Itables nesaigh r c htalong : in A tnothe I n ssouthern igh t in t o and 4.0 15:00 An the façade consistently quantitative qua anndt it quaamet tlit iveaand taive n dexceeded qu ligh a lit t a t ive ligh t the recommended lux levels, the tables along the northern façade consistently fell short of the required levels.
3.25m
2.8m
Light 4.2.1
room
32
Findings – Quantitative vs Qualitative
Design Report
N
Based on the recordings taken from Minto House, and using our understanding of the daylight within Ahmedabad, we can create an assumption that the strength
4.2
Studio H
8. Plan of Studio 3 in Minto House, showing orientationand location of tables to windows 4.0
Research: An Insight into q u a n t i t a t i ve a n d q u a l i t a t i ve l i g h t
4.1
Investigation Methodology
15
Through process of recording the lux levels in the studio, it was soon discovered that the daylight illumination levels across the room were found to have an inconsistent relationship. Most noticeable during the hours between 10:00 and 15:00, significantly disproportionate daylight levels between the north and the south side of the room were recorded, with the southern facade being affected by direct daylight, recording far higher levels of illumination. The large openings in the façade allowed high levels of uncontrolled sunlight into the space resulting in the tables along the southern façade being exposed to direct sunlight, with some issue of glare. By 16:00, the sun had begun to fall and the readings across the room became more consistent with no areas of the room exposed to direct sunlight. The lux meter recordings taken in the remaining hours of the working day found that the quantity of daylight within the studio had significantly fallen and there was a requirement to use artificial light across the entire room. Recordings taken after 19:00 found there to be no measured daylight at any of the recorded points within the studio.
Re s e ar c h: An I ns ight int o quant it at ive and qualit at ive light
antity
4.2 Findings: Quantitative vs Qualitative Light 4.2.1 Qualitative light 4.0
4.0
there
This study illustrates the lighting conditions within the Minto House studio between the hours of 08:00 and 20:00. Readings are taken from the location of the six desks that run along the north and south facades of the studio space. This quantitative data will then be cross referenced using the CIBSE recommended lux levels for working environments (CIBSE, 2012) and further analysed by gaining qualitative feedback from the students working at these locations of their personal experience. Notes: 30/09/19: On date of lux meter recordings the weather was mostly clear with few instances of cloud coverage having an impact on readings.
of the light within the studio space in Ahmedabad , and therefore the inconsistency of light dispersal, would be much greater due to the higher concentration of sunlight as a result of its position to the equator. We can also assume that there would be a reliance on artificial lighting much earlier in the day with the sun setting much sooner thereby, increasing energy consumption.
[AMPL]
Studio A
Figure 13: Plan of Studio 3 Minto House, Edinburgh showing orientation and location of tables to windows
4.0 Research: An Insight into quantitative and qualitative light 4.1 Investigation methodology
[SCAT]
Studio D
sured
[ATR]
room.
Studio C
This study illustrates the lighting conditions within the Minto
Table 6
Table 5 Table 6
Table 5 Table 4
House studio between the hours of 08:00 and 20:00. Lux readings taken every hour between these times will form the
Table 4
basis for critical analysis around the effectiveness of the current lighting conditions within the studio. Readings are taken from the location of the six desks that run along the north and south facades of the studio space, in order to gain a better understanding of the quantity of light within the studio. This quantitative data will then be cross referenced using the CIBSE recommended lux levels for working environments (CIBSE, 2012) and further analysed by gaining qualitative feedback from the students working at these locations of their personal
N
N
experience. Notes: 30/09/19: On date of lux meter recordings the weather was mostly clear with few instances of cloud coverage having an impact on readings.
Figure 11: Photograph of lux meter - the equipment used to quantify daylight
9. Photograph of lux meter - the equipment used to quantify daylight
Figure 15: Recommended lux levels for working environments (Chartered Institution of Building Services Engineers., 2012)
Figure 12: Lux meter Figure recordings 12: Luxbetween meter recordings 08:00 and 20:00 between taken 08:00 in and Studio 20:00 3 Minto taken House, in Studio Edinburgh. 3 Minto House, Edinburgh.
10. Lux meter recordings between 8.00 and 20.00 taken in Studio 3, Minto House. The values in red are the The values in red are The thevalues highest in south recorded red areside,often the in highest the south recorded side, often in the peaks south correspond side, oftento peaks glare on the tableto glare on the table highest recorded in the peaks correspond to glare on thecorrespond table 13
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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11. Recommended lux levels for working environments (Chartered Institution of Building Services Engineers, 2012)
2.3 14
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that disperses natural light more evenly throughout the room
[ATR]
[SCAT]
Studio D
External Internal Lightshelf Lightshelf
would be the most appropriate solution in our aim of creating
a more comfortable working [AMPL] environment and reducing carbon
Studio A
Studio H
emission. A desktop study into various methods of daylighting systems found that the light shelf would be a suitable line of study. The light shelf is a passive architectural device used to
Design Report
Window
Studio C
Room Interior
reflect natural daylight into a building (Designing Buildings,
After discovering the uneven dispersal of natural light within the studio spaces, it was decided an investigation into a system that disperses natural light more evenly throughout the room would be the most appropriate solution in our aim of creatinga more comfortable working environment and reducing carbonemission. A desktop study into various methods of daylighting systems found that the light shelf would be a suitable line of study. The light shelf is a passive architectural device used to reflect natural daylight into a building (Designing Buildings, 2019).
5.2 Investigation Methodology
The investigation will test the performance of the proposed light shelf system against the current lighting conditions within the studio spaces in Edinburgh and Ahmedabad. The investigation will be simulated through the use of a scale model of the studio space. To model the light shelves, we have used aluminium foil to recreate the reflective surface of the light shelving system. We have chosen this as a form of representation as the foil has a reflectivity factor of 88% (Hanlon, 1992), a standard reflectivity factor for light shelf systems is 86% (H, Koster. 2004). The daylight lamp will represent the sun and will be orientated around the building model to match the suns positions of the differing latitudes. Conditions will be measured throughout the hours of the previously defined working day (created by reorienting the daylight lamp). Lux readings will then be recorded at the same positions as tested in the initial research to understand the impact of the light shelves. Instances not accounted for in experiments: i. Clouds, and weather conditions effecting sunlight. ii. Exact building material properties. iii. Potential shading impacts from adjacent buildings. iv. The refractive properties of glass.
5.3 Findings
After recording lux levels along the northern and southern facades within the model, it was discovered the
light shelf system didn’t create an even distribution of light across the room. In both contexts, the lux levels measured across the southern façade consistently read at a higher value than the northern façade. In coalescence with this investigation, through process of a photographic study of the model whilst exposed to light, we were also able to observe the minimal impact of the light shelves in reflecting light deeper into the room. By process of recording lux levels in the model, it became clear there were discrepancies between the measurements 5. 0 R e s e a rc h : Li gh t s h e l ve s – a m o re obtained from sthe u s ta i n a bstudio. l e l i gh ti n g s yIt s te m ? is therefore appropriate to consider the 5.2 Investigation methodology limits of the model, and perhaps other methods of recreating atestway to test the light The investigation will the performance of the proposed system againstwithin the current lighting within the use of light shelf shelves the conditions studio studio spaces in Edinburgh and Ahmedabad. The investigation space. will be simulated through the use of a scale model of the
Conclusion
2019). The system can be fixed either externally or internally
might stem from this research include: Resea rmethod ch : Lighof t sh elves – a maore i) 5. A 0different recreating way su st a in a ble ligh t inshelves g sy st emwithin ? to test the use of light the5 .studio space, given the 1 Definition of a light shelf discrepancies presented from the model ii)After Comparisons between measurements discovering the uneven dispersal of natural light within taken in various seasons of the year the studio spaces, it was decided an investigation into a system to better understand the impact of the that disperses natural light more evenly throughout the room light shelf would be the most appropriate solution in our aim of creating iii) Further analysis into variations a more comfortable working environment and reducing carbon of the light shelf that emission. A desktop study into various methods of daylighting test form, scale and inclination found that the light shelf would be a suitable line of iv)systems An investigation into dynamic systems study. The light shelf is a passive architectural device used to that adapt to climatic conditions to reflect natural daylight into a building (Designing work alongside the proposed system Buildings,
and they are often designed as part of a broader daylight and shading strategy. Light shelves should be scaled to a have a
Figure 18: Sectional diagram of the funtional mechanism of a light shelf
depth similar to the height of the opening that they sit below
Sunlight
and are often angled 90 degrees to the window (Designing
Ceiling
Buildings, 2019).
2.5m External Internal Lightshelf Lightshelf Window
5.0 Research: Light shelves – a more sustainable lighting system? 5.1 Definition of a light shelf
1.8m Room Interior North facade
2019). The system can be fixed either externally or internally and they are often designed as part of a broader daylight and shading strategy. Light shelves should be scaled to a have a
12. Sectional diagram of the functional mechanism of a light shelf
and are often angled 90 degrees to the window (Designing
Figure 19: Cross section of studio room showing scale of large openings 20
Figure 18: Sectional diagram of the funtional mechanism of a light shelf
depth similar to the height of the opening that they sit below
South facade
13. Cross section of studio room showing scale of large openings
Buildings, 2019).
studio space. The existing windows in the studio are divided into panes of three, therefore it was decided the light shelves
be located underneath the upper third pane to maintain The proposed should system was unsuccessful in a significant amount of light to enter at a lower level. To model creating a more even distribution of the light shelves, we have used aluminium foil to recreate the light, and therefore, can system. conclude reflective surface of thewe light shelving We have chosen this asan a form of representation as theproposal foil has a reflectivity that it is not appropriate factor of 88% (Hanlon, 1992), a standard reflectivity factor in reducing energy consumption and for light shelf systems is 86% (H, Koster. 2004). The daylight creating a lamp more comfortable working will represent the sun and will be orientated around the environment. building It was evident proposed model to match the the suns positions of the differing Conditions will be measured light shelveslatitudes. reflected light andthroughout were the hours of the previously defined working day (created by reorienting successful to a degree in the the daylight lamp). Lux readings will then be recorded at the redistribution of light, however same positions as tested in the initial research to understand the readings proved that an insignificant impact of the light shelves. quantity of light was reflected deeper Instances not accounted for in experiments: into the space and the proposed system i. Clouds, and weather conditions effecting sunlight. was not sufficient in creating a balanced ii. Exact building material properties. light withiniii. the room. further Potential shading impactsA from adjacent buildings. iv. Thetest refractive properties of glass. experiment might a variation in the form, scale and inclination of the light shelves to create a greater reflection of light deeper into the room. The inability to account for weathering conditions that affect sunlight in testing the model led us to think about the numerous factors affecting the qauntity and quality of daylight in an interior space, and therefore the probable need for a more dynamic and active system to work alongside the light shelves. Although the light shelves visibly reflected daylight, it is likely that they would not allow for a constant reflection of light throughout the year, given climatic variables. The research was able to provide an understanding of how daylight acts within a specific context, and an analysis into an attempt to use light more sustainably. If presented with moretime, other investigations that
5.0
Resea r ch : Ligh t sh elv su st a in a ble ligh t in g s
5.3
Findings
2.5m
1.8m
South facade
North facade
Figure 19: Cross section of studio room showing scale of large openings 20
Figure 20: Testing light in a scale model of the studio space using a daylight lamp
14. Testing light in a scale model (1:100) of the studio space using a daylight lamp 21
5.0
R e s e a rc h : Lig h t s h e lve s – a mo re s u s ta in a b le lig h tin g s y s te m?
5.3
Findings
After recording lux levels along the northern and southern facades within the model, it was discovered the light shelf system didn’t create an even distribution of light across the room. In both contexts, the lux levels measured across the southern façade consistently read at a higher value than the northern façade. In coalescence with this investigation, through process of a photographic study of the model whilst exposed to light, we were also able to observe the minimal impact of the light shelves in reflecting light deeper into the room. By process of recording lux levels in the model, it became clear there were discrepancies between the measurements obtained from the studio. For example, the peak given by the glare of 1800 lux recorded at 1.00 PM in table 4 (figure 23) doesn’t have
16. Measured lux level recordings taken from the model with light shelves fitted inside the windows. The daylight lamp was reorientated to Figure 21: Measured lux level recordings taken from the model with light shelves fitted inside of windows. The daylight lamp was reorientated to recreate the differing
a correspondence in the value of 435 lux recorded at the same
recreate the differing inclination of the sun representing the differing latitudes of Edinburgh and Ahmedabad.
time on the model. It is therefore appropriate to consider the
inclination of the sun representing the differing latitues of Edinburgh and Ahmedabad
limits of the model, and perhaps other methods of recreating a way to test the use of light shelves within the studio space.
Figure 22: This image highlights the minimal impact of the light shelf in reflecting light deeper into the space
15. This image highlights the minimal impact of the light shelf in reflecting light deeper into the space
Figure 23: Comparison between the Studio and the model at 1:00 PM 23
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2.3
2.4
2.5
2.6
2.7
LB
SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Tab l e o f C on te nt s
1.0
Ab s tr ac t
Design Report
Studio H
In tr od uct io n / En vi ro nm e nt al an d c o nte xt ua l i ss ue s
2. 0
In ves ti ga ti ng D ayl ig ht / A s tu dy in to th e q ua li ta ti ve and q ua nt it at ive l ig ht in a wo rk in g e nv ir onm en t
I n tro du ct i on : E n vi r o n m en ta l a n d c on t e x t u al i s su e s
5
2.0
Qu a n t i t at i v e vs Qu al i t at i ve Li g h t
7
3.0
C ontex t 3.1 Minto H ouse Stud io 3 3.2 Ahme dab ad Stud io
8 10
4.0
R es ear ch : An I n si g h t i n t o q u an ti t at i ve a n d q u al i t at i v e l i gh t 4.1 I nv es tigatio n M etho dolog y 13 4.2 F indin gs – Q uantit ative v s Q ualita tive Lig ht 4. 2. 1 Qu antita tive Lig ht 15 4. 2. 2 Qu alitativ e Ligh t 17
that we are in a global climate crisis and today societies around the world are confronted with ever-increasing environmental concerns, causing designers to incorporate new models and Qualitative Light: relating to the quality of an experience or situation
technologies. Although there is a wide understanding within
5.0
R es ear ch : A mor e s us tain abl e ligh tin g s ys tem 5.1 De finitio n of a light s helf 5.2 I nv es tigatio n meth odol ogy 5.3 Findin gs
20 21 23
6.0
C onclus ion
24
7.0
R ef er en c es
26
8.0
Ta b l e o f F i g u r e s
28
9.0
A ppe ndix
29
Q u ant it at ive vs Q ua li ta ti ve L ig ht
Quantitative Light: relating to an amount that can be measured
Architecture and design face necessary changes. There is no doubt 1.0
rather than to facts that can be measured (Cambridge Dictionary, light has a fundamental impact on design and carbon emission (Chernyshov, 2008), there is still a growing issue in how we incorporate it when designing buildings. Light is a requirement of poverty and carbon emissions (Zelenko, 2015). Half of the carbon emissions created are generated from the production of electricity, and lighting alone creates 17% of carbon emissions (LEDone, 2019). Furthermore, the harm to people living with biomass as a source of light in developing countries releases -
black carbon into the atmosphere, and contributes to 3.5 million
L ouis Kah n
premature deaths per year, killing more people worldwide than
Lewis Brown & Gioia Puddu MArch 1 28th October 2019 Figure 3: Photograph of a workspace in Minto House Studio 3
Figure 1: Graph showing relationship of energy consumption and Human Development Index Score (Moss, 2016) 5
3. 0
C ont ex t f or Re sea rc h
3. 0
3.1
M i nt o H ou s e St ud io 3, E di n burgh
3.2
6
C ont ex t f or Re sea rc h
4.0
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
C ent re f or E nv i ron m en t P l an nni n g a nd
4.1
I nv es tigatio n M etho dolog y
7
4.0
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
Te c h n o l o g y , Ah m e d a b a d Minto House was built for extramural medical classes in 1878
This study illustrates the lighting conditions within the Minto
(University of Edinburgh, 2014). The building now serves as a
House studio between the hours of 08:00 and 20:00. Lux
teaching facility for Architecture and Art students. The studio
readings taken every hour between these times will form the
Table 3
Table 2
Table 1
lighting conditions within the studio. Readings are taken from the location of the six desks that run along the north and south facades. understanding of the quantity of light within the studio. This Edinburgh is located 56 degrees north of the equator resulting
quantitative data will then be cross referenced using the CIBSE
Table 6
recommended lux levels for working environments (CIBSE, surface area, subsequently causing longer hours of sunlight
Table 4
2012) and further analysed by gaining qualitative feedback from the students working at these locations of their personal
closer to the equator. The investigation was conducted over the course of a day during Autumn, when the sun was moving
experience.
Figure 4: Sun graph showing the hours of daylight in Edinburgh on 30.09.19. (Time and Date, 2019) Figure 7: Sun graph showing the hours of daylight in Ahmedabad on 30.09.19. (Time and Date, 2019)
Notes: 30/09/19: On date of lux meter recordings the weather was
N
mostly clear with few instances of cloud coverage having an impact on readings.
Figure 12: Lux meter recordings between 08:00 and 20:00 taken in Studio 3 Minto House, Edinburgh. The values in red are the highest recorded in the south side, often peaks correspond to glare on the table
Figure 10: Graph showing the relationship between latitude and hours of daylight (Wordpress, 2019)
8
4. 0
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
4.2
F indin gs – Q uantit ative v s Q ualita tive
18m 2.1m
2.1m
3.3m
2.1m
4. 0
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
4.2
F indin gs – Q uantit ative v s Q ualita tive
10
Ligh t
2.8m
Ligh t 4.2.1
9
Figure 6: Photograph of Studio 3 Minto House, Edinburgh
Quantitative Light
4.2.1
Table 3
Through process of recording the lux levels in the studio, it was
Table 2
Table 1
Quantitative Light
soon discovered that the daylight illumination levels across
create an assumption that the strength of the light within the studio space in Ahmedabad , and therefore the inconsistency
3.25m
much sooner thereby, increasing energy consumption.
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
4.2
F indin gs – Q uantit ative v s Q ualita tive
Ligh t
Qualitative Light
4.2.2
Qualitative Light
To gain an understanding on what these recording meant with
To further understand the qualitative nature of the light
regards to the quality of the light within the studio, we began by
within the space, we followed up this cross referencing of
cross referencing the quantitative data found in Minto House
recommended levels by interviewing students on each of the
4.2.2
5.0
Re se arc h: L ig ht sh el ves – a m or e su st ai nab le li ght in g s ys te m ?
5.1
De finitio n of a light s helf
The investigation will test the performance of the proposed light shelf system against the current lighting conditions within the
that disperses natural light more evenly throughout the room a more comfortable working environment and reducing carbon emission. A desktop study into various methods of daylighting
Table 4: Intense light and glare can be an issue – especially in the
systems found that the light shelf would be a suitable line of study. The light shelf is a passive architectural device used to
the table making it hard to focus on drawing and model making. I also
studio spaces in Edinburgh and Ahmedabad. The investigation
External Internal Lightshelf Lightshelf
would be the most appropriate solution in our aim of creating
Tables along the southern facade
will be simulated through the use of a scale model of the studio space. The existing windows in the studio are divided into panes of three, therefore it was decided the light shelves should be located underneath the upper third pane to maintain
Room Interior
the light shelves, we have used aluminium foil to recreate the
notice that on this table in particular we get the light quite intensely Tables along the northern façade
and they are often designed as part of a broader daylight and
/ early evening. Table 1: Sometimes when I arrive in the mornings, I notice that it is a
shading strategy. Light shelves should be scaled to a have a
- James Gillis
Figure 18: Sectional diagram of the funtional mechanism of a light shelf
depth similar to the height of the opening that they sit below
for light shelf systems is 86% (H, Koster. 2004). The daylight lamp will represent the sun and will be orientated around the
even switch tasks and work on my computer for these hours – although
Table 4
direct sunlight on some of the tables along the southern façade.
To further understand the qualitative nature of the light
even then the direct light on my screen can cause an issue.
within the space, we followed up this cross referencing of
- George Pop
recommended levels by interviewing students on each of the
Table 6: Generally, I enjoy the amount of light that we get in this part
latitudes. Conditions will be measured throughout the hours
2.5m
the daylight lamp). Lux readings will then be recorded at the same positions as tested in the initial research to understand the
of the room, occasionally we have direct sunlight on the table but for
2.1m
2.1m
3.3m
impact of the light shelves.
the most part I think we have a good amount of light throughout the
2.1m - Joanna Hobbs
the remaining hours of the working day found that the quantity
day.
1.8m
- Samuel Pickering
N
Figure 14: Centre for Environment Planning and Technology, Ahmedabad (Varma, 2018)
Figure 16: Tables along the northern facade of Minto House Studio 3
Instances not accounted for in experiments: ii.
Figure 17: Tables along the southern facade of Minto House Studio 3
Figure 13: Plan of Studio 3 Minto House, Edinburgh showing orientation and location of tables to windows
North facade
daylight at any of the recorded points within the studio. 15
16
5. 0
Re se arc h: L ig ht sh el ves – a m or e su st ai nab le li ght in g s ys te m ?
5. 0
Re se arc h: L ig ht sh el ves – a m or e su st ai nab le li ght in g s ys te m ?
5.3
Findin gs
5.3
Findin gs
17
18
C onc lu si on
C onc lu si on
South facade Figure 19: Cross section of studio room showing scale of large openings
19
7.0
The proposed system was unsuccessful in creating a more even
Re fe re nce s
Exact building material properties.
iii.
Potential shading impacts from adjacent buildings.
iv.
The refractive properties of glass.
Figure 20: Testing light in a scale model of the studio space using a daylight lamp
20
7.0
Barrow, M. (2013). Average hours of daylight in Britain through out the year. Available at:
Re se arc h: L ig ht sh el ves – a m or e su st ai nab le li ght in g s ys te m ? I nv es tigatio n meth odol ogy
Ceiling
the studio spaces, it was decided an investigation into a system
Qualitative Light
14
5.0 Sunlight
around noon because we get direct sunlight on this table – sometimes I
Table 6
2.8m
13
After discovering the uneven dispersal of natural light within
tables to understand their personal experience. Key comments
consistently met and exceeded the recommended lux levels, the
By 16:00, the sun had begun to fall and the readings across
Recordings taken after 19:00 found there to be no measured
Ligh t
tables along the northern façade consistently fell short of the
along the southern façade being exposed to direct sunlight. In
exposed to direct sunlight. The lux meter recordings taken in
4.0
F indin gs – Q uantit ative v s Q ualita tive
levels of illumination, it became apparent that although between
uncontrolled sunlight into the space resulting in the tables
the room became more consistent with no areas of the room
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
4.2
the hours of 10:00 and 15:00 the tables along the southern façade
The large openings in the façade allowed high levels of
were also able to observe issues of glare being caused by the
4.0
F indin gs – Q uantit ative v s Q ualita tive
CIBSE Guide for Lighting (2012), as a reference point for suitable
equator. We can also assume that there would be a reliance on
levels of illumination.
recording the quantitative data of daylight within the room, we
Re se arc h: An Ins ig ht in to q ua nt it at ive an d q ua li ta ti ve l ig ht
from each table include:
concentration of sunlight as a result of its position to the
14m
12
4.2
with recommended levels for a working environment – more
of light dispersal, would be much greater due to the higher and the south side of the room were recorded, with the southern
23.0225° N, 72.5714° E
4. 0
4.2.2
our understanding of the daylight within Ahmedabad, we can
the room were found to have an inconsistent relationship. Most noticeable during the hours between 10:00 and 15:00,
55.9533° N, 3.1883° W
11
Figure 9: Centre for Environment Planning and Technology, Ahmedabad (Varma, 2018)
Ligh t
Based on the recordings taken from Minto House, and using
Edinburgh Ahmedabad
Window
Figure 8: Diagram showing sun path graph showing weather condition in Ahmedabad on 30.09.19. (Time and Date, 2019)
Re fe re nce s
21
8.0
Climate Science Investigation. (2019). Angle of Solar Radiation and Temperature. Available
The Building Regulations. (2010). Approved Document L1A: Conservation of Fuel and
Tab l e o f F ig ur es
Figure 1: Moss, T. (2016). More Than 1 Billion People Live Without Electricity. Here’s How
Figure 11: Author’s own work
distribution of light, and therefore, we can conclude that it is After recording lux levels along the northern and southern
not an appropriate proposal in reducing energy consumption
facades within the model, it was discovered the light shelf
and creating a more comfortable working environment. It was
php. [Accessed 19th October 2019].
The research was able to provide an understanding of how
2019].
Figure 12: Author’s own work
system didn’t create an even distribution of light across the
Figure 2:
room. In both contexts, the lux levels measured across the
Figure 13: Author’s own work
successful to a degree in the redistribution of light, however
southern façade consistently read at a higher value than the
Figure 14:
include:
northern façade. In coalescence with this investigation, through process of a photographic study of the model whilst exposed
Figure 3: Author’s own work
to light, we were also able to observe the minimal impact of the
further experiment might test a variation in the form, scale and
Figure 15: Figure 4:
light deeper into the room. By process of recording lux levels in the model, it became clear there were discrepancies between the measurements obtained
The inability to account for weathering conditions that
Figure 5:
from the studio. For example, the peak given by the glare of
iii)
Further analysis into variations of the light shelf that
dynamic and active system to work alongside the light shelves. Daylight is a dynamic form and, therefore the relationship to
Figure 16: Author’s own work Figure 17: Author’s own work
in an interior space, and therefore the probable need for a more time on the model. It is therefore appropriate to consider the limits of the model, and perhaps other methods of recreating a
Figure 6: Author’s own work Figure 18: Author’s own work Figure 7:
way to test the use of light shelves within the studio space.
Figure 19: Author’s own work Figure 8: light throughout the year, given climatic variables.
[Accessed 19 Oct. 2019].
Figure 20: Author’s own work Figure 21: Author’s own work
Figure 9: Figure 22: Author’s own work Figure 10:
Figure 23: Comparison between the Studio and the model at 1:00 PM 22
23
9. 0
Ap pe ndi x
9. 0
Ap pe ndi x
9.1
M i n t o H o u s e , Ed i n b u r g h
9.2
C e n t r e f o r E n v i r o n m e n t P l a n n i n g a n d Te c h n o l o g y , A h m e d a b a d
08:00am
09:00am
10:00am
12:00pm
13:00pm
14:00pm
11:00am
08:00am
09:00am
10:00am
12:00pm
13:00pm
14:00pm
16:00pm
17:00pm
18:00pm
there to be no daylight in the room between 17:00pm
18:00pm
[GC]
26
Figure 23: Author’s own work
27
28
11:00am
Investigating Daylight / A study into the qualitative and quantitative light in a working environment.
there to be no daylight in the room between
these hours.
29
34
25
Lighting study for hours of 19:00 and 20:00
Lighting study for hours of 19:00 and 20:00
16:00pm
24
these hours.
Full Submission.
30
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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The Use of Sunshading Facades in Educational Spaces in Ahmedabad. 1.0 Context
Following the conclusions of the Generic Study on ‘Investigation on Daylight’ where was identified the necessity to use ‘A different method of recreating a way to test the use of light shelves within the studio space, given the discrepancies presented from the model’ (Brown, Puddu, 2019), we made the decision to measure lux levels through a Sketch-up plug-in called Sefaira in an attempt to get more consistent answers by not being able to physically work in the chosen place: the city of Ahmedebad in India. The hot, semi-arid climate of the city and its latitude of 23.0225° N, 72.5714° require particular precautions from the point of view of Lighting Design and in particular in the design of the Sunshading Facades. The research begins by analyzing three exemplary cases of study, two in the city of Ahmedebad and one in nearby Jodhpur, with the same climatic conditions and the same educational use. Subsequently, the sample room will be analyzed in its generality of spaces with the same tools, in an attempt to understand how to properly apply the daylighting principles in educational structures in Ahmedebad and with the general purpose to diffuse natural light at best.
1.1 Introduction
Daylighting is the controlled admission of natural light, direct sunlight, and diffused-skylight into a building. It includes a general study of the orientation, of the characteristics of the place, of the types of openings and it can also, in the design phase, define some part of the shape of the building or of the electrical systems. It seems such an important and urgent issue to understand how to design the Shading Devices in a country like India that, even if in a process of development, is still considered as a Third World Country. Light is critical for our health and wellbeing. It enters via the retina and sends signals to the pineal gland. Different wavelenghts produces differences in hormone production that have an effect on cognitive performance,
[SCAT]
Studio D
mood, memory and Circadian rhythm. Sunshading devices are an important part of Daylighting design, because it is not only important to provide as much natural light as possible in the rooms, but it is also necessary to define how this happens, in order to prevent unwanted effects such as glare or significant variation of light levels inside the same room and at the same keep balanced heat gain and loss. For the climate of Ahmedebad the interior has to be completely protected from direct sunlight.
1.2 Climate of Ahmedabad
The Köppen climate classification scheme divides climates into five main climate groups: A (tropical), B (dry), C (temperate), D (continental), and E (polar). The climate of the Amedabad belongs to warm semi-arid climate. In Ahmedabad, the wet season is oppressive and mostly cloudy, the dry season is mostly clear, and it is hot year round. Over the course of the year, the temperature typically varies from 55°F to 106°F and is rarely below 50°F or above 111°F. In this climate, it is imperative to control solar radiation and movement of hot winds. The building design criteria should, thus, provide appropriate shading, reduce exposed area and increase thermal capacity. In this climate, the air being very dry, evaporative cooling in summer can prove to be extremely effective.
1.3 Why passive shading devices?
Sun Shading Devices are any mechanical equipment or textiles that are used either internally or externally or in between the two. Their objective is to create a comfortable internal environment, cool in the summer and warm in the winter and to diffuse light into the rooms, reducing effects of glare. Our research focuses on the passive external shading devices because they are considered to perform better than the internal one and because India has a tradition of designed facades with disparat kinds of latticework. Also there's an economic factor to take into consideration, as well as their simplicity and low maintenance
2.0 History of shading in India
The various features which are noticed in ancient indian buildings are mainly
[AMPL]
Studio A
the outcome of the sensitivity of the architect to the climatic conditions and to the lifestyle of the inhabitants (N. B. Shroff). One of the most visually appealing spaces in Ahmedebad are the pols, enclosed residential clusters that consist in a network of streets, open community spaces and a minimal frontage on the narrow neighborhood street. Only the shorter facade is open for light and ventilation so that the surface area exposed to the sun is drastically reduced. Perforated jalis are freely used to cut off glare and sun rays and to admit breeze.
[GC]
Warm desert climat Cold desert climate Warm semi-arid climate Cold semi-arid climate Warm mediterranean climate Humid sybtropical climate Temperate oceanic climate Humid continental climate Temperate continental climate Warm continental climate Temperate continental climate
Ahmedabad
2.1 Vernacular architecture
2. India map of Köppen climate classification
1. Aerial photo of Ahmedabad, India
2.2 Advantages and disadvantages
Vernacular architecture in India Pros Low glazing ratio High shading coefficient Different kinds, for different need Overhangs or balconies Walkable roof that provides shelter Awareness of the climate and the orientation to minimize solar gains Double roofs to reduce heat gains Passive design solutions in harmony with nature. Cons Expensiveness in both time and money Limitations in the use of traditional building materials Concern for safety and pest control for the lack of glass Non-conformity with today’s taste Height limits
4. Pol Houses in Ahmedabad
Contemporary architecture in India Pros Inexpensiveness Skilled labor is not necessary Use of materials easy to manage In accordance with the contemporary aesthetic expectation Less height constraints Cons High glazing ratio that lets in the sun Low shading coefficient Same fenestration for view, light and ventilation Orientation without qualitative distinction Thin concrete roof, source of high solar gains Lacks the empathy to environment.
Otla Chowk
Main entrance
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Ordo
Street Raveshi Parsal
Public
[GA]
2.1
2.2
2.3
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Semi-public
Private
5. Typical internal organisation of a Pol House
3. Comparison of light behavior with or without an example of shading system
35
Design Report
Studio H
2.5
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2.7
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[ATR]
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Design Report
3.0 Methods of using shading devices in Contemporary Façades
[ Jodhpur University ] [ Indian Institute of Management ] [ CEPT University ]
CEPT University
(Centre for Environmental Planning and Technology)
Jodhpur University
Studio
(Study space in Indian Institute of Management) Architects : Louis Kahn Typology : Educational Architecture / University Location : Vastrapur, Ahmedabad, Gujarat, India Project year : 1974 Materials : Brick columns Passive solar strategies: -Geometric façade -Filters for sunlight and ventilation -Deep recessed and shaded windows
Architects : Uttam C. Jain Typology : Educational Architecture / University Location : Jodhpur, Gujarat, India Project year : 1962 Materials : Stone masonry Passive solar strategies: -Deep recessed and shaded windows on the north and south face -Small slit openings -No windows on the east and west walls
Architects : Balkrishna Doshi Typology : Educational Architecture / University Location : Ahmedabad, Gujarat, India Project year : 1967 Materials : Parallel bricks walls, concrete beams and floor Passive solar strategies: Deep recessed and shaded windows on the north wall No windows on the east and west walls Rotating wooden board Studio
Indian Institute of Management
(Lecture theatre cluster)
Map of India
Studio
11. Section of Jodhpur University
[ UV ]
6. Plan of Centre for Environmental Planning and Technology
Classroom
13. Plan of the Indian Institute of Management
Classroom
7. South side elevation
Studio Studio
8. West side section
9. West side elevation
10.South side elevation
36
[GC]
Classroom
Classroom
Classroom
Classroom
12. Section and plan of Jodhpur University
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
14. Study space of Indian Institute of Management
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Test 01 - Daylight Simulation in CEPT University
4.0 Test-Daylight Simulation
Lux level: the SI unit of luminous emittance, measuring luminous flux per unit area. It is equal to one lumen per square metre. In photometry, this is used as a measure of the intensity, as perceived by the human eye, of light that hits or passes through a surface (Gregg, 2016). Daylight Factor: in architecture, a daylight factor is the percentage ratio of the light level inside a structure to the light level outside the structure (Gregg, 2016).
4.1 Test 01 - Daylight Simulation (CEPT University)
The test, conducted in a classroom of the CEPT University oriented to the axis North/South, measures the annual percentage of occupied hours where illuminance is at least 500 lux. We chose this minimum because, according to CIBSE standard, it corresponds to 'teaching spaces with close and detailed work' and its a good average to have in a classroom supposed to host architecture students (CIBSE, 2011). The results show that light is not well spread into the room, due to the choice of the North façade as the main source of sunlight. Since the Northern part would be used by students for as long as the South part of the room, we can say that the combination of passive solar strategies is not optimal in terms of maximizing the use of sunlight during the day. There are in fact parts of the room, such as the centre of it, that will never have enough light. Issues: South openings too recessed. Possibility to open the West to enhance the western breeze. (The west can be protected from sun by inclined vertical louvers, but this may obstruct the breeze and also the view. )
4.2 Test 02 - Daylight Simulation (Jodphur University)
A similar problem as the Cept room occurs in the classroom of Jodhpur University because the openings are located in the North and South and the small recessed windows do not allow enough light to penetrate even from the South. Issues: South vertical window instead of horizontal No horizontal form in the south
Strip windows daylight.
provide
more
uniform
4.3 Test 03 - Daylight Simulation (Study space in Indian Institute of Management)
The best light diffusion is in the Indian Institute of Management, in particular in the library. The study was carried out on the second floor of the building that is the most used reading room which receives sunlight from all sides. The library has an oblique orientation, but by rotating the model to make it coincide with the North-South axis, it was possible to find that the percentage of light is similarly spread. The results also show that the percentage of overlit is 74%. Issues: South vertical window instead of horizontal No horizontal form in the South Too many openings on the South-East that cause overlit
4.4 Checklist
Checklist for the design of classrooms in similar locations or in the same climate as Amedabad. Windows • Minimize apertures on the east and west; especially on the west. • The higher the window, the deeper the daylighting zone. • Strip windows provide more uniform daylight. • Incorporate shading elements with windows. • Use horizontal window shapes. • Place view windows wisely. • Locate windows near room surfaces • Windows on every orientation can provide useful daylight. Exterior Devices • Use exterior shading • Use a horizontal form for south windows. • Design the building to shade itself. • Use a vertical form on east and west windows. • Give west and south windows shading priority. • Design shading for glare relief as well. • Fixed versus movable shading. • Consider subdividing exterior shading system to preserve views in
[GC]
Test 02 - Daylight Simulation in Jodphur University
Test 03 - Daylight Simulation in the Indian Institute of Management
5.0 Conclusion
Following the results from the first Sefaira Analysis and the findings from the checklist of rules for the design of windows and for daylighting, we tried to improve the three cases of study using another online tool that shows “overhang recommendations” and the overhang annual analysis. The general question is: To what extent is a window shaded by an overhang each hour of the day during each month of the year? It’s clear that we had general improvements in the Jodhpur University by adding a horizontal window to the Southern Façade and a designed overhang. As we can see the percentage of light is generally better spread through the room and it is mostly well lit. In the Cept University we tried to diffuse the daylight by decreasing the projection in the second floor and that really improved the percentage of daylight during the year, with some overlit effect that could be easily decreased by increasing the projection. The Indian Institute of Management had great results in terms of annual percentage of diffusion of light but presented overlit. In another generic situation it would be advisable to decrease the number of openings on the South-East façade and to have a horizontal window on the South.
0%
25%
50%
75%
100%
0%
Annual percentage of occupied hours where illuminance is at least 500 lux.
18. Annual percentage of occupied hours where illuminance is at least 500 lux.
25%
50%
75%
100%
0%
19. Annual percentage of occupied hours where illuminance is at least 500 lux.
25%
50%
75%
100%
20. Annual percentage of occupied hours where illuminance is at least 500 lux.
15. Model of CEPT University
21. Overhang recommendations, CEPT University
22. Overhang recommendations, Jodhpur University
16. Model of IIM
the view zone.
0% 17. Model of Jodhpur University
37
Design Report
Studio H
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
25%
50%
75%
100%
0%
23. Test results after the improvements in CEPT University
[GA]
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25%
50%
75%
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24. Test results after the improvements in Jodhpur University
2.5
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YL
SMGP
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Studio D
[SCAT]
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Studio H
Design Report
The Use of Sunshading Facades in Educational Spaces in Ahmedabad. Full Submission.
38
[GC]
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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YL
SMGP
Studio C
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Studio D Fieldwork
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Studio H
Design Report
Para-situation [Ahmedabad]: "Past, Present and Possible" Walls, Wells, Pols and Gates
FIELDWORK: Measured Intensities: Intense Sites Measured Intensely
The field trip, at the start of Semester Two, was meant to give us an opportunity to survey Ahmedabad, in-situ, at the four scales of body, building, city and metropolitan landscape. An ARCHIVE, FIELDWORK SUPPLEMENT - MEASURED INTENSITIES: INTENSE SITES MEASURED was created both to provide the methodology and record this survey. INTENSE SITES were shared sites of interest between students. At the same time, each student/agent coorditanted their methodology and record of their specific situation and MEASURED INTENSITY for inclusion in the supplement. Some of the aims were: -Study the history of Ahmedabad, collect and record all historical data associated with our potential sites. -Survey the complete internal and external existing arrangement of the Old Ahmedabad Walls. -Develop both a range of assemblages and a means by which they can all be re-assembled. -Prepare, as well as the measured intensity drawings, either in-situ or upon return, a general context drawings of the selected areas and films to present each situation.
39
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Studio D Fieldwork
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Measured Intensities. From above: Pictures and sketches of the right and left side of the Kalupur Gate.
40
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KL
JP
SMGP
Studio C
[ATR]
Studio D Fieldwork
[SCAT]
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Studio A
Design Report
Studio H
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Longitudinal section of the Gate. 1:100
41
[GC]
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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Measured intensities. Sketches of the internal part of the Kalupur Gate.
KL
JP
SMGP
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Design Report
Studio H
1
2
3
Plan of the Tomb House 1:100
Measured Intensities. From above: Sketch of the point of view 1 and sketch of the point of view 2.
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Design Report
Measured Intensities. Sketch of the point of view 3
Measured Intensities. Sketch of the plan.
43
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Measured Intensities. Sketch of the small tombs.
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KL
JP
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Studio C
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Studio D Fieldwork
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Design Report
The field trip to Ahmedabad was important to the Studio for several reason, such as: It gave us the necessary awareness to be able to give life to our design ideas through the measured intensities and it offered a series of strong situational sensations, impossible to grasp through the virtual research, something very different for those who are used to the pre-set European travels. The exotic nature of the place and its metropolitan nature are certainly a good inspiration for architectural experiments and for the non-trivial design of new spaces with a special identity that overlaps the city. it was very interesting to compare the collected data, the guessed measurements of the drawings of the first semester with the photographs taken during the trip. In particular, I was able to visit the situations analysed during the first semester under a different aspect, namely that of lived reality and its own colours given by the people who live and shape them.
44
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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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Design Report
SMGP
The colours of Ahmedabad
Studio C
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Design Report
Para-situation [Ahmedabad]: "Past, Present and Possible" Walls, Wells, Pols and Gates
Wall-Wells and Well Walls in Series of Agency "We have been moving between the walls of Ahmedabad, the new walls and old walls. From our field work we can see at least four distinctive cities of Ahmedabad: 1. The Old City, once contained by its walls and gates but now contained by the pols and the interconnecting streets between gateways; 2. The Outer City, the city beyond the old city walls spreading into the rural hinterland of Ahmedabad; 3. The City of Post-Independence Modernity, also mostly a part of the Outer City, promoted by the key industrial families who employed the best of architects, 4. The New Walled City, the Neo-Liberal City as defined by the new subway network currently under construction but also and especially the Sabarmati Riverfront Project with its great expanse of concrete retaining walls making the river a permanent basin but providing many kilometres of riverfront for potential real estate development, most of which currently seems undeveloped and the walls looking already like a vast ruin of an implausible future.
Learning Outcomes [LO]: LO1 – The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. LO2 – 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 – The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 – A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), to explain a design project.
We began S1 by oscillating between the old walls and new walls. Since the fieldwork this dynamic still retains special pertinence. However, two key points have added to this dynamic. 1. We have greater knowledge of what constitutes all four cities as noted above 2. We have now experienced something of the environmental conditions in which the city and river operate. This ranges between an understanding of the ‘dust’ of Ahmedabad, which arises from its intrinsically dry condition, and the ‘wetness’ of Ahmedabad. The project of the next semester is to take the small projects of the wall-wells and well walls and scale them up to the bigger concerns of the city by placing them in series This semester should give agency to architecture and architecture to agency."
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Studio C
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Design Report
The second semester started with the leftovers of the fieldtrip to be analized and put together. During one of the last days, we visited the "Sarkhej Roza", a mosque and tomb complex located in the village of Makarba, 7 km south-west of Ahmedabad. Apart from the well-known importance of the monumental complex itself, for me the place constituted a whole new situation with an essence similar to those already visited in the metropolitan city. The scenario described in the three photos that open this chapter was indeed wonderfully strange. The workers collected the sandy material from inside the central courtyard and threw it back from a nearby overhang, forming three rather high piles of "dust". I recognized the unaware power of this creative architectural gesture. constituted an inspiration as for the way in which my thesis would have taken its shape. This gesture was a strong inspiration for my thesis and the idea of the "Palimpsest", but most of all, it was a metaphor of the second semester, which was for me the moment to "spread" the rough materials taken from the site itself and shape them to create something new.
Sarkhej Roza ,mosque and tomb complex Makarba, Gujarat India
52
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Design Report
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Design Report
The project is shaped by a methodology that mixes a present of ruins of a non-existent past with the mysterious stratifications of the old wall. The intent is to evoke with material and immaterial forms the elements that regulate the south east riverbank of Ahmedabad, in a critical point that marks the end of the historic city. The materiality is expressed by the stone, mirror of the “palimpsest” of the wall; while the immateriality, like a cobweb made of the elements that mark the place, between the arid dust and the humidity of the water, connects and gives a new sense to the material fragments.
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Measured Intensities. Sketches of the "Palimpsest Building" in section and plan and straightened collage of the Old wall
55
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Studio C
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Design Report
Clouds and dust: the materiality of the immaterial and the immateriality of the material
56
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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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Studio C
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Design Report
Recent pictures of the southern area of the site near the Khan Jahan’s Mosque showing the enclosing concrete wall and slums.
Aerial Views from the Khan Jahan's Mosque of the
57
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[GA]
Views of the site 2.1 2.2
2.3
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Design site.
SMGP
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Design Report
1
2
Sovraposition of the first semester project proposal (area 1) and site planimetry.
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Studio C
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Studio H
Design Report
Before Covid-19. Plywood study model (originally 1:500) and preliminary sketches based on the "palimpsest" methodology.
59
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Studio C
[ATR]
[SCAT]
Studio D
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Design Report
Studio H
PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION
Study of the heights of the site 1:4000
Deconstruction of the project 1:4000
Vegetation Higher level, the road
Waterways
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Lower level, the pre-existent buildings
Material Architecture PRODUCED BY AN AUTODESK STUDENT VERSION
Medium level, in front of the‘ Palinsest’
Immaterial Architecture
Paths
Grid The site and its signs
Site, new conceptual proposal Site with buildings
PRODUCED BY AN AUTODESK STUDENT VERSION
[GC]
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PRODUCED BY AN AUTODESK STUDENT VERSION
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2.4
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Studio C
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Design Report
PRODUCED BY AN AUTODESK STUDENT VERSION
The two sections show how the application of the concept of deconstruction of the material, constituted by dust, gives life to new interstitial spaces, evolving the design proposal of the first semester.
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
The area is dedicated to the community present in the slums towards which the space opens up. Shaded meditative spaces for rest and meeting, spaces that leave freedom for recreational activities for children and adults. The presence of water and sand gives the possibility to explore the encounter between these two elements as primordial constructive materials. The local children, never just observers, create a new layer of the Palimpsest.
Deconstruction of the wall - Before and After an intuition of the Palimpsest 1:400
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Studio H
Design Report
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
1
1
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Plan and longitudinal section. Evolution of the Area 1 of the site. 1:600
3
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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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Design Report
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The old wall: from The “Palimpsest Building”
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Design Report
to the Kahn Jahn’s Mosque
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Studio D
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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Design Report
SMGP
Studio C
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Design Report
The second semester developements were all based on the manipulation of the primordial shapes generated by the extrusions of the overlapped contemporary times of the buildingwall that gives the name to the thesis: the "Palimpsest". The deconstruction of the wall generates both new architectures or new ruins.
Immaterial architectures behind the road
The volumes generated by the manipulation of the shapes intersect with the immateriality of the grid, obtained by the sinuous shapes of the riverfront, to create new spaces of light and shadow. The axonometry shows an example of this manipulation, and how the combination of the materiality and immateriality generates hybrid architectures made from immaterial material. The proposed materials are a combination of old and new, concrete, bricks and metallic wireframe.
Volumes and exhibition of ruins in the riverfront
Materiality, rotated extrusions
Immaterial materiality
Immateriality, from the grid
Axonometric view of the new project proposal consisting in the frist two buildings. Exploded axonometric view of one of the volumes.
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Design proposal: "The House of Light and Sand" and "The House of Projections" The first architecture is proposed as a complex made of very shady spaces to host creative activities, this time in the encounter between light and sand. In particular, it includes the possibility of projecting a story narrated through drawing with sand. The sections show how this story can be developed in one room and then projected into another, generating the possibility of a live cinematic performance. The cinema’s seats can be configured in a more varied way to have a room of luminous extrusions in a shaded peaceful space. The second architecture is an open space with the characteristic of the mutability given by rotating and sliding panels and sliding seats that generate different spaces. The materials are still brick cement and wireframe but the floors and panels are made of light wood. The proposal is to create interactive spaces for public use, as the space can be an exhibition of virtually projected images or it can be reconfigured as an independent cinema for the community. The multiplicity of the worlds enclosed in this building of projections, summarizes the design methodology and proposes it in a new system derived from the initial one. The new light projections are a new immaterial material included in the Palimpsest, which in its conception leaves open creative possibilities, being at the same time an exhibition of itself.
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Studies in Contemporary Architectural Theory [SCAT] Option 3: The Virtual City – Space, Place, Technology Essay: Heterotopia Mirror Cyberspace (Reality) Course Reading Journal: Reading the Virtual City
"Structured through a series of options, this course gives students the opportunity for close engagement with key topics and key texts in current architectural and cultural theory through thematically organised seminar. The course offers an opportunity to engage with debates in contemporary architectural theory, and to learn specific skills in the comprehension, analysis and interpretation oftheoretical texts. The students should reflect on the readings by attending to the following: -Comprehension -Intellectual Context -Style -Structure -Architectural Consequences At the end of the course two documents should be produced: The essay, that explores an issue of our choice, arising from the seminars and readings but investinga specific topic of our interest. The course journal that records the ongoing critical reflections and responses to the weekly readings and seminar discussions.
Learning Outcomes [LO]: LO1 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. LO2 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 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.
The Seminar series 3 that I've attended explored the relationship between the physical space we inhabit and the virtual space created by the technologies we surround ourselves with. We encountered a number of texts related to the historical development of the city, and we explored an emerging critical interest in virtual reality, playfulness and ludic spaces."
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Heterotopia Abstract
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I've approached the concept of Heterotopia for the first time in Henri Lefebvre's essay 'The Production of Space'. The term, was in that occasion used to explain the nature of the concept of space in Lefebvre's conception. By doing more research, I was able to ascertain the complexity of the concept as originally expressed by Michel Foucault, with different premises than those of Lefebvre. The multifaceted nature of the heterotopies led me to questions such as: 'Is there a reality that cannot be included in the concept of heterotopia?', 'To what extent our 'online identity' is a mirror of ourselves?' and: 'To what extent this mirrored self can be therefore considered real?'
Cyberspace (Reality)
In an attempt to answer to these questions, I've decided to divide the essay in a first analytic and researchbased part and a second one with a more speculative and critical approach. In the first chapter I proposed some of the characteristics of heterotopies as expressed by Faucault, without being exhaustive and without including other authors, since the term has been interpreted in many different ways. In the second chapter I deepened the nature of cyberspace, easily misinterpretable as well, so I thought it necessary to search for some rigorous study on the subject. Finally, I tried to give a critical answer to the second question, but the third one remains opened to a further world of questions.
Heterotopia as a Mirror
The concept of heterotopia was developed by Michael Foucault and expressed in a text entitled ‘Of Other Spaces’, as the basis of a lecture he gave to a group of architectural students in 1967. The term comes from medicine, where it refers to the displacement of a part of the body from its normal position. It is also etymologically linked to the term ‘utopia’ with whom it shares the ‘curious property of being in relation with all the other sites, but in such a way as to suspect, neutralize, or invert the set of relations that they happen to designate, mirror, or reflect', as they are both external sites. However, whereas utopias are unreal, fantastic, and perfected spaces,
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heterotopies are real places that exist like ‘counter-sites’, simultaneously representing, contesting, and inverting all other conventional sites. They present a juxtapositional, relational space, a site that represents incompatible spaces and reveals paradoxes. Foucault remarks that the ship is the ‘heterotopia par excellence’. The ship is ‘a piece of floating space, a placeless place’; Foucault observes that ‘in civilizations without boat, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates'. However, the most interesting correspondence is the one with the mirror. The object is seen as a metaphor for the duality and contradictions, the reality and the unreality of utopia and heterotopia. A mirror is metaphor for utopia because the image that you see in it does not exist, but it is also a heterotopia because the mirror is a real object that shapes the way we relate to our own image. ‘The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual point which is over there’. Its multiple physical and philosophical qualities have turned out to be fundamental for the developments of this text. Foucault then establishes a Heterotopology, defining six principles that govern the existence of heterotopies of which only a few will be highlighted in this text for its purposes. It is important to say that there is not a certain universal heterotopies norm and the variation can occur in the historical period to which we refer and to the culture that created them. Also, society can make them function in different ways, like the mirror, that is in fact the object that better synthetises, for its intrinsic multipurpose qualities, the concept of heterotopia. However, there are some key points that define them, such as:
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Heterotopies are always places where incompatible or contradictory kinds of space converge. They are often capable to arrive at an ‘absolute break’ with traditional experiences of time and temporality. There are places, such as libraries or museums that are like a palimpsest, a continual accumulation of time. Heterotopies always presuppose a system of opening and closing to access to them. The function of heterotopia of illusion is to create a space of illusion that exposes every real space, and the function of heterotopia of compensation is to create a real space – a space that is ‘other’.
of cyberspace by the relation spacecyberspace.
Foucault was convinced that heterotopies exist without any doubt in a society and give way to otherness, and otherness subsequently opens a door to plurality and heterogeneity, making possible to understand the complex nature of twenty-first century urban space.
William Mitchell argues that the digital networks are like a new urban infrastructure, and that the virtual space is part of urban design. People themselves, along with their thoughts, actions, and ambitions, are a part of this organism. The most important goods in this space are informations, which are used by people, thus creating their new living space. Therefore, people are not passive users but they are the reasons why platforms like Wikipedia, Facebook and Twitter exist, that seem to be like heterotopies in a heterotopia with a constantly refreshed content.
As observes by Bart Lootsma, today’s city has become a network of networks. It is not a stable set of a limited number of networks for traffic, infrastructures, inhabited by uniform and stable communities, but an almost unlimited set of interfering networks of many different kinds, inhabited by different lifestyles and subcultures that produce some modification to the urban landscape.
Cybersbace as a Reality
The term 'Cyberspace' was used for the first time in 1984 by a sci-fi writer, Ford Gibson, in his novel Neuromancer. The etymology of this word reveals that it describes a cybernetic space that is not identical with three-dimensional physical space, it is rather a place that simulates the real one. It is also necessary to distinguish between cyberspace and virtual reality. The term ‘virtual reality’ is used to describe something artificial, constructed, or less real. In contrast, cyberspace does not necessarily mean something unreal. Though the term reality also incorporates space, it gets closer to the philosophical term of being, of existence or possible existence. The meaning of virtual reality will be defined by the relation between reality and virtual reality and that
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If we use the term space to express the mental space in which we think and construct and then transfer the constructions into the technological world, that could be properly seen as cyberspace. The globally distributed "organism", the World Wide Web, develops in the same manner as any other evolutionary system. It is possible to see in this analysis a connection with the nature of the twenty-first century urban space, with its heterogeneity created by the ‘other’ nature of heterotopic spaces.
If a significant part of our life, for example, our visions and ideas, is reflected in cyberspace, then we can say it becomes a new extension of our life. This influence can be seen in the adaptation of our cognitive functions and abilities (attention, memory, imagination, thinking, etc.) to cyberspace communication. Our existence extends to a new dimension that is virtual in nature. The difference with human’s mental space consists in its biological nature, while cyberspace is constructed technologically. It’s also arguable that the speed of communication and absence of physical space in cyberspace eliminated linear or successive time. According to Immanuel Kant time and space represent a priory aesthetical forms of consideration, the first and fundamental processing of impressions that we get through our senses. If this is changed, then there is a great chance that our everyday real life will change as well.
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Another change occurs with the need to identify oneself with a group, that in cyberspace can easily lead to the change of identity and the creation of more than one avatar. Our identity can then be constructed in accord with our participation in various groups.
Cyberspace as a Mirror
Foucault started to consider a new view of space in the epoch of simultaneity, by saying: ‘we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed'. According to him, we are no longer living in a world of time that moves forward, but in networks of places opening onto one another, yet unable to be reduced to one another or superimposed upon each other. Following these assumptions, it seems like an interesting overlapping between the concept of cyberspace and heterotopia is possible. As digital technologies were progressively incorporated into the ways in which the influences of the environment are perceived and reimagined, it is possible to say that there are places that are ‘virtual heterotopies’. Similar to mirrors, ‘the unreal space that virtually opens up behind the surface', virtual worlds offer individuals the possibility to have avatars, giving to each person his/her own visibility, and as such, enabling them to see themselves where they are not. The users are projected in a sea of networks, in which the can be surfers, but more likely divers. McKenzie Wark pointed out that Foucault‘s description of the ship, the ‘heterotopia par excellence’, as a ‘placeless place' applies to cyberspace as well, ‘particularly when it is a network, linking terminals in difference places and times into a unified environment'. Sherman Young likewise noted the heterotopic qualities of cyberspace but added the important qualification that it is multiple: cyberspace as a whole can be considered as a heterotopia, but within it there exist heterotopies. Also multiple are the return effects on the place a person occupies, because she/he can have more than one avatar in such a world.
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of our dissolution, is the obsession of the narcissist and a trap for the insecure. Cold and indifferent to our emotions and to the passage of time, it has been often associated with death too. Thanks to social networks, it is now possible to leave an indelible trace of your crystalized dead ‘perfected’ picture against that serial killer that is time. The social networks break down the barrier between the private and the public, reality and illusion, letting our private life be controlled and judged by the ‘public’. Time is no longer chronological, but a persistent present created by the museum of moments that you decide to share. It is very easy to associate the word Heterotopia with the word Dystopia as our daily life becomes a ‘live’ exhibition. The anthology television series 'Black Mirror' summarizes very well in its name the dystopic content of its episodes, meaning with that the switched off screen of any device and as Charlie Brooker, the show’s creator, says: ‘there’s something cold and horrifying about that'. That is certainly still a fiction, but we can experience every day that the time in which the dystopic story of the intertwining of virtual and real world reveals itself, seems to overlap with the normal passage of chronological time. The black mirror or Obsidian mirrors were also used ritually to spiritually access the Aztec underworld and communicate with the realm of the dead, another reference to one of the places used by Foucault to exemplify the heterotopies, the cemetery, that for the individual begins with the strange heterochrony of the loss of life in which the permanent lot is dissolution and disappearance. As for social networks, what is dead is our past, but still, we can have access to it.
The mirror, the mysterious object of our daily life, the indifferent measure
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Conclusion Heterotopia as a Reality
In this essay I tried to connect essentially four words, reality, cyberspace, heterotopia and mirror through a provocative syllogism that would make them all converge on the same meaning. The complication is caused by the multiplicity of worlds that each of these terms contains within itself. I then realized how fleeting each of these terms can be. Heterotopia is a concept that has been easily abused too. Sherman Young quotes Benjamin Genocchio’s misgivings: ‘scouring the absolute limits of imagination, the question then becomes: what cannot be designated a heterotopia?' Thus, Young asks ‘what can be gained from suggesting that cyberspace is a heterotopia?’ Suggesting that ‘heterotopies don’t exist as a way of categorising, but as a way of examining social spaces, how they arise and what they mean'.He expands in this way Foucault’s final principal: ‘Finally, the last characteristic of heterotopies is that they have, in relation to the rest of space, a function that takes place between two opposite poles. On the one hand they perform the task of creating a space of illusion that reveals how all of space is more illusory, all the locations within which life is fragmented. On the other, they have the function of forming another space, another real space, as perfect, meticulous and well-arranged as ours is disordered, ill-conceived and in a sketchy state'. At the same, time this complicates the concept of reality, because Foucault himself admits that all of space and the locations within which life is fragmented are illusory. ‘Thus, not only can cyberspace as a whole can be considered a heterotopia, but within cyberspace itself there must exist heterotopies and utopias.’ There are in fact virtual utopian societies, without any practical use but that one to make the individual feel less lonely and perhaps letting one escape from a limiting social context, like in a famous game called Second Life. It’s interesting to note how Young in 1998 suggested that: ‘that reflects the social relations emerging in cyberspace’ So that ‘the different social and individual constructs that are becoming visible in the so-called
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virtual communities forces us to reflect upon the other spaces that exist in our societies'. Nevertheless, despite the apparent transformations and open possibilities given by the advancement of technologies some factors remain constant, such as the supremacy of capitalism. Shosanna Zuboff contrasts the mass production of industrial capitalism with the new surveillance capitalism. ‘It revives Karl Marx’s old image of capitalism as a vampire that feeds on labor, but with an unexpected turn. Instead of labor, surveillance capitalism feeds on every aspect of every human’s experience’ to translate that into behavioural data. The human need for a space of inviolable refuge is now under attack as surveillance capitalism creates a world of ‘no exit’, because the surveillance capitalism is able to create a bridge between tangible and virtual world, confusing, for its own purposes, the limits of the two. Despite this scenario, it is possible to say that some archetypal philosophical issues remain unsolved. In all this excursus, in fact, only the social side of man has emerged and most of the spaces were meant as sharing spaces. The definition of freedom is still an unsolved issue and it’s renewed and complicated by this assumptions of a totalitarian social control with dystopic consequences. Therefore, it seems like now more than ever freedom should be sought in an individual dimension rather than in an attempt to interface and expose yourself in a sprawling society. We have still the right not to share, not to express ourselves. A ‘way out’, has been suggested, becoming then ‘trendy’ in the western world, by some oriental disciplines such as yoga or meditation, in which the multiplicity of the world is like mirrors with infinite reflections and on the contrary the ‘only truth’ is to be searched inside oneself. This archetype of the human being, that many cults have suggested, can provide reassurance for those who believe in it, at least for its persistent unprovability. For the others, it can be seen as another illusion, the greatest one, but at least it opens a door to escape from the trap of relying only on society to feel ‘more existent’.
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C o nt e n t s
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Ab st ra c t
Heterotopia
In an attempt to answer to these questions, I've decided to a second one with a more speculative and critical approach.
Foucault remarks that the ship is the ‘heterotopia par excellence’.
The term, was in that occasion used to explain the nature of the concept of space in Lefebvre's conception. By doing more research, I was able to ascertain the complexity of the concept as originally expressed by Michel Foucault, with different premises than those of Lefebvre. The multifaceted nature of the heterotopies led me to questions such as: 'Is there a reality that cannot be included in the concept of heterotopia?', 'To what extent our 'online identity' is a mirror of ourselves?' and: 'To what extent this mirrored self can be therefore considered real?'
Cyberspace (Reality)
Abstract
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Heterotopia as a Mirror
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Cyberspace as a Reality
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Cyberspace as a Mirror
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Conclusion - Reality as a Heterotopia
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synthesize, connect and expand them. By doing that I found myself in agreement with Sherman Young that sees the concept of heterotopia as a useful tool to understand the society, considering that because of its dynamism it can change as social relationships complicate. This answered
3
of our cognitive functions and abilities (attention, memory, imagination, thinking, etc.) to cyberspace communication. Our existence extends to a new dimension that is virtual in nature. The difference with human’s mental space consists in its biological nature, while cyberspace is constructed technologically. It’s also arguable that the speed of communication and absence of physical space in cyberspace eliminated linear or successive time.
between reality and virtual reality and that of cyberspace by the relation space-cyberspace. If we use the term space to express the mental space in which we think and construct and then transfer the constructions into the technological world, that could be properly seen as cyberspace.7 Laszlo Ropolyi
understands
the
Internet
as
a
According to Immanuel Kant time and space represent a priory
complex,
processing of impressions that we get through our senses. If this is changed, then there is a great chance that our everyday real life will change as well. Another change occurs with the need to identify oneself with a group, that in cyberspace can easily lead to the change of identity and the creation of more than one avatar. Our identity can then be constructed in accord with our participation in various groups10.
technological, as it is a connection of tools, the communicational, more interesting, the cultural and organismic levels. The cultural level, according to Ropolyi, must be understood in the widest possible sense and which contains different human ambitions, intentions, values, plans, and products. The Internet as a universal medium may grasp the same cultural values and activities as the real world. It also creates a new cultural world in which self-realization can be accomplished in many different ways that would simply be impossible in the real world. Finally, the Internet is an independent organism that can be examined separately from the technology inside its structure. This globally distributed organism develops in the same manner as any other evolutionary system8. It is possible to see in this analysis a
As observes by Bart Lootsma, today’s city has become a network of networks. It is not a stable set of a limited number stable communities, but an almost unlimited set of interfering networks of many different kinds, inhabited by different lifestyles landscape6.
Its multiple physical and philosophical qualities have turned out to be fundamental for the developments of this text.
space, with its heterogeneity created by the ‘other’ nature of heterotopic spaces.
that govern the existence of heterotopies of which only a few will be highlighted in this text for its purposes. It is important to say that there is not a certain universal heterotopies norm and the variation can occur in the historical period to which we refer and to the culture that created them.
3
The most important goods in this space are informations, which are used by people, thus creating their new living space. Therefore, people are not passive users but they are the reasons why platforms like Wikipedia, Facebook and Twitter exist, that seem to be like heterotopies in a heterotopia with a constantly refreshed content.
not necessarily mean something unreal. Though the term reality also incorporates space, it gets closer to the philosophical term of being, of existence or possible existence.
Foucault was convinced that heterotopies exist without any doubt in a society and give way to otherness, and otherness subsequently opens a door to plurality and heterogeneity, making possible to understand the complex nature of twenty5.
However, the most interesting correspondence is the one with the mirror. The object is seen as a metaphor for the duality and contradictions, the reality and the unreality of utopia and heterotopia. A mirror is metaphor for utopia because the image that you see in it does not exist, but it is also a heterotopia because the mirror is a real object that shapes the way we relate to our own image3. ‘The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual point which is over there’4.
C y be rsp ac e as a Re a lit y
of this word reveals that it describes a cybernetic space that is not identical with three-dimensional physical space, it is rather a place that simulates the real one. It is also necessary to distinguish between cyberspace and virtual reality. The term ‘virtual reality’ is used to describe something
Heterotopies are always places where incompatible or contradictory kinds of space converge. They are often capable to arrive at an ‘absolute break’ with traditional experiences of time and temporality. There are places, such as libraries or museums that are like a palimpsest, a continual accumulation of time. Heterotopies always presuppose a system of opening and closing to access to them. The function of heterotopia of illusion is to create a space of illusion that exposes every real space, and the function of heterotopia of compensation is to create a real space – a space that is ‘other’.
Foucault observes that ‘in civilizations without boat, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates'2.
heterotopies as expressed by Faucault, without being exhaustive and without including other authors, since the term has been interpreted in many different ways. In the second chapter I deepened the nature of cyberspace, easily misinterpretable as well, so I thought it necessary to search for some rigorous study on the subject.
The mirror I believe, as also recognized by Foucault, is the object that metaphorically and phisically best represents the heterotopies. It can be seen as a medium term between the latter and the 'reality'. The limit, should be placed when the conceptual overlap of the two words no longer leaves room for a useful use of the tool heterotopia. Finally, I tried to give a critical answer to the second question, but the third one remains opened to a further world of questions.
Course: Studies in Contemporary Architectural Theory - Essay Seminar Option: Virtual City
Also, society can make them function in different ways, like the mirror, that is in fact the object that better synthetises, for its intrinsic multipurpose qualities, the concept of heterotopia.
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H et e ro t op ia a s a M irro r The concept of heterotopia was developed by Michael Foucault and expressed in a text entitled ‘Of Other Spaces’, as the basis of a lecture he gave to a group of architectural students in 1967. The term comes from medicine, where it refers to the displacement of a part of the body from its normal position. It is also etymologically linked to the term ‘utopia’ with whom it shares the ‘curious property of being in relation with all the other sites, but in such a way as to suspect, neutralize, or invert the set 1 , as they are both external sites. However, whereas utopias are unreal, fantastic, and perfected spaces, heterotopies are real places that exist like ‘countersites’, simultaneously representing, contesting, and inverting all other conventional sites. They present a juxtapositional, relational space, a site that represents incompatible spaces and reveals paradoxes.
Henri Lefebvre's essay 'The Production of Space'.
Mirror
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William Mitchell argues that the digital networks are like a new urban infrastructure, and that the virtual space is part of urban design 9. People themselves, along with their thoughts, actions, and ambitions, are a part of this organism.
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Student: Silvia Maria Gioia Puddu Student Number: s1346413
Foucault started to consider a new view of space in the epoch of simultaneity, by saying: ‘we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed'11. According to him, we are no longer living in a world of time that moves forward, but in networks of places opening onto one another, yet unable to be reduced to one another or superimposed upon each other. Following these assumptions, it seems like an interesting overlapping between the concept of cyberspace and heterotopia is possible.
trace of your crystalized dead ‘perfected’ picture against that serial killer that is time and to let others appreciate that before it is too late. But what if that mirror becomes something more, what if we wanted to trap also the positive aspects of our character, our successes, of the most important moments of our lives, trying to we are at the top, tomorrow, maybe, not anymore as the social networks break down the barrier between the private and the public, reality and illusion, letting our private life be controlled and judged by the ‘public’. Time is no longer chronological, but a persistent present created by the museum of moments that you decide to share.
As digital technologies were progressively incorporated into the and reimagined, it is possible to say that there are places that are ‘virtual heterotopies’. Similar to mirrors, ‘the unreal space that virtually opens up behind the surface' 12, virtual worlds offer individuals the possibility to have avatars, giving to each person his/her own visibility, and as such, enabling them to see themselves where they are not. The users are projected in a sea of networks, in which the can be surfers, but more likely divers.
It is very easy to associate the word Heterotopia with the word Dystopia as our daily life becomes a ‘live’ exhibition. The anthology television series 'Black Mirror' summarizes very well in its name the dystopic content of its episodes, meaning with that the switched off screen of any device and as Charlie Brooker, the show’s creator, says: ‘there’s something cold and horrifying about that'16. This highlights how the new technologies and our
McKenzie Wark pointed out that Foucault‘s description of the ship, the ‘heterotopia par excellence’, as a ‘placeless place'13 applies to cyberspace as well, ‘particularly when it is a network,
our view of ‘reality’ with its objects. In the show you can always breathe the impotence of people in front of the new online society where the limits of individuality and identity, of the norm, of the real, dissipate, leaving room for the paranoid desire to be recognized as part of the virtual world, beyond which there is the risk of no longer being recognized as existent.
environment' 14. Sherman Young likewise noted the heterotopic that it is multiple: cyberspace as a whole can be considered as a heterotopia, but within it there exist heterotopies15. Also multiple are the return effects on the place a person occupies, because she/he can have more than one avatar in such a world.
that the time in which the dystopic story of the intertwining of virtual and real world reveals itself, seems to overlap with the normal passage of chronological time.
As Narciso drowns because he couldn’t stop looking at his
The black mirror or Obsidian mirrors were also used ritually to spiritually access the Aztec underworld and communicate with the realm of the dead17, another reference to one of the places used by Foucault to exemplify the heterotopies, the cemetery, that for the individual begins with the strange heterochrony of the loss of life in which the permanent lot is dissolution and disappearance18. As for social networks, what is dead is our past, but still, we can have access to it. Facebook, collapses past life, present life and afterlife into something very other.
that one of the social networks or RPGs (role-playing games), absorb your now fragmented self. The concept of mirror is archetypal and crosses the myth, it is associated with magic, it has been represented in arts, written in poetry and literature and used as a metaphor in cinema. The mysterious object of our daily life, the indifferent measure of our dissolution, is the obsession of the narcissist and a trap for the insecure. Cold and indifferent to our emotions and to the passage of time, it has been often associated with death too. Thanks to social networks, it is now possible to leave an indelible
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References
C o nc lu si on H et e ro t op ia a s a R ea li ty
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C y be rsp ac e as a Mi rro r
In this essay I tried to connect essentially four words, reality, cyberspace, heterotopia and mirror through a provocative syllogism that would make them all converge on the same meaning. The complication is caused by the multiplicity of worlds that each of these terms contains within itself. The more I read on the subject, the more I realized in fact how
different social and individual constructs that are becoming upon the other spaces that exist in our societies' 24. Nevertheless, despite the apparent transformations and open possibilities given by the advancement of technologies that have already become a new norm of life, some factors remain constant, such as the supremacy of capitalism. Shosanna Zuboff contrasts the mass production of industrial capitalism with the new surveillance capitalism. ‘It revives Karl Marx’s old image of capitalism as a vampire that feeds on labor, but with an unexpected turn. Instead of labor, surveillance capitalism feeds on every aspect of every human’s experience25’ to translate that into behavioural data.
conception of reality. Heterotopia is a concept that has been easily abused too. Sherman Young 19 quotes Benjamin Genocchio’s misgivings: ‘scouring the absolute limits of imagination, the question then becomes: what cannot be designated a heterotopia?'20 Thus, Young asks ‘what can be gained from suggesting that cyberspace is a heterotopia?’ Suggesting that ‘heterotopies don’t exist as a way of categorising, but as a way of examining social spaces, how they arise and what they mean'21.He expands
Another point that the writer makes is ‘If industrial capitalism dangerously disrupted nature, what havoc might surveillance capitalism wreak on human nature?'26 For example ‘the right to sanctuary'27, meaning the human need for a space of inviolable refuge is now under attack as surveillance capitalism creates a world of ‘no exit’, from
‘Finally, the last characteristic of heterotopies is that they have, in relation to the rest of space, a function that takes place between two opposite poles. On the one hand they perform the task of creating a space of illusion that reveals how all of space is more illusory, all the locations within which life is fragmented. On the other, they have the function of forming another space, another real space, as perfect, meticulous and well-arranged as ours is disordered, ill-conceived and in a sketchy state'22.
surveillance capitalism is able to create a bridge between tangible and virtual world, confusing, for its own purposes, the limits of the two.
social connotations. ‘Monumental space offered each member of society an image of that membership, an image of his or her social visage. It thus constituted a collective mirror more faithful than any personal one' 29. In this passage it seems like the monumental space is not so different from the communities that nowadays propose the most various systems of value that exclude everything that is different from its intrinsic rules. Both of them, however, suggest a submission of each member towards something greater. A ‘way out’, has been suggested, becoming then ‘trendy’ in the western world, by some oriental disciplines such as yoga or meditation, in which the multiplicity of the world is like mirrors with searched inside oneself. This archetype of the human being, that many cults have suggested, can provide reassurance for those who believe in it, at least for its persistent unprovability. For the others, it can be seen as another illusion, the greatest one, but at least it opens a door to escape from the trap of relying only on society to feel worthy or even ‘more existent’.
2, Archaeology and Aesthetics, (Taylor & Francis, Ltd, October 2001), 224, accessed on April 26 2020, https:// 18. Sherman Young, ‘Of cyber spaces: The Internet & heterotopias.’ 19. Benjamin Genocchio, ‘Discourse, Discontinuity, Difference: the Question of Other Spaces,’ in S. Watson and K. Gibson (eds.), Postmodern Cities and Spaces, (Oxford: Blackwell, 1995), 35-46. 20. Foucault, ‘Of Other Spaces,’ 26. 21. Sherman Young, ‘Of cyber spaces: The Internet & heterotopias,’ 22. Michel Foucault, 'Of Other Spaces: Utopias and Heterotopias,' in Neil Leach, Rethinking Architecture: A Reader in Cultural Theory, (London: Routledge, 1997), 356. 23. Sherman Young, ‘Of cyber spaces: The Internet & heterotopias.’ 24. Sherman Young, ‘Of cyber spaces: The Internet & heterotopias.’ 25. Shosanna Zuboff, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of
Despite this scenario, it is possible to say that some archetypal philosophical issues remain unsolved. In all this excursus, in fact, only the social side of man has emerged and most of the
At the same, time this complicates the concept of reality, because Foucault himself admits that all of space and the locations within which life is fragmented are illusory. Furthermore, the complication of our society is well expressed by the Cyberspace, a larger ‘other space’ that embraces notions of the other, limits access and presents contradictions of purpose, illusion, the imagination and deviancy and give rise to different social possibilities. ‘Thus, not only can cyberspace as a whole can be considered a heterotopia, but within cyberspace itself there must exist heterotopies and utopias.23’ There are in fact virtual utopian societies, without any practical use but that one to make the individual feel less lonely and perhaps letting one escape from a limiting social context, like in a famous game called Second Life. It’s interesting to note how Young in 1998 suggested that: ‘that
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1. Michel Foucault, ‘Des Espace Autres,’ Architecture, Mouvement, Continuité, no. 5, (1984): 46–49, trans. Jay Miskowiec, ‘Of Other Spaces,’ Diacritics 16, no. 1, (Spring, 1986): 24, accessed April 25 2020, http:// seas3.elte.hu/coursematerial/RuttkayVeronika/Foucault_of_other_spaces.pdf 2. Foucault, ‘Of Other Spaces,’ 27. 3. Iwan Sudradjat, Foucault, the Other Spaces, and Human Behaviour, (Mara, Malaysia: Elsevier B.V. Selection, 2012), 29, accessed April 25, 2020, https://www.sciencedirect.com/science/article/pii/ S1877042812004715. 4. Foucault, ‘Of Other Spaces,’ 24. 5. Sudradjat, Foucault, the Other Spaces, and Human Behaviour, 32. 6. Bart Lootsma, ‘Bas Princen, Of Other Spaces, (re)vis(it)ed,’ Architectural Theory. EU Magazine, (June, 2008), accessed April 25, 2020, http://www.architekturtheorie.eu. 7. Slavomír Gálik and Sabína Gáliková Tolnaiová, Cyberspace as a New Existential Dimension of Man, (Trnava, Slovakia, July 2019), 2-3, accessed April 26, 2020, https://www.researchgate.net/ publication/334995441_Cyberspace_as_a_New_Existential_Dimension_of_Man. 8. László Ropolyi, Philosophy of the Internet. A Discourse on the Nature of the Internet, (Budapest, Hungary: January 2013), accessed April 26, 2020, https://www.researchgate.net/publication/280384859_Philosophy_ of_the_Internet_A_Discourse_on_the_Nature_of_the_Internet. 9. William J. Mitchell, E-Topia: Urban Life, Jim—But Not as We Know It, (Cambridge: MA: MIT Press, 1999) 10. Gálik and Gáliková Tolnaiová, Cyberspace as a New Existential Dimension of Man, 6-9. 11. Foucault, ‘Of Other Spaces,’ 22. 12. Foucault, ‘Of Other Spaces,’ 24. 13. Foucault, ‘Of Other Spaces,’ 27 14. McKenzie Wark, ‘Lost in space: Into the digital image labyrinth,’ Continuum 7, no. 1, (1993), 140–160, accessed April 26, 2020, http://dx.doi.org/10.1080/10304319309365594. 15. Sherman Young, ‘Of cyber spaces: The Internet & heterotopias,’ M/C Journal 1, no. 4, (1998) accessed April 26, 2020, http://journal.media-culture.org.au/9811/hetero.php. 16. Charlie Brooker, interviewed by The Guardian, (2014) accessed April 26, 2020, https://www.highsnobiety. com/p/black-mirror-title-meaning/
Perhaps, the sacred and reassuring nature of this experience is no longer compatible with a globalized-hyperconnected
is still an unsolved issue and it’s renewed and complicated by this assumptions of a totalitarian social control with dystopic consequences. Therefore, it seems like now more than ever freedom should be sought in an individual dimension rather than in an attempt to interface and expose yourself in a sprawling society. We have still the right not to share, not to express ourselves.
26. Shosanna Zuboff, The Age of Surveillance Capitalism, 20. 27. Shosanna Zuboff, The Age of Surveillance Capitalism, 21. 28. Henri Lefebvre, 'The Production of Space (extracts),' in Neil Leach, Rethinking Architecture: A Reader in Cultural Theory, (London: Routledge, 1997), 139. 29. Henri Lefebvre, 'The Production of Space (extracts),' 139.
Lefebvre, spoke of monuments as spaces where the embodiment was necessary to experience them at full, by saying: ‘Visitors are bound to become aware of their own footsteps, (…) they will
Figures Cover: 'Mirrored Room', Lucas Samaras, 1966. External perspective view. https://www.albrightknox.org/artworks/k196615-mirrored-room p. 13: 'Mirrored Room', Lucas Samaras, 1966. Internal view. https://www.albrightknox.org/artworks/k196615-mirrored-room
own bodies, experience a total being in total space'28.
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Bibliography Foucault, Michel, ‘Des Espace Autres,’ Architecture, Mouvement, Continuité, no. 5 (1984): 46–49. Translated by Jay Miskowiec, ‘Of Other Spaces,’ Diacritics 16, no. 1 (Spring, 1986): 22-27. Accessed April 25 2020, http://seas3.elte.hu/coursematerial/RuttkayVeronika/Foucault_of_other_spaces.pdf Foucault, Michel. 'Of Other Spaces: Utopias and Heterotopias.' In Neil Leach, Rethinking Architecture: A Reader in Cultural Theory, London: Routledge, 1997. Gálik, Slamovir, and Sabína Gáliková Tolnaiová. Cyberspace as a New Existential Dimension of Man. Trnava, Slovakia, July 2019. Accessed April 26, 2020, https://www.researchgate.net/publication/334995441_Cyberspace_as_a_New_ Existential_Dimension_of_Man. Genocchio, Benjamin. ‘Discourse, Discontinuity, Difference: the Question of Other Spaces.’ In S. Watson and K. Gibson (eds.). Postmodern Cities and Spaces. Oxford: Blackwell, 1995. Lefebvre, Henri. 'The Production of Space (extracts).' In Neil Leach, Rethinking Architecture: A Reader in Cultural Theory. London: Routledge, 1997. Lootsma, Bart. ‘Bas Princen, Of Other Spaces, (re)vis(it)ed.’ Architectural Theory. EU Magazine. (June, 2008). Accessed April 25, 2020. http://www.architekturtheorie.eu. Mitchell, William J. E-Topia: Urban Life, Jim—But Not as We Know It. Cambridge: MA: MIT Press, 1999. Ropolyi, László. Philosophy of the Internet. A Discourse on the Nature of the Internet. Budapest, Hungary: January 2013. Accessed April 26, 2020. https://www.researchgate.net/publication/280384859_Philosophy_of_the_ Internet_A_Discourse_on_the_Nature_of_the_Internet. Archaeology and Aesthetics. Taylor & Francis, Ltd, October 2001. on_obsidian_in_Mesoamerica. Wark, McKenzie. ‘Lost in space: Into the digital image labyrinth.’ Continuum 7, no. 1. 1993. Accessed April 26, 2020. http://dx.doi.org/10.1080/10304319309365594. Sudradjat, Iwan. Foucault, the Other Spaces, and Human Behaviour. Mara, Malaysia: Elsevier B.V. Selection, 2012). Accessed April 25, 2020. https://www.sciencedirect.com/science/article/pii/S1877042812004715. Young, Sherman. ‘Of cyber spaces: The Internet & heterotopias,’ M/C Journal 1, no. 4. 1998. Accessed April 26, 2020. http://journal.media-culture.org.au/9811/hetero.php. Zuboff, Shosanna. The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of
Heterotopia Mirror Cyberspace (Reality) Full Submission.
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‘Iconostatis of capitalism’, Aleksandar Todorovic.
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Capitalism for all Seasons
In both of the texts ‘Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World’ and ‘Internet Dreaming: a Utopia for all Seasons’ is expressed the idea that the tacit aim of the mass is to take part of an elitarian group. It’s certainly convenient to let the large part of the population think that they can get into it, and that they are therefore special, but it’s rather a chimeric dream for the most of them. The free, granted for everyone, use of social medias and the hunger of the customers to get the best aesthetic food, the best photo in the best place or the best Airbnb room is the trend through which the market grows. In the article ‘Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World’ It seems like the internet or an aseptic world ruled by images, has now the control of ‘reality’ rather then the contrary, through an emerging system in which each offer can be confronted with other options because they are associated with a numeric value in feedback. The aspiration of each seller is to find a way to make an apparently poor product look special and the buyer is always trying to get the best for the lowest price, rather then something that honestly bears its value, but it’s clearly not the best. That seems to be the dominant rule. In a certain sense, I think that in the article is tacitly expressing that the predetermination and ‘harmonization of tastes’ is so boring that we, as buyers, are only rewarded in sharing with others that we found the ‘best place for the best price’ and that, therefore, we can be part of the ‘airspace class’. There is less space for adventures and maybe real experiences, or to find out what are your real interests. We’re so attracted to this safe bubble that is like in an expansion of the expanding globalized world. I think the most of the people would feel in reading the article that, even if they are probably the first customers and they really take advantage of this kind of world, there’s something wrong with this it they can’t say what exactly. That could be because we get the sense that everything’s under control, therefore, even if not everyone is willing to problematize it
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too much, we feel, without being able to express that, the anguished foreboding that freedom is affected by that. In ‘Internet Dreaming: a Utopia for all Seasons’ it’s interesting to read that ‘far from overthrowing the old world order, the new order has simply allied itself with the old. Silicon Valley has not replaced wall street, it has merged with it’. There are probably two main facts to note: in one hand how the internet actually improved our lives, which is in my opinion, absolutely evident, and on the other hand how it made us more aware about the fact that what leads the world is still capitalism, rather then a possibility to have a utopia realized that ‘transcends’ the reality created by ourselves that includes the fact that we’re not equal in front of the State. In my opinion, the utopic views of More and Bacon are simply not considering enough the egoistic/hedonistic and destructive will of humans that have been defined by Sigmund Freud ‘death drive’, often cause of many problems if repressed or rejected in favour of a higher social order. The will of death, translated in aggressiveness and in fear of the different one and the unknown are simply part of us, which can be dominated and educated, but whose repression and ignorance guarantees problems on a larger scale, such as persecution of certain social groups or the attempt to find an exterior scapegoat to purify society. Therefore I think that the true utopia concerns human evolution that is still in a non-advanced state despite the fact that technologies are. Thats why: ‘The most important outcome of the “wired” revolution was the elevation to mind-numbing wealth of small elite who had leveraged their companies into the biggest bubble the stock market had ever seen. Unlike the geeks and hackers who had created the internet, these newly mited millionaires showed little interest in the common-weal (...)’.
normally used to consider as realist a work of art by its adherence to the rules of perspective. Nevertheless, we experience that our relation to space, always implies the passage of time and that we are bodies moving into space. So how can we be neutral? ‘(…) We come across the idea that rather than a mind and a body, man is a mind with a body, a being who can only get to the truth of things because its body is, as it were, embedded in those things’. Based on this passage, it seems rather that our realism is that of continuous movement in a in a continuous space. In this sense, movies can be seen as more realistic than figurative arts. However, I think that the development of the virtual world, and the cyberspace in general terms, is leading us to change again our perception of space and our perception of time: we have now the possibility to create our personal time, by transferring us into the past, sometimes into the future, sometimes in a time that never existed in a space that is still a two dimensional one and in which the embodiment became less important. I think it is also partially due to the fact that photography has become part of our reality. Perhaps, still frames lead us to give less attention to the constant motion of the world. Are we becoming our brain? It is easy to say that the separation between ‘reality’ and ‘virtuality’ is not clear at all, if we consider the importance of the ‘observer’ and therefore the ability to define his own reality. For Henri Lefebvre, the monument is like a lived experience rather than the representation of an idea, and it presupposes the embodiment. In a world in which an increasing number of experiences has moved to virtual reality, a space that organizes the year and human life in general, through rituals that you would take part into by staying there, is probably no longer possible. This is reinforced by the fact that most of the monument’s ‘values’ come from what they represent rather than what they physically are, so that when they cease to be monuments or when a power structure ceases to be a power structure becoming again a building, the illusion is soon revealed. Therefore, the crisis of perceptions is accompanied by the crisis of values.
Dynamic perceptions
The lecture ‘Exploring the world of Perception: space’ makes you think in a non-ordinary but still simple way about something that is generally taken for granted, the concept of space and the concept of realism. We’re in fact
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‘Dynamism of the Human Body’, Umberto Boccioni, 1913.
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‘Balzac was the first to speak of the ruins of the bourgeoisie. But only surrealism exposed them to view. The development of the forces of production reduced the wish symbols of the previous century to rubble even before the monuments representing them had crumbled. (...) Architecture makes a start as constructional engineering. The reproduction of nature in photography follows. Fantasy creation prepares itself to become practical as commercial art. Literature is subjected to montage in the feuilleton. All these products are on the point of going to market as wares. (...) Each epoch not only dreams the next, but also, in dreaming, strives toward the moment of waking. In the convulsion of the commodity economy we begin to recognize the monuments of the bourgeoisie as ruins even before they have crumbled’. This passage from Walter Benjamin’s ‘On Some Motifs in Baudelaire’ seems to enforce the ideas exposed in the previous entry, because it says that monuments as firm points of society, already collapsed in the era of the urbanized ‘modern’ world, as expressed and lived by Charles Baudelaire. What does ‘ruins before they have crumbled’ mean? It means that the bourgeoisie’s monuments were like dreams, not real enough to be tangible. The bourgeoisie cannot have a monument like the one expressed by Henry Lefebvre, simply because the world where they were born is the one of passages, with the arcades that clearly embody that. Arcades are like utopic vision of communal spaces, again, illusory in nature as any other human construction. The only thing that they can contain is’the work of art in the age of reproduction’ with its lost artistic value. The lost of values is well expressed in this passage in which Benjamin quotes Paul Valéry: ‘The inhabitant of the great urban centres reverts to a state of savagery – that is, of isolation. The feeling of being dependent on others, which used to be kept alive by need, is gradually blunted in the smooth of the social mechanism. Any improvements of this mechanism eliminates certain modes of behaviour and emotions’ Even if passing by can be seen as a
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ritualized action, it doesn’t have the character of prominence and inclusiveness given by a higher power that characterized the monument.
a new series of values, perhaps closer to the natural world, which exclude any kind of absolutism. The re-appropriation of one’s own nature also concerns accepting the continuous flow that also implies death, previously negatively connoted. As the post-industrial world required an urbanization that included natural open spaces into the cities, now the issue is to find room for human nature into it. ‘Without a full range of emotions that is without a full range of the meanings and possibilities of how it feels to be human - we are unfulfilled, and the full life of the city is yet to be achieved’ Thus, the city is proposed as a playground, in which there is no room for solemnity, for the punishment for the non-seriousness of its inhabitants as we rediscover that we are not in this world merely to ‘produce’. Games are definitively part of our reality. More and more people discover the kind ‘Play is a serious fun, and we should all be able to take part’. The need for narratives and to be creative is one of the greatest aspects of human life, and knowingly including it in the city is a step forward to make the most of it.
The monument is supposed to rule the time, not to be ruled by that, and the idea of ‘passage’ includes the chronological or even accelerated time that is possibly excluded from the monumental constant present. The arcade is rather the symbol of the urbanized world. In this scenario, the crowd, like the algorithms generated by computers, becomes like an entity with its own will, inhuman and too human at the same time, lived as a shock for those who saw it the first time. It is in my opinion possible to make parallels between the contemporary city as an unstable and almost unlimited set of interfering networks and of networks of networks, and the cyberspace. Therefore it seems like a lineal evolution between the two.
The emotional city
‘Architecture in this sense is like seasonal flower, beautiful in its very ephemerality and provisional presence and appreciated not only for what it provides, but also in the knowledge that it will, very soon, be gone’. As times change and the boundaries between reality and virtuality collapse, the world takes some aspect and object of the virtuality of the cyberspace and vice-versa. The more we include virtuality in our lives the more we will be surrounded by unstable and temporary objects and architecture is included in that. This precariety is also well expressed by what happens as we fragment ourselves to become part of communities or to role play in the cyberspace. What is suggested in ‘Tactics for a Playful City’ is to accept this complete dynamism and act accordingly to that. ‘This is the way people are constantly being reconstructed and re-imagined in cities today, and this is the way that cities must be designed not for predictable, monolithic sectors of the population, but for various different and competing tastes’. Again, the monuments have crumbled, and we see very clearly now that everything has always been temporary. Nonetheless, this poetic sense can offer
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I’ve decided to focus the last entry on the ‘Introduction: Home or Exile in the Digital Future’, because I think it expresses in a very interesting way one of the problems that social networks and the overproduction of images are causing: a total alienation of the meaning of sharing on the internet. The text enlightens how this huge virtual society, from which no one escapes, literally feeds on human lives. The author says in fact: ‘Surveillance capitalism, unilaterally claims human experience as free raw material for translation into behavioural data. Although some of these data are applied to service improvement, the rest are declared as a proprietary behavioural surplus, fed into advanced manufacturing processes known as ‘machine intelligence’, and fabricated into prediction products that anticipate what you will do now, soon, and later’. This is evident when we consider how the most of the people is subjugated, almost hypnotized, by the need to share
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so much superfluous content on social networks and, due to the overproduction of non-objective information, have an opinion on topics that they clearly are not completely aware of. This is simplified by the free use with which social networks are given. It is clear in my opinion, that there are interests behind it and it is easy to come to the conclusion that these interests are related to having as much control as possible over people, not primarily for security purposes, but for commercial one. In the hands of those who do not develop a critical sense, this virtual reality can be disastrous, as priorities completely change. ‘Our dependency is at the heart of the commercial surveillance project, (...) it disposes us to rationalize the situation in resigned cynicism, created excuses that operate like defence mechanisms (“I have nothing to hide”), or find other ways to stick our heads in the sand, choosing ignorance out of frustration and helplessness. In this way, surveillance capitalism imposes a fundamentally illegitimate choice that twenty-first century individuals should not have to make, and its normalization leaves us singing in our chains’. The author also poses an interesting question: ‘If industrial capitalism dangerously disrupted nature, what havoc might surveillance capitalism wreak on human nature?’ I think that we have in this particular historical moment incredible possibilities in terms of awareness of social dynamics, and knowledge in general, therefore we should consider that in our history we have always created ‘monsters’, constantly looking for totalizing figures symbolizing totalizing concepts such as good and evil, out of ignorance of our responsibilities. We have been, in the end, always looking for a ‘way out’ because we couldn’t accept our responsibilities as parts of the whole.
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Bibliography
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In both of the texts ‘Airspace - How Silicon Valley Helps Spread the S ame Sterile Ae sthetic across the World’ and ‘Internet Dreaming: a Utopia for all Seasons’ is expre ssed the idea that the tacit aim of the mass is to tak e part of an elitarian group. It’s c ertainly convenient to let the large part of the population think that they can get into it, and that they are the re fore special, but it’s rather a chimeric dre am for the most of the m. The fre e, granted for e veryone, use of social medias and the hunge r of the customers to get the be st aesthetic food, the best photo in the best place or the best Airbnb room is the tre nd through which the market grows . In the article ‘Airspace - How S ilic on Valley Helps Spread the Same Sterile Ae sthetic across the World’ It s eems like the internet or an aseptic world rule d by images, has now the control of ‘reality’ rathe r then the c ontrary, through an emerging system in which eac h offer can be confronted with other options because the y are ass ociate d with a numeric value in feedbac k. make an apparently poor product look spe cial and the buyer is always trying to get the best for the lowest price, rather the n s omething that honestly bears its value, but it’s c learly not the best. That see ms to be the dominant rule. Nowadays , if you’re good in promoting yourself or your room in the example of Airbnb, you would c ertainly have good fee dbac k and, the re fore, more customers. This applies to your image as we ll, the one that you might present on soc ial me dias . In that c ase the pay c omes from likes , again, yourse lf. In a ce rtain se nse, I think that in the artic le is tac itly expres sing that the pre de te rmination and ‘harmonization of tastes’ is so boring that we, as buyers, are only re warded in s haring with others that we found the ‘best place for the best price’ and that, therefore, we can be part of the ‘airspace c lass’1. There is less space for adventures and maybe real experie nces , so attracted to this safe bubble that is like in an expans ion of the e xpanding globalize d world. I think the most of the people would feel in reading the article that, even if they are take advantage of this kind of world, there ’s
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Course: Studies in Contemporary Architectural Theory - Diary Seminar Option: Virtual City
Student: Silvia Maria Gioia Puddu Student Number: s1346413
Readin g the Virtual City
Capi tal ism for al l Se asons
Co nte nt s
Capitalism fo r all Seasons
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Dynamic pe rcept io ns
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Virt ual E mbodime nt
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The emotional city
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References
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Figures
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Bibliography
17
In both of the texts ‘Airspace - How Silicon Valley Helps Spread the S ame Sterile Ae sthetic across the World’ and ‘Inte rnet Dreaming: a Utopia for all Seasons’ is expressed the idea that the tacit aim of the mass is to tak e part of an elitarian group. It’s c ertainly convenient to let the large part of the population think that they can ge t into it, and that they are the refore special, but it’s rather a chime ric dre am for the most of the m. The fre e, granted for e veryone, use of social medias and the hunger of the customers to get the be st aesthetic food, the best photo in the best place or the best Airbnb room is the trend through which the market grows . In the article ‘Airspace - How S ilic on Valley Helps Spread the Same Sterile Aesthetic across the World’ It s eems like the internet or an aseptic world ruled by images, has now the control of ‘re ality’ rather then the c ontrary, through an emerging system in which eac h offer can be confronte d with other options because the y are ass ociate d with a numeric value in feedbac k. make an apparently poor product look spe cial and the buyer is always trying to get the best for the lowest price, rather then s omething that honestly bears its value, but it’s c learly not the best. That seems to be the dominant rule. Nowadays , if you’re good in promoting yourself or your room in the example of Airbnb, you would c ertainly have good fee dbac k and, the re fore, more custome rs. This applies to your image as we ll, the one that you might present on soc ial medias . In that c ase the pay c omes from likes , again,
Freud ‘de ath drive ’, often cause of many proble ms if repre sse d or re je cte d in favour of a higher social order. The will of death , trans lated in aggress ivenes s and in fe ar of the different one and the unk nown are simply part of us, whic h c an be dominated and educ ated, bu t whose repression an d ignorance guarantees problems on a larger sc ale, suc h as perse cution of ce rtain social groups or the
yourse lf. In a certain sense, I think that in the artic le is tac itly expres sing that the pre de te rmination and ‘harmonization of tastes’ is so boring that we, as buyers, are only rewarded in s haring with othe rs that we found the ‘best place for the best price ’ and that, therefore, we can be part of the ‘airspace c lass’1. There is less space for adventures and maybe real experie nces ,
purify soc iety. Therefore I think that the true utopia conce rn s human e volution that is still in a non-advance d state des pite the fact th at tec hnologies are. This is one of the re ason s why c apitalism is still at its peak and why ‘The mos t important outc ome of the “wired” revolution was the elevation to mind-nu mbing we alth of s mall elite who had le ve raged the ir compan ies into the biggest bubble the s toc k marke t had eve r se en. Unlik e the gee ks and hack ers who had c reated the intern et, th ese ne wly mited millionaire s showed little inte re st in the c ommon -weal (...)3’.
so attracted to this safe bubble that is like in an expans ion of the expanding globalized world. I think the most of the people would feel in re ading the article that, even if they are take advantage of this kind of world, there ’s
4
Course: Studies in Contemporary Architectural Theory - Diary Seminar Option: Virtual City
Embo dime nt
D ynami c perce pt io ns
Nevertheless, we experience that our relation to space, always implies the passage of time and that we are bodies moving into space. So how can we be neutral? ‘(…) We come across the idea that rather than a mind and a body, man is a mind with a body, a being who can only get to the truth of things because its body is, as it were, embedded in those things’4. Based on this passage, it seems rather that our realism is that of continuous movement in a in a continuous space. In this sense, movies can be seen as more realistic However, I think that the development of the virtual world, and the cyberspace in general terms, is leading us to change again our perception of space and our perception of time: we have now the possibility to create our personal time, by transferring us into the past, sometimes into the future, sometimes in a time that never existed in a space that is still a two dimensional one and in which the embodiment became less important. I think it is also partially due to the fact that photography has become part of our reality. Perhaps, still frames lead us to give less attention to the constant motion of the world. Are we becoming our brain?
The monument is supposed to rule the time, not to be ruled by that, and the idea of ‘passage’ includes the chronological or even accelerated time that is possibly excluded from the monumental constant present. The arcade is rather the symbol of the urbanized world.
This passage from Walter Benjamin’s ‘On Some Motifs in Baudelaire’ seems to enforce the ideas exposed in the previous entry, because it says that
It is easy to say that the separation between ‘reality’ and ‘virtuality’ is not clear at all, if we consider the importance of the ‘observer’ and therefore the If we examine the concept of monument as expressed by Henri Lefebvre’s ‘The Production of Space: ‘Visitors are bound to become aware of their own footsteps, (…) they will partake of an ideology; they will contemplate and decipher the symbols around them; and they will thus, on the basis of their own bodies, experience a total being in total space’5, what merges out is that the monument is like a lived experience rather than the representation of an idea, and it presupposes the embodiment.
society, already collapsed in the era of the urbanized ‘modern’ world, as expressed and lived by Charles Baudelaire.
In a world in which an increasing number of experiences has moved to virtual reality, a space that organizes the year and human life in general, through rituals that you would take part into by staying there, is probably no longer possible. This is reinforced by the fact that most of the monument’s ‘values’ come from what they represent rather than what they physically are, so that when they cease to be monuments or when a power structure ceases to be a power structure becoming again a building, the illusion is soon revealed. Therefore, the crisis of perceptions is accompanied by the crisis of values.
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as any other human construction. The only thing that they can contain is’the work of art in the age of reproduction’ with its lost artistic value. The lost of values is well expressed in this passage in which Benjamin quotes Paul Valéry: ‘The inhabitant of the great urban centres reverts to a state of savagery – that is, of isolation. The feeling of being dependent on others, which used to be kept alive by need, is gradually blunted in the smooth of the social mechanism. Any improvements of this mechanism eliminates certain modes of behaviour and emotions 7’ Even if passing by can be seen as a ritualized action, it doesn’t have the character of prominence and inclusiveness given by a higher power that characterized the monument.
the ruins of the bourgeoisie. But only surrealism exposed them to view. The development of the forces of production reduced the wish symbols of the previous century to rubble even before the monuments representing them had crumbled. (...) Architecture makes a start as constructional engineering. The reproduction of nature in photography follows. Fantasy creation prepares itself to become practical as commercial art. Literature is subjected to montage in the feuilleton. All these products are on the point of going to market as wares. (...) Each epoch not only dreams the next, but also, in dreaming, strives toward the moment of waking. In the convulsion of the commodity economy we begin to recognize the monuments of the bourgeoisie as ruins even before they have crumbled6’.
The lecture ‘Exploring the world of Perception: space’ makes you think in a non-ordinary but still simple way about something that is generally taken for granted, the concept of space and the concept of realism. We’re in fact normally used to consider as realist a work of art by its adherence to the rules of perspective.
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What does ‘ruins before they have crumbled’ mean? It means that the bourgeoisie’s monuments were like dreams, not real enough to be tangible. The bourgeoisie cannot have a monument like the one expressed by Henry Lefebvre, simply because the world where they were born is the one of passages, with the arcades that clearly embody that. Arcades are like utopic vision of communal spaces, again, illusory in nature
In this scenario, the crowd, like the algorithms generated by computers, becomes like an entity with its own will, inhuman and too human at the same time, lived as a shock for those who
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ephemerality and provisional presence and appreciated not only for what it provides, but also in the knowledge that it will, very soon, be gone’8.
As the post-industrial world required an urbanization that included human nature into it. ‘Without a full range of emotions that is without a full range of the
As times change and the boundaries between reality and virtuality collapse, the world takes some aspect and object of the virtuality of the cyberspace and vice-versa. The more we include virtuality in our lives the more we will be surrounded by unstable and temporary objects and architecture is included in that.
and the full life of the city is yet to be achieved’ Thus, the city is proposed as a playground, in which there is no room for solemnity, for the punishment for the non-seriousness of its inhabitants as we rediscover that we are not in this world merely to ‘produce’.
This precariety is also well expressed by what happens as we fragment ourselves to become part of communities or to role play in the cyberspace. What is suggested in ‘Tactics for a Playful City’ is to accept this complete dynamism and act accordingly to that. ‘This is the way people are constantly being reconstructed and reimagined in cities today, and this is the way that cities must be designed not for predictable, monolithic sectors of the population, but for various different and competing tastes’.
More and more people discover the kind of game that is for them and they start to be passionated by that, like it happens for literature. ‘Play is a serious fun, and we should all be able to take part’ it is therefore something to be learnt, because not everyone is able to have fun. Probably because it has been seen as distraction and a non-serious issue for a long time.
Again, the monuments have crumbled, and we see very clearly now that everything has always been temporary. Nonetheless, this poetic sense can offer a new series of values, perhaps closer to the natural world, which exclude any kind of absolutism. The re-appropriation of one’s own nature also concerns accepting the
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I’ve decided to focus the last entry on the ‘Introduction: Home or Exile in the Digital Future’, because I think it expresses in a very interesting way one of the problems that social networks and the overproduction of images are causing: a total alienation of the meaning of sharing on the internet. The text enlightens how this huge virtual society, from which no one escapes, literally feeds on human lives. The author says in fact: ‘Surveillance capitalism, unilaterally claims human experience as free raw material for translation into behavioural data. Although some of these data are applied to service improvement, the rest are declared as a proprietary behavioural surplus, fed into advanced manufacturing processes known as ‘machine intelligence’, and fabricated into prediction products that anticipate what you will do now, soon, and later’9.
T he e mot io nal ci ty
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In the hands of those who do not develop a critical sense, this virtual reality can be disastrous, as priorities completely change.
Borden, Ian. ‘Tactics for a Playful City, in Borrie s, Friedrich von, Steffen P. Walz, and Matthias Böttger. Space Time Play: Computer Game s, Archite cture and Urbanis m: The Next Level. Springer Science & Business Media, 2007.
‘Our dependency is at the heart of the commercial surveillance project, (...) it disposes us to rationalize the situation in resigned cynicism, created excuses that operate like defence mechanisms
10. Shosanna Zuboff, The Age of Surveillance Capitalism, 11 11. Shosanna Zuboff, The Age of Surveillance Capitalism, 20
The author also poses an interesting question: ‘If industrial capitalism dangerously disrupted nature, what havoc might surveillance capitalism wreak on human nature?’ 11 I think that we have in this particular historical moment incredible possibilities in terms of awareness of social dynamics, and knowledge in general, therefore we should consider that in our history we have always created ‘monsters’, constantly looking for totalizing
It is clear in my opinion, that there are interests behind it and it is easy to come to the conclusion that these interests are related to having as much control as possible over people, not primarily for security purposes, but for commercial one.
13
Benjamin, Walter ‘On Some Motifs in Baude laire’ and ‘Paris, Capital of the Nine teenth Century’, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory. London: Routle dge , 1997.
ture: An Intellectual History. New Ed edition, (Cambridge , Mass.; Sydney: MIT Press, 2004, ): 225 3. Margaret Wertheim, ‘Internet Dreaming: A Utopia for All Seasons,’ 217 4. Maurice Merle au-Ponty, ‘Exploring the World of Pe rception: Space’, in The World of Perception. (London ; New York: Routle dge, 2004): 56 5. Henri Lefebvre, 'The Production of Space (extracts),' in Neil Leach, Rethinking Architecture: A Reader in Cultural Theory, (London: Routledge, 1997), 139. 6. Walter Benjamin, ‘On Some Motifs in Baudelaire’ and ‘Paris, Capital of the Nineteenth Century’, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory, (London: Routledge, 1997): 40 7. Walter Benjamin, ‘On Some Motifs in Baudelaire, ’ 30 8. Ian Borde n, ‘Tac tics for a Playful City, in Borries, Frie drich von, Ste ffen P. Walz, and Matthias Böttger. Space Time Play: Computer Games, Architecture and Urbanis m: The Next Level, (Springer Science & Business Media, 2007): 334 9. Shosanna Zuboff, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of
should not have to make, and its normalization leaves us singing in our chains’ 10.
on social networks and, due to the overproduction of non-objective information, have an opinion on topics that they clearly are not completely aware of. which social networks are given, albeit never hiding the commercial purposes that pass through the same channels.
It is in my opinion possible to make parallels between the contemporary city as an unstable and almost unlimited set of interfering networks and of networks of networks, and the cyberspace. Therefore it seems like a lineal evolution between the two.
Bibliograph y
1. Kyle Chayka ‘Airspace - How Silicon Valley Helps Spre ad the Same Sterile Aesthetic acros s the World,’ (The Verge, August 3, 2016): 12
interest in their followers, but not even the average user who earns his fair share of likes. In most of the cases there is no perception of the meaning for which the ‘like’ is put, it’s just a matter of numbers. As our life becomes a matter of numbers and codes for the ‘Surveillance Capitalism’. It is clear how a sense of isolation and alienation can be associated with what is instead presented as a way to bring people together.
other ways to stick our heads in the sand, choosing ignorance out of frustration and helplessness. In this way, surveillance capitalism imposes a fundamentally illegitimate choice
This is evident when we consider how the most of the people is subjugated, almost hypnotized, by the need to
The need for narratives and to be creative is one of the greatest aspects of human life, and knowingly including it in the city is a step forward to make the most of it.
Referen ces
Being successful on Instagram is like
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15
concepts such as good and evil, out of ignorance of our responsibilities. We have been, in the end, always looking for a ‘way out’ because we couldn’t accept our responsibilities as parts of the whole.
Chayka, Kyle. ‘Airspace - How Silic on Valley Helps Spread the Same Sterile Aesthetic ac ross the World. ’ The Verge , August 3, 2016. Lefebvre, Henri. ‘The Production of Space (extracts).’ In Neil Leach, Rethinking Architecture: A Reader in Cultural Theory. London: Routledge, 1997. Mauric e Merleau-Ponty, Maurice. ‘Exploring the World of Pe rception: Space’, in The World of Pe rception. London ; New York: Routledge, 2004. An Intelle ctual History. New Ed edition. Cambridge, Mass. ; Sydne y: MIT Press, 2004. Zuboff, Shos anna. The Age of Surveillance Capitalis m: The Fight for a Human Future at the New Frontier of
Figures Cover: ‘Mirrored Room’, Lucas Samaras, 1966. External perspective view. https://www.albrightknox.org/artworks/k196615-mirrore d-room p. 4-5: ‘Iconostatis of capitalism’, Aleksandar Todorovic. https://www.saatchiart.c om/art/Painting-iconostatis-of-capitalism/176870/132577/view p. 7 ‘Dynamis m of the Human Body’, Umbe rto Boccioni, 1913. https://www.wikiart.org/en/umbe rto-boccioni/dynamism-of-the-human-body p. 8-9 Fritz Lang’s Metropolis poster, La boca, 2018. https://www.behance .net/gallery/61129529/Metropolis-Film-Pos ter p. 12-13 ‘Last Day’, Mykhailo Ponomarenko, 1ST PRIZE of The Fairy Tales Architecture Competition, 2017. https://bustler.net/news/5450/the-winners-of-the-2017-fairy-tales-archite cture-compe tition p.14-15 Illustration of Ge orge Orwell’s 1984 novel, Owen Davey, 2011. http://owendavey.blogspot.com/2011/08/in-my-good-books. html
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Student: Silvia Maria Gioia Puddu Student Number: s1346413
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I’ve decided to focus the last entry on the ‘Introduction: Home or Exile in the Digital Future’, because I think it expresses in a very interesting way one of the problems that social networks and the overproduction of images are causing: a total alienation of the meaning of sharing on the internet. The text enlightens how this huge virtual society, from which no one escapes, literally feeds on human lives. The author says in fact: ‘Surveillance capitalism, unilaterally claims human experience as free raw material for translation into behavioural data. Although some of these data are applied to service improvement, the rest are declared as a proprietary behavioural surplus, fed into advanced manufacturing processes known as ‘machine intelligence’, and fabricated into prediction products that anticipate what you will do now, soon, and 9 later’ .
Referen ces
Bibliograph y
Being successful on Instagram is like
1. Kyle Chayka ‘Airspace - How Silicon Valley Helps Spre ad the Same Sterile Aesthetic acros s the World,’ (The Verge, August 3, 2016): 12
Benjamin, Walter ‘On Some Motifs in Baudelaire’ and ‘Paris, Capital of the Nineteenth Century’, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory. London: Routledge, 1997.
interest in their followers, but not even the average user who earns his fair share of likes. In most of the cases there is no perception of the meaning for which the ‘like’ is put, it’s just a matter of numbers. As our life becomes a matter of numbers and codes for the ‘Surveillance Capitalism’. It is clear how a sense of isolation and alienation can be associated with what is instead presented as a way to bring people together.
ture: An Intellectual History. New Ed edition, (Cambridge , Mass.; Sydney: MIT Press, 2004, ): 225 3. Margaret Wertheim, ‘Inte rnet Dreaming: A Utopia for All Seasons,’ 217 4. Maurice Merle au-Ponty, ‘Exploring the World of Pe rception: Space’, in The World of Pe rception. (London ; New York: Routle dge, 2004): 56 5. Henri Lefebvre, 'The Production of Space (extracts),' in Neil Leach, Rethinking Archite cture : A Reader in Cultural Theory, (London: Routledge, 1997), 139. 6. Walter Benjamin, ‘On Some Motifs in Baudelaire’ and ‘Paris, Capital of the Nine tee nth Century’, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory, (London: Routle dge, 1997): 40 7. Walter Benjamin, ‘On Some Motifs in Baudelaire, ’ 30 8. Ian Borde n, ‘Tac tics for a Playful City, in Borries, Frie drich von, Ste ffen P. Walz, and Matthias Böttge r. Space Time Play: Computer Game s, Archite cture and Urbanis m: The Next Level, (Springer Science & Business Media, 2007): 334 9. Shosanna Zuboff, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of
Borden, Ian. ‘Tactics for a Playful City, in Borrie s, Friedrich von, Steffen P. Walz, and Matthias Böttger. Space Time Play: Computer Game s, Archite cture and Urbanis m: The Next Level. Springer Science & Business Media, 2007.
‘Our dependency is at the heart of the commercial surveillance project, (...) it disposes us to rationalize the situation in resigned cynicism, created excuses that operate like defence mechanisms
10. Shosanna Zuboff, The Age of Surveillance Capitalism, 11 11. Shosanna Zuboff, The Age of Surveillance Capitalism, 20
An Intelle ctual History. New Ed edition. Cambridge, Mass. ; Sydney: MIT Press, 2004.
other ways to stick our heads in the sand, choosing ignorance out of frustration and helplessness. In this way, surveillance capitalism imposes a fundamentally illegitimate choice
This is evident when we consider how the most of the people is subjugated, almost hypnotized, by the need to
should not have to make, and its normalization leaves us singing in our chains’ 10.
on social networks and, due to the overproduction of non-objective information, have an opinion on topics that they clearly are not completely aware of.
The author also poses an interesting question: ‘If industrial capitalism dangerously disrupted nature, what havoc might surveillance capitalism wreak on human nature?’ 11 I think that we have in this particular historical moment incredible possibilities in terms of awareness of social dynamics, and knowledge in general, therefore we should consider that in our history we have always created ‘monsters’, constantly looking for totalizing
which social networks are given, albeit never hiding the commercial purposes that pass through the same channels. It is clear in my opinion, that there are interests behind it and it is easy to come to the conclusion that these interests are related to having as much control as possible over people, not primarily for security purposes, but for commercial one. In the hands of those who do not develop a critical sense, this virtual reality can be disastrous, as priorities completely change.
Vi rtual some thing wrong with this it they can’t say what e xac tly. That c ould be because we get the se nse that everything’s under control, therefore, even if not everyone is willing to problematize it too much, we feel, without being able to expres s that, the anguished foreboding that freedom is affecte d by that. In ‘Internet Dreamin g: a Utopia for all Se as ons ’ it’s inte re stin g to re ad that ‘far from ove rthrowing the old world orde r, th e ne w order has simply allie d its elf with the old. Silic on Valley has not replac ed wall s tre et, it has me rge d with it2’. There are probably two main fac ts to n ote: in one hand h ow the internet actually improved our live s, which is in my opinion, absolute ly evident, an d on th e other hand how it made us more aware about the fac t th at what leads the world is still c apitalism, rathe r the n a poss ibility to have a utopia realized that ‘trans ce nds ’ the re ality created by ourse lve s that includes the fact th at we’re not equal in front of th e S tate . In my opinion , the utopic views of More and Bacon are s imply not c ons idering enough the e goistic/hedonistic and de stru ctive will of
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concepts such as good and evil, out of ignorance of our responsibilities. We have been, in the end, always looking for a ‘way out’ because we couldn’t accept our responsibilities as parts of the whole.
Chayka, Kyle. ‘Airspace - How Silic on Valley Helps Spread the Same Sterile Aesthetic ac ross the World. ’ The Verge , August 3, 2016. Lefebvre, Henri. ‘The Production of Space (extracts).’ In Neil Leach, Rethinking Architecture: A Reader in Cultural Theory. London: Routledge, 1997. Mauric e Merleau-Ponty, Maurice. ‘Exploring the World of Perception: Space’, in The World of Pe rception. London ; New York: Routledge, 2004.
Zuboff, Shos anna. The Age of Surveillance Capitalis m: The Fight for a Human Future at the New Frontie r of
Figures Cover: ‘Mirrored Room’, Lucas Samaras, 1966. External perspective view. https://www.albrightknox.org/artworks/k196615-mirrore d-room p. 4-5: ‘Iconostatis of capitalism’, Aleksandar Todorovic. https://www.saatchiart.c om/art/Painting-iconostatis-of-capitalism/176870/132577/view p. 7 ‘Dynamis m of the Human Body’, Umbe rto Boccioni, 1913. https://www.wikiart.org/e n/umberto-boccioni/dynamism-of-the-human-body p. 8-9 Fritz Lang’s Metropolis poster, La boca, 2018. https://www.behance .net/gallery/61129529/Metropolis-Film-Pos ter p. 12-13 ‘Last Day’, Mykhailo Ponomarenko, 1ST PRIZE of The Fairy Tales Architecture Competition, 2017. https://bustler.net/news/5450/the-winners-of-the-2017-fairy-tales-archite cture-compe tition p.14-15 Illustration of Ge orge Orwell’s 1984 novel, Owen Davey, 2011. http://owe ndavey.blogspot.com/2011/08/in-my-good-books. html
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Reading the Virtual City. Full Submission.
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Para-situation [Ahmedabad]: "Past, Present and Possible" Walls, Wells, Pols and Gates
Summer project: The space of Appearing
"Next semester will be an opportunity to elaborate a tectonic and environmental extravaganza that tests the parasituation/s of your project/s. It will be tested both in programme, material, technology, form and environment. The Summer project should then set up your opening into this more detailed realm of exploration. The suggestion is to draw up pamphlets like Doshi’s Sangath. The two images of flowers reflected in water Narcissus and Water Lily bear witness to two conflicting philosophical dispositions: “nihilism” and “vegetal being”. One is self-referential, egoistical and not only ultimately self-destructive but also leads to the progressive dimunition of another loving being. The other is about witnessing the flowering of life: it is vegetal growth. The water lily reminds us that we are all participants in the space of appearing: as the lily appears so might we in vegetal fidelity, faithful to our milieu, taking root in a place, without opposing it, adhering ostensibly to the ground graded in wetness, opening outwardly towards the rest of the world both receiving it but also enriching it with perfumed oxygen."
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Water and Material Architecture
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Vegetation and Immaterial Architecture
Sangath Drawings version 1
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Studio H
Pamphlet of Vegetation and Ground
Design Report
Pamphlet of Water
Sangath Drawings version 2
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Studio C
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[ATR]
Studio D
1.1 2.1 3.1 4.1 5.1 6.1 7.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3
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[SCAT]
[AMPL]
Studio A Summer project
[GA]
2.1
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Studio H
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Design Report
SMGP Wet Dust
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Para-situation [Ahmedabad]: "Past, Present and Possible" Walls, Wells, Pols and Gates
The Space of Appearing - in Detail
The work of S3 is to elaborate and present the specific designs for PARA-situation [Ahmedabad] by being explicit about the environmental and technological aspects of the design. OCEANS OF WETNESS are simultaneously “works of the projective imagination” and scientific calibrations of water/wetness measures. They are as much philosophical and sociopolitical treatises as architectural, urban, technological and environmental projects. We will be making buildings to house the agencies of PARA-situation [Ahmedabad]. The agencies will act as the first material indicators of The Ecosophic Object. What we call building is to be considered an Ecosophic Object. In Semester 3 we will be making buildings as aspects of “Enzymatic” Territories. Enzymatic Territories focus their attention on the quality of their “objects” and procedures for making “objects” so that the territories” and “objects” act as catalysts for social and urban change, in effect, making each other.
Learning Outcomes [LO]: LO1 A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (eg. the built, social, historical, technological, urban and environmental contexts). LO2 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 An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies. LO4 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).
However, in this semester, by focusing on the B and Blg scales we will further develop the SET scale. The buildings are parasitic. The Enzymatic Territory is parasitic. They each always work alongside other buildings and Territories. The relations between buildings and Territories are critical. Architects do edges very well. However, our edges are those thickened edges we understand through OCEANS OF WETNESS. Territories need redefinition through OCEANS OF WETNESS.
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Design Report
Studio H
The third semester opened with conceptual considerations. The wet dust becomes a clayey building material. The project was beginning to integrate echological needs in itself. The relationship with the Sabarmati river could not be of contemplative type, it needed to become a continuous and active dialogue. Consequently, we had two meetings with both the structuralist and the ecological engineer (Jonathan Narro and Andrew Leiper). The focus was initially on the riverfront buildings developed in the previous semester, as shown in the axonometric view on the right, but, following the decision to have an administrative building to rule the "Riverfront community complex", the southernmost area was chosen for this function, the one where the design started during the first semester. A heterogeneous place in which the Old wall was no more the strongest element.
Axonometric view
The body scale that characterized the third semester and the ecologies of the project, were at first developed in detail in this building, and then exported to the rest of the project.
Internal Components
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Studio C
[ATR]
Studio D
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[AMPL]
Studio A
Studio H
Design Report
PRODUCED BY AN AUTODESK STUDENT VERSION
when the concrete thing meets a certain level it means that is rainwater, brought into the tank
First Floor Plan 1:1000
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[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Studio C
Longitudinal Section, from the "Palimpsest Building" to the Riverfront 1: 600
PRODUCED BY AN AUTODESK STUDENT VERSION
Cross Section of the Riverfront 1:600
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Studio C
[ATR]
Studio D
Pamphlet
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[AMPL]
Studio A
Studio H
Pamphlet of Vegetation
Design Report
Pamphlet of Water
Sangath Drawings version 3
92
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Studio D
1.Offices 2.Waiting room 3.Restrooms 4.Storage room 5.Cantilevered aluminium footbridge 6.Hanging aluminium Footbridge 7.Double height patio 8.Concrete footbridge 9.Entrance 10.Corten partially hanging box 11.Corten box on the ground 12.Corten hanging box 13.Corten hanging roof 14.Fourth level of cantilevered aluminium footbridge 15.Fourth level of cantilevered circular canal 16.Fourth level of aluminium mesh as coverage 17.Downpipe for rainwater collection 18.Main canal to the rest of the site 19.Higher ground level 20.Road 21.Sabarmati River
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Studio A
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Design Report
Studio H
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0 Floor Plan, main floor of the Adminstrative Building
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Studio H
Design Report
PRODUCED BY AN AUTODESK STUDENT VERSION
The Body Scale: the Administrative Building In the third semester the Adminitrative Building was developed and studied on the Body scale. The building is located in the area where the design started during the first semester.
PRODUCED BY AN AUTODESK STUDENT VERSION
The main element is the big steel truss system that is used to hang the first floor level of the building and to held the mesh system on the top, the immateriality became now an important ecological element. The free ground floor is an important feature to let the water flow inside it and cool the temperature down, together with the vegetation that they it allows to grow.
PRODUCED BY AN AUTODESK STUDENT VERSION
The concept behind it is still the Palimpsest, with a methodology that preaviously took its shapes from signs and elements of the Old Wall and nature of the riverfront. However, here, in this special area, there's not the Old wall anymore. There is, instead, a relatively new, plain, concrete wall and therefore the Palimpsest takes on another meaning. The first semester project is like a layer of a new Palimpsest Bulding, transformed in a way that the main material is not massive and heavy, but semitransparent and vernacular. The many layers, different elements that share the same time, coexist in the same organism, a breathing architecture.
IP
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The choice of Corten as cladding material, also known as weathering steel, is because of its atmospheric corrosion resistance, longer durability and less cost than other carbon steel kinds. Conceptually, the rust will remind of the decadent nature of a Palimpsest. The structure resembles a greenhouse, but reverses its meaning because instead of retaining heat, it lets the air go through and be ciclically renewed.
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PRODUCED BY AN AUTODESK STUDENT VERSION
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Structural plan of the Administrative Building 1:240
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Studio C
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[SCAT]
Studio D
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Studio A
Design Report
Studio H
1 steel truss system with 3 layers of mesh 2 entrance 3 office room in the corten box 4 tank for rainwater collection 5 canals across the ground floor 6 concrete footbridge 7 maintanance spaces for the system of fertilization and ducts system connected to the river
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PRODUCED BY AN AUTODESK STUDENT VERSION
5 4
Longitudinal Section 1:150
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Studio D
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Studio H
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1 Structural cable system
Design Report
4
Stainless steel support
5
Opening panels
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Canals irrigation system 3 layers of aluminium mesh
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Steel Joint between footbridge and boxes
External Corten steel plating Stainless steel support
2
Mineral wool insulation batts 80mm Internal Corten steel plating
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4 2 Sloping system vapour barrier waterproof sheet
Joint between beam and cable
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Mineral wool insulation batts 80 mm Corrugated metal sheet Steel structure
PRODUCED BY AN AUTODESK STUDENT VERSION
8
Truss system
Corrugated metal sheet Floating floor Mineral wool insulation (thermal and acoustic) batts 100 mm
4
3 3 layers beam glass glued together 30 mm Double glazed opened skylight
Hanging truss system
Operable Countertop with steel structure
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
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PRODUCED BY AN AUTODESK STUDENT VERSION
Longitudinal Section 1:60
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Cross Section 1:150
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SMGP
Studio C
[ATR]
Studio D
[SCAT]
[AMPL]
Studio A
Studio H
Design Report
Upper load-bearing truss system and concrete curved wall
The curved and tall concrete element, is an important feature that allows both the conncection with the rest of the project and with the sourroundings, as well as separating from the busy and noisy road and protect the area from the monsoon. In a lower level it cointains the fertilization system, or the compost toilet, it collects the grey water and most importantly, it allows the water to flow from the Sabarmati to the buildings. The internal concrete footbridge allows the rain to fall inside, in order to diluite the rain water when the season allows that. In the dry season it will make use of natural filtration and will be diluited with rainwater collected in tanks to guarantee wetness and therefore natural growth through the year.
Upper cover of the boxes with glass openings
Lower cover (countertop) of the boxes with operable openigns
Corrugated metal sheet (secondary beam system)
The air flows mainly from south west and cools the building. In the dry season, the many levels of ivies will release humidity, cooling the building and purifying the air. Because of the many layers of vegetation, it was possible to have a semi opened rooftop, with two sheets. The higher one has raised glass that lets the air flow and cool the empty cavity between the two sheets and therefore the building. It has a system of slopings to let the water out and far from the glass openings in the Monsoon Season. The lower one has openable countertop system.
Primary truss system
Hanging corten boxes
Corrugated metal sheet (secondary beam system)
Primary hanging truss system
Aluminium footbridge
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Exploded axonometric view showing the Triangle structure
2.5
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Ecologies: the vegetation The chosen climbing plants, have “technological” specifications that guarantee maximum seasonal functionality. with some precautions it is possible to choose the most suitable design areas for a specific type of plant. Cat’s-claw vine scrambles across the ground until it finds something to climb on and it’s winter hardy. Cat’s claw plant care is easy, they will root without rooting hormone or special treatment. The vines tend to prefer moist and well-drained soil, but they’ll do well in virtually anything as long as it’s not soggy. They like full to partial sun. It is drought-tolerant but grows quickly with regular irrigation and likes sandy or clay soil that is well-draining.
3
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Wisteria loves to grow in loose, loamy soil that has plenty of nutrients and proper aeration. The soil must drain well, as wisteria does not enjoy having “wet feet.” You can choose a planting site in your yard that gets full sun throughout the day, as wisteria enjoys the direct sunlight for optimal growth.
1
Cat’s Claw
Wisteria
The Climbing Hydrangeas bloom during the early summer. By autumn, the leaves turn a vibrant yellow. Climbing hydrangeas love rich soil and do well in full sun, partial shade, and even deep shade. Their enthusiasm to grow knows no bounds.
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2
1
The Boston Ivy vines not only lend greenery through the summer, but they also provide fall color. Boston ivy is a true climber, attaching to masonry and wooden surfaces using holdfasts (aerial roots). Alternatively, you can let it spread out horizontally to function as ground covers. It will tolerate full shade. In areas that have hotter summers, Boston ivy plants might do best on walls facing east or north. Boston ivy does best in well-drained, loamy soil, but it will tolerate many different soil conditions, as well as urban pollution.
Internal Mesh
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Climbing Hydrangeas
Boston ivy
SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
prevailing wind
Stack ventilation occurs due to different density between cool and warm air. Also, it happens in the regions where there are more discrepancies between day and night temperature, as in Ahmedabad. The ground floor level is kept cool by the presence of vegetation both in the external coating and inside the building.
prevailing wind inlet high pressure
outlet
outlet low pressure cool GF level
outlet
Stack ventilation
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Cross Ventilation
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SMGP
Studio C
[ATR]
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
Ecologies: the water system
Bulrushes (Scirpus spp.) compose the first filtration system. They are found in particular inside the concrete double with the water from the River. They are excellent water purifiers. They remove excess nutrients from the water as well as oil and bacteria such as E. coli and Salmonella. They also eliminate heavy metals such as copper, nickel and zinc.
bulrushes
They operate with Golden cannas, that are drought resistant. This species can tolerate drought conditions once the plant is fully adapted to its micro-climate. It is as a marginal plant and can tolerate periods of being submerged. The third level of filtration happens in the opened canals that spread through the project. Water lilies (Nymphaea spp.), can be found in the visible level of the water system and, with water poppies (Hydrocleys nymphoides), help to purify the water by absorbing nutrients. Hardy lilies are dependable and easy to plant and can grow in 20 cm of water. The water temperature should be about 70 degrees.
golden cannas
water lilies
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Studio C
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The water system works in the vegetation system.
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
conjunction to
The water from the Sabarmati river flows into the project through underground ducts and is allowed in a first filtered level through the concrete wall, in which the water is stored, filtered through Bulrushes and Golden Cannas. In order to penetrate into the architecture what’s needed is in fact a decent level of diluition, but at the same time, it needs to fertilize the sorrounding ground to let the vertical vegetation grow.
Sabarmati river
As shown in the diagrams, the water enters gradually into the system of visible canals. There are two independent systems, one for The Administrative Building, one for Theater and Restaurant, to allow the fertilization and the expulsion of extra water to happen. The fertilization happens through a composting toilette system stored in the concrete wall with urine diversion, that is mechanically operated. The requirement is in fact a sufficient quantity of cleaned water to diluite the urine and prevent bad smells.
collection of rain
This is why the second level of filtration is done by the combination of water from the river and rain water stored undergound with a very gradual release in order to cover the dry season. The size of the openings to let the water out decreases with the increasing of the depth,the lower the water level, the slower the release will be. And this is why the best season to allow fertilization is the monsoon one.
first filtration
second filtration
The third level of filtration happens in the opened canals that spread through the project. Water lilies and water poppies help to purify the water by absorbing nutrients.
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SMGP
Studio C
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Studio H
Design Report
Sabarmati river
fertilization system
third filtration
release of extra water to the river and to the rest of the site
Three filtration levels
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Design Report
Studio H
0 10
Developments on Ecologies: The Theater and the Restaurant
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1.Stage 2.Changing rooms 3.Restrooms 4.Technical room 5.Restaurant 6.Lower level of circular canals 7.Lower levels of aluminium footbridge 8.Operable corten louver system 9.Hanging Aluminium footbridges 10.System of ducts 1 11.System of ducts 2 12.System of ducts for discharge 13.Tank for rainwater 14.Ducts for excess of rainwater and connections to the rest of the area
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-2 Floor -2 Floor PlanPlan
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Design Report
Studio H
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1.Stage 2.Seats 3.Main Entrance 4.Reception 5.Entance to the seats 6.Hanging aluminium footbridges 7.Second level of cantilevered aluminium footbridges 8.Second level of cantilevered round canals 9.Second level of horizontal aluminium mesh (coverage) 10. Higher entrance to the Restaurant 11.Concrete foodbridge, connection Administrative Building-Theater 12.Underground canal 1 and technical spaces for fertilization system 13.Underground canal 2 14.Underground canal 3 15.Opened system of canals 16.Higher ground level
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-1 Floor Plan
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Studio H
Design Report
The conception of hanging conrten boxes from a truss system, evolved in the creation of two other elements, connected by the ecologies and by the concrete empty wall. The development consists in two smaller circular steel structures covered by vegetation, in which the aim is, similarly to the administrative building, to allow natural air flow inside without closing completely the building and mantaining cool the environment through the layers of vegetation. The theater is protected from the rain with a hanging sloped triangular roof and each of the internal boxes has its own roof. The stage is in an underground level with a similar system of canals as the administrative building, with the same system of filtration. There’s a corten box that is cuts the two steel buildings, and it’s a connection element between the two, as well as between the administrative building. The corten box has a sloped roof that allows the water to flow and be collected in a underground tank for rain water. The rain water runs slowly into the theater and faster into the bar, in which the idea is to have the better purified water as possible. This is possible through the maximization of vegetation and in particular of water lilies, and thanks to a raised canals and pot system, that lets the vegetation diffuse in many layers of mesh, that constitute the roof of the subterranean bar, in which the rain will be stopped by the many levels of ivies. On the contrary, the water from the river runs faster in the theater and slower in the bar. This is possible because of different eights of apertures and different inclination of ducts. At the end of the cicle, the excess of water will reach the rest of the area through the North direction Longitudinal sections FF, GG, HH
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[ATR]
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Studio A
Design Report
Studio H
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rainwater collection through sloping roof tank better purified water fast release ducts to the bar slow release ducts to the theater excess of water release
7 various levels of mesh 8 irrigation ducts for vegetation (ivy, lilies) 9 cantilevered aluminium footbridge 10 truss system with hanging mesh coverage 11 entrance 12 bar
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filtered water from Sabarmati river canals across the Theater concrete walkway hanging corten roof hanging aluminium footbridges inside the Theater truss system
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Design Report
Architectural Management, Practice and Law [AMPL]
Architectural Management, Practice and Law Semester 1 2020-21 Course Organiser: Iain Scott Course Code: ARJA11002
Excerpt from ‘Constructing Techniques – Accommodating the Contextual Difficulties of Edinburgh’s closes’. Anna Bateson & Alice Mears
Contents Introduction , Course Summary Learning Outcomes Overview Lecture Timetable Reading and Resources
2 3 3 8 9
1
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"This is a lecture and workshop based course whose aims are to develop a student’s understanding of the professional requirements of an architect in practice and being admitted to the title of ‘Architect’. The aims of the course are: 1. Acquire understanding of the processes and delivery of design, project and practice management. 2. Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect. 3. Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project. 4. Develop an awareness and understanding of the financial matters bearing upon the creation and construction of the built environment. 5. Develop an awareness of the changing nature of the construction industry, including inter-relationships between individuals and organisations involved in modern-day building procurement." In the following pages, the work will be presented in chronological order, in particular, starting from the Learning Outcome 3 - Regulatory Drawings, in which we had to 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.
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Learning Outcomes [LO]: LO1 An understanding of practice management and codes of professional conduct in the context of the construction industry. [3] LO2 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. [2] LO3 An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects. [1]
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LO3 Regulatory Drawings Project
Area covered with previous chipped stones
Area covered with grass
DIAGRAM 4: ISOMETRIC
Building skin roof made of copper
[AMPL]
Studio A
Rainwater discharge pipes directed to the lake
Windermere in lake District has been a tourism centre in England for its vast scenic landscapes and boasting architectural style. Though Windermere is overwhelmed by visitors, the lake and its neighbouring settlements are historically affected by natural disaster when storm water hits a higher level that damages the buildings. The new building uniquely provokes the possibility of designing against fixed guideine when storm water is essentially treated as an instrument, harmonizing spaces with the environment as a single entity, embrancing the flood and water to participate within the emergin architecture of the new museum. The Building regulations taken into consideration were: -Approved Documents H Section 1.0 : Gutters and Rainwater Pipes: Rainwater Piped, clause 1.8 Section 2.0: Drainage to Paved Areas: Freedraining Surface, clause 2.6 Drainage to Paved Areas: Pervious paving clause 2.9 -Approved Documents C Section 6.0: Roofs (Resistance to Moisture from The Outside) clause 6.9 Diagram 1 (red colour) shows a lower area planted with grass area as a filtering device works simultaneously with chipped stones to ensure storm water is cleaned. Diagram 1 and 2 illustrate the surface area covered in chipped stone as pervious paving, working together with the grassland Illustration 3 highlights the building envelope, communicating the cross relativities of material, shape, and weather in the same context. Illustration 4 and 5 show the gutter built to discharge the water directly to the lake, causing an influx of water level in the lake, and uplifts the boats to a desired level.
Studio H
Design Report
DIAGRAM 2: WET DOCK AREA CROSS SECTION
Surge level Normal level
DIAGRAM 3: DETAIL SECTION
Copper standing seem roof sheeting
Profiled copper sheet
Rainwater pipes (to the lake)
DIAGRAM 1: FLOOR PLAN
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Design Report
The Forth Valley College in Stirling was built in an undeveloped area of the city, providing teaching spaces, workshop spaces, creative industries, and social space. The area is bounded by the river and by the steep riverbank to the east. The study consisted in the comparison of the solution carried out by the architects with the SPP 7 and SEPA rules currently in force. The Planning regulations taken into consideration were:
TANK SECTION (NORTH BUILDING)
- Town and Country Planning (Hierarchy of Developments) (Scotland) Regulations 2009 - SPP (SCOTTISH PLANNING POLICY) 7 - Flood Risk Management (Scotland) Act 2009 - SEPA (Scottish Environment Protection Agency)
AXONOMETRIC VIEW OF THE SITE
A previous flood risk assessment highlighted an area of the site to be a risk from flooding from the 200 year return period event. To mitigate this effect, Reiach and Hall proposal was to carry out landraising of the low lying area of the site: The northern building, the section of which is shown on the right, is named “Creative Industries” and presents a basement that is raised 10.2 mAOB that seems to live in perfect coexistence with the flood events, even in the worst case of 8.49 mAOD. The building, in order to be build in a risky area, will act to slow down the flood even in its sorroundings, letting the flood inside the undercroft tank. The Forth Valley College, has been specifically formed with the landscape to accept and moderate the flooding.
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Studio H
Design Report
LO3 "FLuvial and pluvial. Windermere Jetty Boat Museum, Forth Valley Colege Stirling." Full Submission.
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AMPL Contract Simulation Exercise
5. Financial Matters a. Payment Schedule
Group Report Group 3
SCENARIO 3 Dear Sirs
Project Directory
Yours faithfully D E Strut Ltd
BULLGATE HOUSE, CITYBURGH We refer to the contract for the above and should be obliged if you would now arrange to have the building set out on site to enable us to proceed with the work without delay.
Charlotta Chan
Contractor: D.E. Struct Ltd (SC987654)
SCENARIO 2 With the Bullgate
Email Email reply to to the Contractor. Response: Dear Sir,
m
Please find attached relevant documents including Contract Documents, 2 copies of the Contract Drawings 2 copies of the unpriced bill of quantities. These should be kept on site and accessible at all reasonable times. Please refer to Clause 2.8.3 in the Contract Document.
We have arranged for a survey team to carry out an accurately dimensioned survey of the site and will distribute these in accordance with Clause 2.10 in the Contract Document and as per the Information Release Schedule, in accordance with Clause 2.11 in the Contract Document. Any further drawings or instructions that are necessary to to explain or amplify the contract drawings and enable you to carry out the works shall be provided with reasonable time for you to complete them in accordance with the contract. Please see Clause 2.12 in the Contract Document.
Architect: Group 3 Partnership
Yours sincerely,
1 The Square Cityburgh CB1 2TY
& m
House Contract now let, can you please compile an Agenda for a Pre-contract Meeting (between Consultants and Main Contractor) to be held next week. We need to cover all relevant issues before the job goes onto site. Send me a draft agenda for the Pre-Start Meeting. Response:
Group 3 Partnership
Quantity Surveyor: Bill Page & Partners Chartered Quantity Surveyors 15 Chambers Court Cityburgh CB1 2XA
Answer: Refer Contractor to clause 2.10: Architect to issue drawings with information to enable the Contractor to set-out.
Structural Engineer: Bean and Coll Chartered Structural Engineers Alumina Drive Cityburgh CB4 7TS
SCENARIO 4 28 August 2020
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Answer: Sample PSM Agenda: PRE-START MEETING AGENDA. 1. INTRODUCTIONS:
AGENDA:
2. CONTRACT: (a) Contract acceptance/execution: By email shortly. Formal execution in due course. (b) Date for Commencement: 13/01/20. Date for Completion: 30/10/20 (42 weeks). (c) Contractor’s Evidence of Insurances: Contractor: 6.7A by Contractor, Public Liability & Employer’s Liability. (d) Request Sub-contractors list.
1. Introductions and apologies a. Member roles, contact information
3. APPROVALS: (a) Planning Permission: granted. Susp. Conditions discharged. (b) Building Warrant: granted. (c) Start Notice, etc. BSO details.
Dear Sirs BULLGATE HOUSE, CITYBURGH
Answer: Acknowledge Acknowledge Acknowledgereceipt receipt receipt of of of programme. programme. programme. programme.Confirm Confirm Confirm any any any anycomments/observations comments/observations comments/observationsor or orconfirm confirm confirm ‘no ‘no ‘nocomments’. comments’. comments’. comments’.Clause Clause Clause 2.9: 2.9: 2.9: 2.9:No No Norequirement requirement requirementfor for for Architect to “approve” Contractor’s Contractor’s programme.
Looking through my files, I have found a letter about Health and Safety obligations. Before I receive any more correspondence on this, can you simply confirm what the responsibilities are for each member of the team.
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Thank you.
SCENARIO 6 24th September 2020
Yours faithfully Charles Chore Ltd. Email to me a brief outline of the CDM duties of the parties.
From: Clerk of Works Works To: To: Group Group XX Partnership Partnership Subject: Subject: Bullgate Bullgate House, House, Cityburgh Cityburgh Cityburgh
Response: Dear Sir,
I refer to the Health and Safety Executive website regarding summary of duties under (Construction and Design Management) 2015 which outlines roles and responsibilities for team members - full descriptions for each party can be found at the following web link: https://www.hse.gov.uk/construction/cdm/2015/principal-designers.htm
4. SITE: (a) Entry, access and limits. (b) Fencing and security. (c) Location of huts, storage and temporary services.
2. Documentation Distribution a. Insurance Certificates b. Drawing Packages c. Variations
5. SERVICES: (a) Sewers. (b) Water. (c) Gas. (d) Electricity. (e) Telecoms.
Kind regards 6. SITE MEETINGS: (a) Monthly. First one TBA.
Group 3 Partnership
3. Contract Details a. Contractors Programme/timescales i. Commencement Date: 13th January 2021 ii. Date of Completion: 30th October 2021
7. COMMUNICATIONS: (a) By email.
Answer: Link to HSE document, summarising the duties of all parties: https://www.hse.gov.uk/construction/cdm/2015/principal-designers.htm
8. INFORMATION: (a) Programme of works by Contractor. (b) No. of copies of drawings required. 9. FINANCE: (a) Payments monthly. First Due Date: 4 weeks after commencement. 10. QUALITY CONTROL: (a) Nominate day for regular inspection. (b) Contractor confirm name & contact details for site manager.
4. Site Matters a. Access b. Inductions c. Health & Safety d. Site Inspection Personnel e. Services
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SCENARIO 5 LETTER FROM CONTRACTOR Dear Sirs BULLGATE HOUSE, CITYBURGH
11. CDM: (a) Pre-Construction Information: See CDM Checklist. (b) Lodgement of form F10 required. 12. A.O.C.B.: 13. NEXT MEETING:
Agreed fee: 5.0% of final account value, excluding expenses. Final account value is equal to the sum of £6,342,000.50 as per the Contract agreed with D.E.Struct Ltd. Work completed to end Stage 4 at 65% of full fee now due. 65% of 5.0% of £6,908,342 Plus expenses at 0.5% Total fees & expenses due to date Less fees rendered to date
£224,521.12 £1,122.60 £225,643.72 £121,500
Response: Firstly, I will need to check if there is any structural problem.
Total
£104,143.72
VAT @ 20%
£20,828.74
I will then instruct the Contractor to discuss how the mistake could be amended by them. Under clause 3.18 If any work, materials or goods are not in accordance with this Contract the Architect/Contract Administrator, in addition to his other powers, may: .1 issue instructions in regard to the removal from the site of all or any of such work, materials or goods; .2 after consultation with the Contractor and with the Employer’s consent, allow all or any such work, materials or goods to remain, in which event he shall notify the Contractor to that effect but that shall not be construed as a Variation and an appropriate deduction may be made from the Contract Sum; .3 after consultation with the Contractor, issue such Variation instructions as are a reasonably necessary consequence of any instruction under clause 3.18.1 and/or notification under clause 3.18.2 (but to the extent that such instructions are reasonably necessary, no addition shall be made to the Contract Sum and no extension of time shall be given); and/or .4 having due regard to the Code of Practice set out in Schedule Part 4, issue such instructions under clause 3.17 to open up for inspection or to test as are reasonable in all the circumstances to establish to his reasonable satisfaction the likelihood or extent, as appropriate to the circumstances, of any further similar non-compliance. To the extent that those instructions are reasonable, whatever the results of the opening up, no addition shall be made to the Contract Sum but clauses 2.28 and 2.29.2.2 shall apply unless the inspection or test shows that the work, materials or goods are not in accordance with this Contract. It is the contractor's responsibility to carry out the work according to the contract drawings, since it is the load bearing wall not meeting the requirements, where safety issue is involved. They will need to amend or rebuild the wall to meet with the contract drawing.
Answer: Ask Structural Engineer to confirm any structural issues. If it is a problem: - Refer to Clause 2.1: General Obligations, and 2.10: Setting Out & Levels. - Oversee communication between Contractor and Structural Engineer for agreement of remedy. - Instruct Contractor to remedy (3.18.3). Request Contractor’s assessment of effect on programme. ---SCENARIO 8 2nd October 2020 We note that we have paid your fees to account of £121,500 [inc. expenses] + VAT to date, based on probable cost figures. We would like you now to send to us, no later than 9th October 2020, a detailed schedule of your present fee position, plus a schedule of the fees, expenses and VAT due to completion.
Total fee for end of Stage 4 + VAT
Email Email to to me what what you would need need to ddooo immediately immediately immediately and and and also also also what what what to to toconsider consider before before beforeinstructing instructing instructing anything anything on on this. this. this.
We We apologise apologise apologisefor forour our ouroversight oversightin in inomitting omitting omittingthe the theexisting existing existingtrees trees treesfrom from fromthe the thedrawings. drawings. drawings.II refer refer referto to tosection section sectionD D D‘Trees, ‘Trees, Shrubs Shrubs Shrubsand and andthe the Like’ Like’ on on page page 15 15 of the Bill of Quantities Quantities stating: stating: stating:‘The ‘The Contractor Contractor Contractorshall shall shallprotect protect all all alltrees, trees, shrubs, shrubs, shrubs,soft soft softand and hard hard landscaped landscaped areas areas on on onthe the thesite. site. Any Any such such suchtre tre tree, e, shrub, shrub, soft or or hard hard landscaped landscaped area area damaged damaged shall shall be be reinstated reinstated at at the the Contractor’s Contractor’s expenses expenses to to the the satisfaction satisfaction of of the the CA,’ CA,’ an anddd can can thus thus thus confirm confirm these these trees trees should should not not be be befelled. felled. felled.We We Wewill will contact contact contactthe the theContractor Contractorand and andadvise advise them them themto to halt halt haltproceedings proceedings on on onthe the thefelling felling of of ofthe the trees trees due due dueto to totake take takepla pla place next week.
Kind regards Group 3 Partnership
Answer: Instruction from CA to Visit Visitsite site&& maybe maybe get get gettree tree treesurvey survey surveyand and anddetermine determine ifififtrees trees treesare are areactually actually aaaproblem problem (do (dothey they interfere interfere interferewith with withbuilding/externals/s building/externals/s building/externals/services? ervices? Or Or are are they they outwith development/within landscaping?). If problem, contact contact contactPlanners Planners Plannersto to tofind find findout out ifif Permission Permission Permission needed. needed. IfIfIf yes, yes, yes, apply. apply. apply. Get Get Get costing costing from from from Contractor Contractor (and (and (and maybe others for comparison). Instruct felling. Variation 5.1.1.
SCENARIO 11 4th December December 2020 2020
During a site inspection you note that the Contractor has poured the reinforced concrete strip foundation for a section of 225 mm loadbearing brick wall, 1 metre lower than the level clearly shown on the contract drawings. What would you consider before instructing the Contractor? What would you instruct the Contractor to do? Under which clause?
Due to clause 2.10 The Architect/Contract Administrator shall determine any levels required for the execution of the Works and, subject to clause 2.9.4.2, shall provide the Contractor by way of accurately dimensioned drawings with such information as shall enable the Contractor to set out the Works. The Contractor shall be responsible for, and shall at no cost to the Employer amend, any errors arising from his own inaccurate setting out. With the Employer’s consent, the Architect/Contract Administrator may instruct that such errors shall not be amended and an appropriate deduction may be made from the Contract Sum for those that are not required to be amended.
There There Thereare are are two two twosubstantial substantial substantialexisting existing existingtrees trees trees treeson on on the the the site site site which which whichare are are arenot not notshown shown shown shownon on onyour your your yourdrawings. drawings. drawings.IIIunderstand understand understand that that that thatthe the the Contractor Contractor Contractor Contractorhhhas as arranged for a tree treefeller feller feller to to cut cut these these down down next next week. week. Please Please advise/issue advise/issue instructions. instructions.
Response: Dear Sir,
Check Check Checkthe the thepipes pipes pipes pipesand and and the the thespecification specification specification specificationfor for foryourself. yourself. yourself.Decide Decide Decide Decideififififyou you you will will will 1. 1. 1. Reject Reject Reject these these these pipes, pipes, pipes,instruct instruct instruct removal removal removalunder under under under3.18.1, 3.18.1, 3.18.1, or, or, 2. 2. Accept Accept the pipes, pipes, if Employer Employer agrees, agrees, agrees, confirming confirming confirming to to toContractor Contractor Contractor in in in writing writing under under under 3.18.2. 3.18.2. 3.18.2. NB: NB: NB: this this this does does does not not constitute constitute constitute a Variation Variation (3.18.2) QS QS & & Contractor Contractor to to negotiate saving. ----
We note the £121,500 paid for works completed to end of Stage 3 as per the Fee Note dated 18th April 2020. Our present fee position is as follows: ---SCENARIO 7 28th September 2020
Kind regards, Group 3 Partnernship Partnernship
LO2 Contract Simulation Exercise The group exercise took place from 9.00am – 5.00pm on Thursday 29th and Friday 30th of October. All the students took part in the Exercise in study groups of six, among which we were the group number 3. There were a total of 34 contract scenarios. For each scenario the study group should've decide on an appropriate course of action, through the selection of an appropriate clause or clauses in the contract. Here presented the complete report that we had to produce, detailing in sequence all attempted scenarios.
Dear Sir,
Low School Yards Cityburgh CB13 1FU
Jack Parmar Jordan Mok
Yours faithfully, D E Strut Ltd.
Thank Thank Thankyou you youfor for for the the update. update. update. We We We are are are happy happy happy for for you you to to commence commence with with with the the the programme. programme.
Duchess Street Cityburgh CB1 1ME
Oliver Song
Design Report
Response:
Caitlin MacLeod
Gioia Puddu
M
Studio H
Email to me a reply to the Contractor, quoting relevant clauses of the contract.
Employer: Charles Chore Ltd (SC123456)
M
[AMPL]
Studio A
We We We enclose enclose enclose herewith herewith herewith aaa copy copy copyof of ofour our our ourprogramme programme programme of of ofwork work work for for forthe the the above above abovecontract contract contract and and and should should shouldbe be be pleased pleased pleased to to to tohave have have haveyour your yourapproval approval approval approvalat at atan an an an early early date date in in order order that that that we we we we may may mayproceed proceed proceed with with with the the the continued continued continued continuedorganisation organisation organisation of of of of the the the work. work. work. We We We We are are are happy happy happy to to to confirm confirm confirm that, that, that, as as as asof of of today's today's today's today'sda da da date, te, the the works works in in respect respect of site excavation and sub sub-soil soil drainage are two weeks in in advance advance of of our our programme.
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6. Future meetings a. Site inspection b. Progress meetings c. Design Team meetings 7. AOB
Group Members
w
[SCAT]
Studio D
Dear Sirs BULLGATE HOUSE, HOUSE, CITYBURGH We We We are are are areclaiming claiming claiming claimingan an an extension extension extension of of of time time time timeon on onthe the theabove above above contract contract contractof of of ofsix six six sixweeks weeks weeksbecause because because of of of ofthe the the recent recent recentstrike strike strike strikeof of of ofbricklayers bricklayers bricklayerswhich which which lasted that time. As you know, know, know,our our our ourscaffolding scaffolding scaffolding charges charges charges for for forthose those those six six six sixweeks weeks weekswere were werenonproductive nonproductive nonproductive and and and andwe we we wewould would would wouldtherefore therefore therefore require require require requireto to tobe be be bepaid paid paidfor for for forthese. these. these. The The The total for the six weeks weeks weeks is is is£8,164.00. £8,164.00. £8,164.00. Please Please Please let let let us us us have have have the the necessary necessary necessary certificates certificates certificates as as soon soon as as as possible. possible. possible.
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£124,972.46
SCENARIO 9 PRESS ANNOUNCMENT 12th October 2020 2020
Our fee estimation to end of Stage 6 is as follows: 100% of 5.0% of 6,908,342 Plus expenses at 0.5% Total fees & expenses due at completion of Stage 6
£345,417.10 £1,727.09 £347,144.19
Less amount to be paid for end of Stage 4
£246,472.46
Total
£100,671.73
VAT @20%
£20,134.35
Total fee due at END OF STAGE 6
£120,806.08
The The Union Union Union of of of Construction Construction Construction and and and Allied Allied Allied Trades Trades Trades today today announced announced that that that negotiations negotiations with with Employers’ Employers’ Employers’ representatives representatives representatives over over over the the the current current current pay pay dispute dispute has has ended ended ended endedin in in indeadlock. deadlock. deadlock. AAAUnion Union Unionspokesperson spokesperson spokesperson spokespersonstated stated stated statedthat that that thatindustrial industrial industrial industrialaction action action was was wasnow now now nowinevitable inevitable inevitable and and and that that that this this this would would would take take take takethe the the form form form of of of withdrawal withdrawal of of labour labour in in in respect respect of of selected selected trades. trades. He He stated stated further further further that, that, as as frfrfrom om om omnext next nextMonday, Monday, Monday, Monday,all all allbricklayers bricklayers bricklayerswill will willbe be be on on onstrike. strike. strike.AA A comment comment comment is is ismade made made by by by the the Contractor Contractor about about this this situation situation at at aa progress progress meeting. meeting. meeting. What What do do you you do do about about about it? it? Response: As As in in clause clause 2.27, 2.27, the the Contractor Contractor is is is required required to to inform inform the the CA CA the the ‘expected ‘expected effects, effects, effects,including including includingan an an anestimate estimate estimateof of ofany any anyexpected expected expecteddelay delay delay in in in the the completion completion completion of of the the the theWorks Works Worksor or orany any anySection Section Section Sectionbeyond beyond beyond beyondthe the therelevant relevant relevantCompletion Completion CompletionDate’ Date’ Date’of of ofany any anymaterial material material materialcircumstance circumstance circumstance which which whichhe he he heperceives perceives perceives perceivesto to to tobe be beaaaRelevan Relevan Relevantt Event Event (in (in this this case, industrial action/bricklayer action/bricklayer strik strikeeeeas as as asoutlined outlined outlined outlinedin in ininclause clause clause clause2.29.12). 2.29.12). 2.29.12). 2.29.12).We We We Wewould would would wouldtherefore therefore therefore thereforerequest request requestthat that that thatthe the the theContractor Contractor Contractor Contractorrelay relay relay relayto to to tous us us usany any any any‘material ‘material ‘material ‘materialchange change changein in in inthe the the estimated estimated estimated estimateddelay delay delay or or orin in inany any anyother other otherparticulars’ particulars’ particulars’and and and that that that thatthey they they theysupply supply supply such such suchany any anyadditional additional additional information information information we we we may may mayreasonably reasonably reasonablyrequire require require requireaaat any time. Following Following Following Followingthis this thisrequest request requestand and andthe the the thereceiving receiving receivingof of ofnotice notice noticefrom from fromthe the theContractor, Contractor, Contractor,we we wewould would wouldas as asCA, CA, CA,under under underclause clause clause2.28, 2.28, 2.28,determine determine determinewhether whether whether or or not not the the strike strike qualifies as as as aaa Relevant Relevant Relevant Event Event Event and and whether whether whether or or not not not ‘completion ‘completion of of of the the the Works Works Works or or or of of of any any Section Section Section is is is likely likely likely to to to be be be dd delayed elayed elayed thereby thereby thereby beyond beyond beyond the the relevant relevant Completion Completion Date’ Date’ Date’ i.e. i.e. i.e. 19th 19th 19th February February February February2021. 2021. 2021. 2021.IfIfIf we we we webelieve believe believe believethis this this to to to be be be the the the case, case, case, we we we wemay may may may be be be be required required required to to togrant grant grant an an an anextension extension extensionof of of oftime time time ‘by ‘by ‘by fixing fixing fixing fixing such such later later date as as the the Completion Completion Date Date for for the the Works Works or or Section’ Section’ as as we we deem deem reasonab reasonab reasonable. le. le. le.Regardless Regardless Regardlessof of ofthe the thedecision, decision, decision,we we weas as asCA CA CAwill will willnotify notify notify the the the Contractor Contractor Contractorof of of our our our decision decision regarding regarding regarding the the theextension extension extensionof of of time time time(if (if (if (ifrequired) required) required) required)as as assoon soon soon soonas as aspossible possible possible (or (or (orat at at least least leastwithin within within 12 12 12 weeks weeks weeksof of ofthe the thenotice notice notice noticegiven given given givenat at at atthe the thepro pro progress meeting).
Cheques should be made payable to: Group X Partnership. Or Internet banking: Account name: Group 3 Partnership Account No: 00987654 Sort Code: 29-12-57
Yours faithfully D E Struct Ltd. Reply Reply Reply to to toContractor: Contractor: Contractor: Contractor:Would Would Would Wouldyou you yougrant grant grant an an anExtension Extension Extensionof of ofTime? Time? Time?Is Is Isthis this this aaaRelevant Relevant Relevant Event? Event? Event?What What What Whatifififthe the therest rest rest restof of of ofthe the the works works workswere were were wereconti conti continuing without delay? Would Would you you grant grant Loss Loss & & Expense? Expense? Is Is this this aa Relevant Relevant Relevant Matter? Matter? Response: Dear Sirs, We We Wetake take take takeinto into into intothe the the consideration consideration consideration considerationof of ofthe the the strike strike strike strikeas as asaaa RELEVANT RELEVANT RELEVANT RELEVANTEVENT EVENT EVENTunder under underclause clause clause clause2.29.12 2.29.12 2.29.12in in in inthe the thecontract, contract, contract, but but butNOT NOT NOTaaaRELEVANT RELEVANT RELEVANT RELEVANTMAT MAT MATTER TER under clause 4.22 4.22 4.22 in in in this this this contract. contract. contract. After After After careful careful consideration, consideration, consideration, we we we have have determined determined determined that that that the the the contractor contractor contractor may may have have have aa valid valid valid claim claim for for an an EXTENSION EXTENSION EXTENSION OF OF TIME TIME TIME as as aa RELEVANT RELEVANT RELEVANT EVENT EVENT EVENT as as as per per per perclause clause clause 2.28. 2.28. 2.28. However, However, However, However,as as asthe the theindustrial industrial industrial industrialaction action actionis is is isNOT NOT NOT aaa RELEVANT RELEVANT RELEVANT RELEVANTMATTER, MATTER, MATTER,the the the contractor contractor contractorwill will will willnot not not nothave have have aa valid valid claim claim for loss loss loss & & expenses expenses for for this this event event as as per per clause clause clause 4.20.1. 4.20.1. Consequently, an an EXTENSION EXTENSION EXTENSION EXTENSIONOF OF OF OFTIME TIME TIME TIMEis is isisgranted, granted, granted,because because becausethe the the thecontractor contractor contractor contractormay may may mayhave have havevalid valid valid validclaim claim claim claimon on on onthe the the theindustrial industrial industrialaction action action actionas as as as aa RELEVANT RELEVANT RELEVANT RELEVANT EVENT EVENT EVENT because because becausethe the the strike strike strike of of of of workmen workmen workmenhas has has affected affected affected upon upon upon the the the the works. works. works. works. However, However, However, as as asitititis is is NOT NOT NOT aaaRELEVANT RELEVANT RELEVANT RELEVANTMATTER, MATTER, MATTER, loss loss loss loss&& & expense expense expensewill will will not not not not be be granted. granted. Therefore, Therefore, the the the cost cost cost behind behind behind any any delay delay delay will will will be be be within within within the the the responsibility responsibility responsibility of of the the the contractor. contractor. Yours Yours Yours Yours Group 3 Partnership Partnership
sincerely, sincerely, sincerely,
The client client would would be be informed of of ofofthe the theongoing ongoing ongoing ongoingsituation situation situation situationregarding regarding regarding regardingthe the the thestrikes strikes strikes strikesand and andwould would would wouldkeep keep keep keepthem them them themabreast abreast abreast abreastof of ofany any any anyproceedings proceedings proceedings proceedingsregarding regarding regarding regarding potential potential potential potential extensions of time. time.
Answer: Works completed to end of Stage 4 i.e 65% of full fee now due. 65% of 5% of £6,908,342 = £224,521.12 0.5% of £224,541.12 = £1,122.61 Total = £225,645.72 Minus amount paid to date = £121,500 Total = £104,143.72 20% VAT = £20,828.74 Total Amount Due = £124,972.46
Answer: Contact Contact client client client to to inform inform inform them them them that that that aa strike strike strike has has has been been been announced announced announced for for for Monday Monday Monday and and and inform inform inform them them them of of the the the following following following - The The contract contract considers considers this this a relevant event event eventin in inclause clause clause2.29.12, 2.29.12, 2.29.12, 2.29.12,therefore therefore therefore thereforethe the thecontractor contractor contractormay may may have have have haveaaavalid valid valid validclaim claim claimfor for for foran an anExtension Extension Extension Extensionof of ofTime. Time. Time.The The Thecontract contract contract contractdoes does does doesnot not not notcons cons consider ider this this aa relevant matter (clause (clause (clause 4.22) 4.22) therefore therefore the the contractor contractor contractor will will not not have have aa valid valid claim claim ffor or loss loss & expenses expenses for for this this event. ---SCENARIO 10 13th October 2020 2020
Estimate of Final Fee: 100% of 5% of £6,908,342 = £345,417.10 0.5% of £345,417.10 = £1,727.09 Total = £347,144.19 Minus amount Paid to date = £246,472.46 Total = £100,671.73 20% VAT = £20,134.35 Total amount due = £120,806.08
The TheQuantity QuantitySurveyor Surveyoradvises advisesthat thathe hehas hasnoted, noted,when whenmeasuring measuringon onsite, site,that thatthe thequality qualityof ofthe thefireclay fireclaydrain drainpipes pipeswhich whichhhave been used in the works is not as high as the quality What action do you take? Response: According According toto clause clause2.3.1, 2.3.1, all all the thematerials materials for for the theworks worksshould shouldbe betoto the thestandard standard described described inin the theBills Billsof of Quantities Quantitiesunl unless ess the the Contractor Contractor has obtained consent from the Archi tect/Contract tect/ContractAdministrator. Administrator. The Thenext next action action isis to to request request the the Contractor Contractor to to provide provide reasonable reasonable proof proof (clause (clause 2.3.4) that the materials currently used are up to the quality described in the Bills of Quantities.
Yours faithfully Charles Chore
Answer: The The strike strike strikeis isaa Relevant Relevant RelevantEvent Event (2.29.12), (2.29.12), (2.29.12),so so in in inprinciple principle an an EoT EoT EoTis is ispossible. possible. But But in in inconsidering considering this this this(2.28), (2.28), the the Architect Architect Architectww would ould also also have to establish that that the the Event Event actually actually caused caused delay delay to to the the works works and and that that this this caused caused delay delay beyond beyond the the Date Date for for Comple Completion tion (examine critical path and and programmed programmedcompletion completion on on Contractor’s Contractor’s programme). programme). programme).The The strike strike isisnot not aa Relevant Relevant RelevantMatter Matter(4.20 (4.20 (4.20&& &4.22), 4.22), so soclaim claim for for forscaffolding scaffolding costs should be rejected. ----
Send me a fee note for fees due at end of Stage 4 and also calculate fees becoming due at the end of Stage 6.
As per clause 3.18 ‘Work not in accordance with withthe theContract’, Contract’,we weas asthe the Architect/Contract Architect/Contract Administrator Administrator may may issue issue instructions instructions to to remove remove the the drain pipes pipesfrom fromthe thesite site (3.18.1), (3.18.1), or, or,following followingaaconsultation consultationwith withthe theContractor Contractorand and with withthe theEmployer’s Employer’sconsent, consent, allow allow for forthe the drain drain pipes pipes to remain remain ifif they they are are deemed deemedappropriate appropriatefor forthe the works works(3.18.2), (3.18.2), or, or,following following aaconsultation consultationwith withthe theContractor, Contractor,issue issue aavariation variation instr instruction uction (3.18.3). (3.18.3). We may also open up for inspection or test the materials to establish non
Response: Dear Sir, Thank you for your correspondence,
SCENARIO 12 7 December 2020
Answer:
During a site site inspection you note tthat hat the steel reinforcing bars for for an in in-situ situ situconcrete concrete concrete concretefloor, floor, floor, floor,which which whichthe the theContractor Contractor Contractorhas has hasjust just justcommenced commenced commencedpouring, pouring, pouring, are are spaced spaced spaced at at at appreciably appreciably appreciablywider wider wider widercentres centres centres than than than shown shown shown on on on the the the Structural Structural Structural Structural Engineer's Engineer's Engineer's drawing. drawing. drawing.AAAsimilar similar similar floor floor floor floorhas has has just just just [less [less [less than than thanaaa we we week ago] been poured red and and andyou you youfeel feel feelthat, that, that,despite despite despite the the theContractor's Contractor's Contractor's Contractor'sdenials, denials, denials, the the the same same same wider wider widerbar bar barspacing spacing spacing has has hasbeen been beenused. used. used. What What What action action action actiondo do do doyou you you youtake? take? take?
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Response:
SCENARIO 14 25 January 2021 TELEPHONE CALL FROM CONTRACTOR
We We Wewill will willissue issue issue issuean an aninstruction instruction instruction instructionto to to tocease cease ceasepouring pouring pouring concrete concrete concreteimmediately, immediately, immediately, immediately,inspect inspect inspect and and and test test testthe the thespacing spacing spacingof of of ofthe the the therebar rebar rebar rebarin in in inboth both both bothth th th thee previously previously poured poured floor floor and and the the the thefloor floor floor floorbeing being beingconstructed constructed constructed constructedto to to check check checkthat that that thatitititis is isin in inaccordance accordance accordance with with withthe the theStructural Structural Structural StructuralEngineers Engineers Engineersdrawing. drawing. drawing. drawing.(3.17 (3.17 (3.17and and and andSchedule Schedule Schedule4) 4) 4) 4)Th Th This is should should be be done done using using non-destructive destructive destructive testing testing methods methods ifif possible possible possible (such (such as as concrete concrete scanning). scanning). If the the the work work work workis is isfound found found foundto to to not not not notbe be bein in in inaccordance accordance accordance accordancewith with with withthe the the theStructural Structural Structural StructuralEngineer’s Engineer’s Engineer’sdrawing, drawing, drawing, drawing,we we we wewill will will issue issue issuean an aninstruction instruction instructionfor for forthe the theContra Contra Contra Contractor ctor to to remove remove from from the the site site siteany any anysuch such such work work workand and and make make make good good good any any any defects defects found found found in in inthe the the inspection. inspection. (3.18 (3.18 (3.18and and and Schedule Schedule Schedule 4). 4). 4). The The The cost cost cost for for for testing testing testing and/or and/or and/or opening opening up, up, and and and the the cost cost for for formaking making making good good good goodthe the theworks works works shall shall shall shallbe be be beadded added added addedto to to tothe the theContract Contract Contract ContractSum Sum Sum unless unless unless unlessthe the the inspection inspection inspection inspectionshows shows shows showsthat that that thatthe the thework work work workis is isnot not not in in in accordance accordance accordancew w with ith the Contract, in which which case case the the Contractor Contractor will will cover cover the the expense. expense. (3.17). (3.17). This This will will no nott tbe be be beconsidered considered consideredaaarelevant relevant relevantevent event eventas as asper per perClause Clause Clause2.29.2 2.29.2 2.29.2 and and andno no no noExtension Extension Extension Extension of of Time Time Time or or orLoss Loss Loss Loss& & &Expense Expense Expensewill will willbe be begranted.If granted.If granted.If granted.Ifititit is is isfound found foundthat that that the the the therebar rebar rebarspacing spacing spacing is is iscorrect, correct, correct,we we we wemay may may grant grant grantan an anExtension Extension Extensionof of ofTime Time Time Timeunder under underC C Clause lause 2.29.2.2, 2.29.2.2, and and may may grant allowance for for Loss and and Expense under Clause Clause 4.22.2.2.
Answer: Instruct Instruct Instructthe the theContractor Contractor Contractorto to to tostop stop stop concrete concrete concretepour pour pourimmediately. immediately. immediately.Issue Issue Issue IssueAI AI AIfor for forremedial remedial remedialwork work work workto to tobe be be becarried carried carried carriedout out out out(3.18.1). (3.18.1). (3.18.1).Issue Issue IssueAI AI AI AIfo fo forr previously previously poured poured slab to be checked checked by opening opening-up up (or possibly metal detector detector for for nond nondestructive estructive test) test) test) Clause Clause 3.17 3.17 & & 3.18.4 3.18.4 and and Schedule Schedule Part Part 4. 4. IfIf reinforcement reinforcement spacing spacing spacingcorrect correct correctthen then thenpossible possible possibleEoT EoT EoT EoT(2.29.2.2) (2.29.2.2) (2.29.2.2)and and andpossible possible possible Loss Loss Loss& & &Expense Expense Expense Expense(4.22.2.2). (4.22.2.2). (4.22.2.2).However, However, However, ifififSchedule Schedule Schedule SchedulePart Part Part Part444 procedures procedures proceduresfffollowed, then no Loss Loss & Expense, just just EoT. If reinforce reinforcement ment not not correct, correct, then then then no no EoT EoT nor nor Loss Loss & & Expense. Expense.
The Contractor informs you that, on the previous day, the Employer visited the site and instructed the Foreman to form a door opening in a 100 mm concrete block partition which has already been built. No such door opening is shown on the Contract Drawings. Describe what you would do.
Response: Call a meeting with the Contractor, Employer, Quantity Surveyor and Architect to determine the necessity and extent of the alteration asked for by the Employer (5.1). Remind the Employer that he should approach alterations via the Architect, not directly with the Contractor. The Contractor may provide a Variation Quotation which is to be agreed upon by Contractor, Employer, Quantity Surveyor and Architect, as per Clause 5.2.1 and Schedule 2. The Variation Valuation shall be made on a fair and reasonable basis having regard to the content of that quotation, and shall include the direct loss and/or expense, as per Clause 5.3.3. The Variation shall be issued as an Architect’s Instruction. An Extension of Time will be granted on the basis that the Variation instructed by the Architect was not part of the original design and is considered a Relevant Event. The Loss or Expense associated with the Variation shall be added to the Contract Sum as per Clause 5.5. (Clauses 5.6 and 5.7)
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22nd January 2021
Answer: Inform client you have heard about instruction to contractor and remind them of their duties, ie client needs to instruct through Architect/CA. Discuss with client and determine whether necessary and whether it complies with Building Standards and other legislation. Obtain likely cost and programme impact from Contractor, so Client can make informed decision to proceed. If Client still wants to proceed then issue AI for this Variation (5.1 & 5.2). Leave QSs to agree price using valuation rules at 5.6/5.7 (day-work) at later date.
Dear Sirs
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BULLGATE HOUSE, HOUSE, CITYBURGH We We Weenclose enclose enclose herewith herewith our our ourValuation Valuation ValuationNo No No 55 in in respect respect respect of of of the the above above above contract contract contract as as asat at at 22nd 22nd January 2021.
SCENARIO 15 12 February 2021 LETTER FROM PILING SUB-CONTRACTOR
Yours faithfully Bill Page & & Partners Partners
Dear Sirs, BULLGATE HOUSE, CITYBURGH
Complete Complete and and issue issue the Interim Interim Certificate. Certificate. See extra extra 22 documents attached attached in scenario scenario
We have been advised by the Quantity Surveyor that his Valuation No 5 included an amount of £11,696.00 in respect of Piling work carried out by us at the above contract. We have not yet received this amount from the Main Contractor and have to advise you that if it is not paid within seven days, we shall be forced to withdraw our men from the site.
Response:
Yours faithfully P I Ling Ltd.
SCENARIO 13 LETTER LETTER FROM FROM QUANTITY QUANTITY SURVEYOR SURVEYOR TO TO ARCHITECT ARCHITECT
Reply to piling subcontractor.
Response: Letter from the architect to sub-contractor. Dear Sirs, Thank you for your correspondence dated 12th February 2021. We note the non-payment of £11,969.00, and will notify the D.E.Struct of this. As it is the Contractor’s responsibility to pay sub-contractors fees we will not be able to pay in this instance. (Clause 2.21) Yours faithfully, Group 3 Partnership E-mail
to
the
Main
Contractor.
Dear Sirs,I am writing to notify you of a request fo
Answer:
[GC]
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
[GA]
2.1
2.2
2.3
2.4
2.5
2.6
2.7
SMGP
Studio C
[ATR]
Architectural Management, Practice and Law
Time
Individual report - Lo2
Design and Build can be advantageous in terms of time as it allows the overlap of design and construction reducing the overall project delivery time. “The responsibility for completing on time rests wholly with the contractor. There should be little risk of claims because of allegations that information from the client is late. The obligation on the contractor to be responsible for the flow of his necessary information is one of the most attractive feature of Design and Build.” (Lupton, 2019)
Silvia Maria Gioia Puddu s1346413
Introduction
The contractor’s awareness of current market conditions and delivery times can ensure that a contract runs smoothly. (Lupton, 2019)
In this essay is examined the comparison between the Traditional Procurement used in the Contract Simulation Game (CSE) and the Design and Build as an alternative procurement route.
In Design and Build, the design and details are determined in early stages, whereas in the traditional procurement the contractor depends heavily upon the necessary information and instructions from the architect being issued on time. This was the case of the scenario 19 in which the lack of information on windows reveal details to be issued by the architect as it was claimed by the Contractor, would have caused a delay in works and therefore a request of Extension of Time.
The Procurement is defined as “the process used to deliver the completion of the project from inception to completion.”
This translates in a very different way to deal with the three risks factors: time, quality and cost.
In the Design and Build case as stated in clause 2.27.1 of the DB/Scot, it’s Employer’s responsibility to issue the Practical completion Statement, possibly with different criteria from those of an architect, as it would happen in the Traditional contract. This, as well as the integrated action of both Contractor and Architect Team would mean less chance of delays in practical completion Also, as most of the decision are usually not specified by the client, but taken by the contractor’s group, this would mean less conflicts between the parties and therefore less waste of time.
In the specific case of the CSE, there would have been a general shift in responsibilities towards the contractor, that has now full control of the rest of the group.
Other proofs of how time factor could be improved with Design and Build procurement and type of contract can be found in clause 26 where it’s clear the perception of the quality of the design details of an architect are generally not the same as the one of a Contractor.
The main difference between the two is that, while in the Traditional Procurement the Client negotiates separately with an architect that will then requests bids from contractors to perform the work defined in the tender documents, in the Design and Build the Client hires a single company to perform both the design and construction under a single contract from very early stages and not in in the Stage 4 – Technical Design - as in CSE.
In the Design and Build, the risks of the 'quality' are possibly really higher if the contractor has an interest in saving time and money.
Therefore the architect practice would not have had the figure of an intermediary between contractor and client. The Contracts taken in consideration are Standard Building Contract With Quantities for use in Scotland (SBC/Q/Scot 2016) Design and Build Contract for use in Scotland (DB/Scot 2016). The first one, was used in the CSE and is considered appropriate “for larger works designed and/or detailed by or on behalf of the Employer, where detailed contract provisions are necessary and the Employer is to provide the Contractor with drawings; and with bills of quantities to define the quantity and quality of the work; and where an Architect/Contract Administrator and Quantity Surveyor are to administer the conditions.” The Scottish Building Contracts Committee (SBCC) Whereas, the Design and Build contract is defined as “appropriate where detailed contract provisions are necessary and Employer’s Requirements have been prepared and provided to the Contractor; where the Contractor is not only to carry out and complete the works, but also to complete the design; and where the Employer employs an agent (who may be an external consultant or employee) to administer the conditions.”
Cost For clients, architects and contractors perhaps the most important point is to ensure that the contract whatever form it takes, is fully understood by all sides, covers all legal requirements and has the flexibility that could lead to best results. Therefore, it’s important that the Client knows that every new instruction to the Foreman to do something different than in Contract Drawings, has certainly an impact in costs that could vary depending on the importance of his choices. One of the main advantages of the traditional method is the greater certainty. This is because the design is finalised before contractors are appointed and so there is clarity about precisely what is required and how much it is likely to cost. A well compiled Bill of Quantities helps create a low-risk and low-cost tendering environment, which encourages the submission of competitive bids since the risk is better understood and defined. There may also be cost disadvantages, as costs may rise if a large number of changes are made to the original design. In addition, since quantities are specified in the design, the contractor has little flexibility to manage the price and provide better value. As a matter of fact more decision making power for the client could lead to many variations and therefore higher costs than in a Design and Build procurement route, as it happened in scenario 21 and 24. In the alternative route, the Client could have benefit from greater cost controls as long as he accepts to leave the control and responsibility for design and construction to the contractor. The contractor takes more financial risk, and as they are responsible for the design, they may make cost savings here. At the same time, there’s a risk that the client may have to pay more if the contractor has to take on an unreasonably high level of risk due to a lack of design clarity when tendering.
Conclusions It was possible to highlight in this essay that there is often no single answer on the choice of the best procurement route. However, it would appear that in this specific case of the CSE quality was an important factor, as enlightened in the following diagram and as evidenced also by the inclusion of bill of quantities, that guaranteed a high level of control of the costs too. The time, was clearly not the first concern for the client. In this sense the choice of a Traditional Procurement instead of a Design and Build Procurement was possibly the best one. Diagram illustrating the differences between Design and Build and Traditional Procurement. In blue and black, the relationships in DB In red, the Teams division as in CSE
Indeed, it appears clear that the most obvious difference between the two forms of procurement lies in the lesser control of the architect in the case of Design and Build, and therefore in less control of the quality, as shown in scenarios such as the number 31, where a non acceptable replacement was made without consulting the architect to speed up the timing.
References Architecture, 2020. “Available Resources: RIBA Plan of Work 2020.” https://architectureforlondon.com/news/the-riba-plan-of-work/ Lupton. Sarah. 2019. Which Contract? Choosing the Appropriate Building Contract (6th Edition). London: RIBA Publishing. P. 36 Lupton. Sarah. 2019. Which Contract? Choosing the Appropriate Building Contract (6th Edition). London: RIBA Publishing. P. 58 https://www.designingbuildings.co.uk/wiki/Traditional_contract_-_pros_and_cons
Quality
https://www.designingbuildings.co.uk/wiki/Design_and_build_-_pros_and_cons
There can be a risk related to design and build procurement route and quality, particularly if the employer's requirements were not properly gathered and if the timing is considered a paramount factor.
Design and Build Contract for use in Scotland, 2016 version https://www.scottishbuildingcontracts.com/files/5d22610e120b9-sbc563.pdf
As a matter of fact the contractor may exploit a specification that is open to interpretation and choose the cheapest route. This can mean that quality may be compromised if the employer’s requirements do not adequately ensure the anticipated specifications are adhered to. This could’ve happened in scenario 10, where the pipes had to be controlled by the architect to choose if, even if not compliant with original drawings, they had the same quality. This matter can in fact be affected if the client is not expert in that matter and could lead him to a a wrong evaluation and decision.
Standard Building contract with Quantities for use in Scotland, 2016 version https://www.scottishbuildingcontracts.com/contracts/46/standard-building-contractwith-quantities-for-use-in-scotland/
Moreover, the client has no direct control over the contractor’s performance and therefore over detailed aspects of design. This would have resulted in the suppression of scenario 26 and 27, as the contractor in consulting the Roofing Sub-Contractor would’ve more likely decided that the detail was adequate, without any architect to consult and say the contrary. “Although this might be acceptable where the broad lines of the scheme are satisfactory and the detail relatively less important” (Lupton, 2019) it’s almost certain that the result would have affected quality. The client, has also little to say in the choice of specialist sub-contractors, as they have a contract with the main contractor and not with the client. Therefore, it is possible that a scenario like in 24 would not have happened.
hitectural Management, Practice and Law
Time
dual report - Lo2
In the Design and Build, the risks of the 'quality' are possibly really higher if the contractor has an interest in saving time and money.
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Report
LO2 Individual report The assessment consisted in a 1500 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've included an analysis of how particular cost control mechanisms evidenced in the simulation exercise, would have operated differently under an alternative form of procurement and contract.
Design and Build can be advantageous in terms of time as it allows the overlap of design and construction reducing the overall project delivery time. “The responsibility for completing on time rests wholly with the contractor. There should be little risk of claims because of allegations that information from the client is late. The obligation on the contractor to be responsible for the flow of his necessary information is one of the most attractive feature of Design and Build.” (Lupton, 2019)
Maria Gioia Puddu s1346413
oduction
The contractor’s awareness of current market conditions and delivery times can ensure that a contract runs smoothly. (Lupton, 2019)
s essay is examined the comparison between the Traditional Procurement used in the Contract Simulation Game (CSE) and the Design and as an alternative procurement route.
In Design and Build, the design and details are determined in early stages, whereas in the traditional procurement the contractor depends heavily upon the necessary information and instructions from the architect being issued on time. This was the case of the scenario 19 in which the lack of information on windows reveal details to be issued by the architect as it was claimed by the Contractor, would have caused a delay in works and therefore a request of Extension of Time.
Procurement is defined as “the process used to deliver the completion of the project from inception to completion.”
ranslates in a very different way to deal with the three risks factors: time, quality and cost.
In the Design and Build case as stated in clause 2.27.1 of the DB/Scot, it’s Employer’s responsibility to issue the Practical completion Statement, possibly with different criteria from those of an architect, as it would happen in the Traditional contract. This, as well as the integrated action of both Contractor and Architect Team would mean less chance of delays in practical completion Also, as most of the decision are usually not specified by the client, but taken by the contractor’s group, this would mean less conflicts between the parties and therefore less waste of time.
e specific case of the CSE, there would have been a general shift in responsibilities towards the contractor, that has now full control of the of the group.
Other proofs of how time factor could be improved with Design and Build procurement and type of contract can be found in clause 26 where it’s clear the perception of the quality of the design details of an architect are generally not the same as the one of a Contractor.
main difference between the two is that, while in the Traditional Procurement the Client negotiates separately with an architect that will then ests bids from contractors to perform the work defined in the tender documents, in the Design and Build the Client hires a single company to orm both the design and construction under a single contract from very early stages and not in in the Stage 4 – Technical Design - as in CSE.
efore the architect practice would not have had the figure of an intermediary between contractor and client.
Contracts taken in consideration are Standard Building Contract With Quantities for use in Scotland (SBC/Q/Scot 2016) Design and Build ract for use in Scotland (DB/Scot 2016).
irst one, was used in the CSE and is considered appropriate “for larger works designed and/or detailed by or on behalf of the Employer, re detailed contract provisions are necessary and the Employer is to provide the Contractor with drawings; and with bills of quantities to define quantity and quality of the work; and where an Architect/Contract Administrator and Quantity Surveyor are to administer the conditions.” The tish Building Contracts Committee (SBCC)
reas, the Design and Build contract is defined as “appropriate where detailed contract provisions are necessary and Employer’s Requirements e been prepared and provided to the Contractor; where the Contractor is not only to carry out and complete the works, but also to complete design; and where the Employer employs an agent (who may be an external consultant or employee) to administer the conditions.”
Cost For clients, architects and contractors perhaps the most important point is to ensure that the contract whatever form it takes, is fully understood by all sides, covers all legal requirements and has the flexibility that could lead to best results. Therefore, it’s important that the Client knows that every new instruction to the Foreman to do something different than in Contract Drawings, has certainly an impact in costs that could vary depending on the importance of his choices. One of the main advantages of the traditional method is the greater certainty. This is because the design is finalised before contractors are appointed and so there is clarity about precisely what is required and how much it is likely to cost. A well compiled Bill of Quantities helps create a low-risk and low-cost tendering environment, which encourages the submission of competitive bids since the risk is better understood and defined. There may also be cost disadvantages, as costs may rise if a large number of changes are made to the original design. In addition, since quantities are specified in the design, the contractor has little flexibility to manage the price and provide better value. As a matter of fact more decision making power for the client could lead to many variations and therefore higher costs than in a Design and Build procurement route, as it happened in scenario 21 and 24. In the alternative route, the Client could have benefit from greater cost controls as long as he accepts to leave the control and responsibility for design and construction to the contractor. The contractor takes more financial risk, and as they are responsible for the design, they may make cost savings here. At the same time, there’s a risk that the client may have to pay more if the contractor has to take on an unreasonably high level of risk due to a lack of design clarity when tendering.
Conclusions It was possible to highlight in this essay that there is often no single answer on the choice of the best procurement route. However, it would appear that in this specific case of the CSE quality was an important factor, as enlightened in the following diagram and as evidenced also by the inclusion of bill of quantities, that guaranteed a high level of control of the costs too. The time, was clearly not the first concern for the client. In this sense the choice of a Traditional Procurement instead of a Design and Build Procurement was possibly the best one.
am illustrating the differences between Design and Build and Traditional Procurement.
Indeed, it appears clear that the most obvious difference between the two forms of procurement lies in the lesser control of the architect in the case of Design and Build, and therefore in less control of the quality, as shown in scenarios such as the number 31, where a non acceptable replacement was made without consulting the architect to speed up the timing.
e and black, the relationships in DB
, the Teams division as in CSE
References Architecture, 2020. “Available Resources: RIBA Plan of Work 2020.” https://architectureforlondon.com/news/the-riba-plan-of-work/ Lupton. Sarah. 2019. Which Contract? Choosing the Appropriate Building Contract (6th Edition). London: RIBA Publishing. P. 36 Lupton. Sarah. 2019. Which Contract? Choosing the Appropriate Building Contract (6th Edition). London: RIBA Publishing. P. 58 https://www.designingbuildings.co.uk/wiki/Traditional_contract_-_pros_and_cons
ality
https://www.designingbuildings.co.uk/wiki/Design_and_build_-_pros_and_cons
e can be a risk related to design and build procurement route and quality, particularly if the employer's requirements were not properly ered and if the timing is considered a paramount factor.
Design and Build Contract for use in Scotland, 2016 version https://www.scottishbuildingcontracts.com/files/5d22610e120b9-sbc563.pdf
matter of fact the contractor may exploit a specification that is open to interpretation and choose the cheapest route. This can mean quality may be compromised if the employer’s requirements do not adequately ensure the anticipated specifications are adhered to. This d’ve happened in scenario 10, where the pipes had to be controlled by the architect to choose if, even if not compliant with original drawings, had the same quality. This matter can in fact be affected if the client is not expert in that matter and could lead him to a a wrong evaluation decision.
eover, the client has no direct control over the contractor’s performance and therefore over detailed aspects of design. This would have ted in the suppression of scenario 26 and 27, as the contractor in consulting the Roofing Sub-Contractor would’ve more likely decided that detail was adequate, without any architect to consult and say the contrary. “Although this might be acceptable where the broad lines of the me are satisfactory and the detail relatively less important” (Lupton, 2019) it’s almost certain that the result would have affected quality.
e
Standard Building contract with Quantities for use in Scotland, 2016 version https://www.scottishbuildingcontracts.com/contracts/46/standard-building-contractwith-quantities-for-use-in-scotland/
In the Design and Build, the risks of the 'quality' are possibly really higher if the contractor has an interest in saving time and money.
client, has also little to say in the choice of specialist sub-contractors, as they have a contract with the main contractor and not with the client. gn andit Build can be advantageous of time it allows the overlap of design and construction reducing the overall project delivery efore, is possible that a scenario likeininterms 24 would notas have happened.
responsibility for completing on time rests wholly with the contractor. There should be little risk of claims because of allegations that information the client is late. The obligation on the contractor to be responsible for the flow of his necessary information is one of the most attractive ure of Design and Build.” (Lupton, 2019)
contractor’s awareness of current market conditions and delivery times can ensure that a contract runs smoothly. (Lupton, 2019)
esign and Build, the design and details are determined in early stages, whereas in the traditional procurement the contractor depends heavily n the necessary information and instructions from the architect being issued on time. was the case of the scenario 19 in which the lack of information on windows reveal details to be issued by the architect as it was claimed by Contractor, would have caused a delay in works and therefore a request of Extension of Time.
e Design and Build case as stated in clause 2.27.1 of the DB/Scot, it’s Employer’s responsibility to issue the Practical completion Statement, bly with different criteria from those of an architect, as it would happen in the Traditional contract. as well as the integrated action of both Contractor and Architect Team would mean less chance of delays in practical completion as most of the decision are usually not specified by the client, but taken by the contractor’s group, this would mean less conflicts between parties and therefore less waste of time.
er proofs of how time factor could be improved with Design and Build procurement and type of contract can be found in clause 26 where ear the perception of the quality of the design details of an architect are generally not the same as the one of a Contractor.
st
clients, architects and contractors perhaps the most important point is to ensure that the contract whatever form it takes, is fully understood ll sides, covers all legal requirements and has the flexibility that could lead to best results. Therefore, it’s important that the Client knows that y new instruction to the Foreman to do something different than in Contract Drawings, has certainly an impact in costs that could vary ending on the importance of his choices.
of the main advantages of the traditional method is the greater certainty. This is because the design is finalised re contractors are appointed and so there is clarity about precisely what is required and how much it is likely to cost. ell compiled Bill of Quantities helps create a low-risk and low-cost tendering environment, which encourages the submission of competitive since the risk is better understood and defined.
e may also be cost disadvantages, as costs may rise if a large number of changes are made to the original design. In addition, e quantities are specified in the design, the contractor has little flexibility to manage the price and provide better value. matter of fact more decision making power for the client could lead to many variations and therefore higher costs than in a Design and Build urement route, as it happened in scenario 21 and 24. In the alternative route, the Client could have benefit from greater cost controls as long e accepts to leave the control and responsibility for design and construction to the contractor. The contractor takes more financial risk, and ey are responsible for the design, they may make cost savings here. At the same time, there’s a risk that the client may have to pay more if contractor has to take on an unreasonably high level of risk due to a lack of design clarity when tendering.
nclusions
s possible to highlight in this essay that there is often no single answer on the choice of the best procurement route. However, it would appear n this specific case of the CSE quality was an important factor, as enlightened in the following diagram and as evidenced also by the inclusion l of quantities, that guaranteed a high level of control of the costs too. The time, was clearly not the first concern for the client.
s sense the choice of a Traditional Procurement instead of a Design and Build Procurement was possibly the best one.
ed, it appears clear that the most obvious difference between the two forms of procurement lies in the lesser control of the architect in the of Design and Build, and therefore in less control of the quality, as shown in scenarios such as the number 31, where a non acceptable acement was made without consulting the architect to speed up the timing.
References Architecture, 2020. “Available Resources: RIBA Plan of Work 2020.” https://architectureforlondon.com/news/the-riba-plan-of-work/ Lupton. Sarah. 2019. Which Contract? Choosing the Appropriate Building Contract (6th Edition). London: RIBA Publishing. P. 36 Lupton. Sarah. 2019. Which Contract? Choosing the Appropriate Building Contract (6th Edition). London: RIBA Publishing. P. 58 https://www.designingbuildings.co.uk/wiki/Traditional_contract_-_pros_and_cons https://www.designingbuildings.co.uk/wiki/Design_and_build_-_pros_and_cons Design and Build Contract for use in Scotland, 2016 version https://www.scottishbuildingcontracts.com/files/5d22610e120b9-sbc563.pdf Standard Building contract with Quantities for use in Scotland, 2016 version https://www.scottishbuildingcontracts.com/contracts/46/standard-building-contractwith-quantities-for-use-in-scotland/
In the individual report was examined the comparison between the Traditional Procurement used in the Contract Simulation Exercise (CSE) and the Design and Build as an alternative procurement route. This translated in a very different way to deal with the three risks factors: time, quality and cost. In the specific case of the CSE, there would have been a general shift in responsibilities towards the contractor, that has now full control of the rest of the group. Therefore the architect practice would not have had the figure of an intermediary between contractor and client. The Contracts taken in consideration are: Standard Building Contract With Quantities for use in Scotland (SBC/Q/Scot 2016), the original one used in the CSE Design and Build Contract for use in Scotland (DB/Scot 2016).
Traditional procurement Design and build cost
c1 lowest possible capital expenditure c2 certainty over contract price, no fluctuation c3 best value for money overall
time
t1 earliest possible start on site t2 certainty over contract duration t3 shortest possible contract period
quality
q1 top quality, minimum maintanance q2 sensitive design control by employer q3 detailed design not critical leave to contractor
LO2 Full submission
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SMGP
Studio C
[ATR]
CSE relationships in Traditional Procurement
[SCAT]
Studio D
[AMPL]
Studio A
Studio H
Design Team
Construction team
Employer Charles Chore Ltd
Architect/Contract Administrator Group 3 Partnership
Contractor D. E. Struct Ltd
Clerk of works
Quantity Surveyor Bill Page and Partners
Sub-trade contractors
Consultants
Structural Engineer Bean and COll
Client Team
CSE relationships in Design and Build Procurement
Design Report
Contractual relationship Functional relationship
Design Team Group 3 Partnership
Employer Charles Chore Ltd
Design and Build Contractor D. E Struct Ltd
Clerk of works
Quantity Surveyor Bill Page and Partners
Consultants
Structural Engineer Bean and COll
Sub-trade contractors
Contractual relationship
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Functional relationship
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Studio C
[ATR]
Studio D
LO1 Coursework submission As asked, The answer 1 summarises the characteristics of the three suggested forms of business : Limited Liability Partnership, Limited Company, Co-operative. and it includes a critical appraisal of their advantages and disadvantages, factors and their influence on our final choice of Limited Company. We chose Limited Company as our business model and many facros were taken into consideration such as cost, financial trajectory and administration flexibility. We believed that the LTD model will be more tax efficient and relatively safe from liability over long term and that a Flat Office Structure would allow democratic decisions. The question 3 was about writing a short memo on the development of a ‘Getting Work’ practice-strategy. It was also asked to highlight the general points on good practice and any specific targets we should have. We answered compiling a manifesto on our practice’s approach towards a sustainable office. It declared our view towards the future of the architectural practice in 3 parts, namely 1) General Points on Good Practice, 2) Specific Targets, and 3) Methods for Getting Work. We also listed the 12 standards of the ARB Code of Conduct: 1. Be honest and act with integrity. 2. Be competent. 3. Promote your services honestly and responsibly. 4. Manage your business competently. 5. Consider the wider impact of your work. 6. Carry out your work faithfully and conscientiously. 7. Be trustworthy and look after your clients’ money properly. 8. Have appropriate insurance arrangements. 9. Maintain the reputation of architects. 10. Deal with disputes or complaints appropriately. 11. Co-operate with regulatory requirements and investigations. 12. Have respect for others.
[SCAT]
Coursework Questions
UNIVERSITY OF EDINBURGH SESSION 2020-21 COURSE ARJA11002 - ARCHITECTURAL MANAGEMENT, PRACTICE AND LAW LO1 - COURSEWORK SUBMISSION ISSUE DATE:
11th January 2021 (12 noon UK time).
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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.
Question 1: Form of Business Note from Practice Formation meeting:
SUBMISSION:
1st February 2021 (12 noon UK time)
INSTRUCTIONS: ANSWER a total of TWO QUESTIONS from three. All questions carry EQUAL Marks. All answers carry a maximum word count of 1200 words. Submissions are to be uploaded to LEARN before 12.00 UK time on the 1st of February 2021. Start the answer to each question on a separate page. Answer papers are to be submitted in accordance with the Submission paper issued on LEARN. Only one paper needs to be submitted per pair. If you choose to answer Question 2 you will also need to submit your completed xls spreadsheet. _________________________________________________________________________
Learning Outcome 1: An understanding of practice management and codes of professional conduct in the context of the construction industry.
Design Report
Studio H
our recent meeting construction work is scheduled to start in February 2022; we will not employ anyone else at present; we expect to allocate 70% of our resources on the project to the pre-construction phases; the cost to the office for each of us is £50/ hour; and our target profit on the project is £10,000. Keep in mind that we may need to work some overtime initially to revise the concept design, following recent changes to the client brief, but all three of us can't work full-time on the project beyond this stage. We expect the Planning Permission and Building Warrant applications will take up to four months each for the Council to process. Please use the attached spreadsheet.
Practice Scenario 2020/ 21 (Revised) 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 £2.2 million with a fee of £150,000. 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.
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.
practice-strategy. It should include both general points on good practice and any specific targets we should have.
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.
(End of Questions)
Question 2: Job Programming & Fee Management As this is our first project and we will shortly incur all of the set-up costs for the practice, we really need to ensure that this job is a profitable one. Can you please write a brief memo to summarise the office management procedures we can set-up to analyse the profitability of the project as it progresses? Can you also please refer to the RIBA Plan of Work 2020 to prepare a simple Gantt chart programme for the pre-construction stages of the project using the attached pro-forma? Please use the colour coding in the key and add some figures in the up and running in February 2021. Can you indicate on the chart the estimated number of resources (hours by each staff member) for each of the job stages and therefore how much of our £150,000 fee we should charge for each stage? As discussed at
Architectural Management Practice and Law 2020-21
Advantages: 1. Any member or employee under LTD is paid under income tax on salaries and has the benefit of Pay as You Earn (PAYE). 2. Profits of a LTD are subject to dividend tax and corporation tax. 3. A LTD may gain tax advantages by making pension payments or holding onto profits within the company. 4. A LTD is perceived to be more credible by clients because the company is required to register with Companies House. 5. In LTD, shareholders and directors have limited liability for assets in the company only.
Learning Outcome 1 Coursework Submission - Student Answer Paper Student Names MOK Chit Yeung, PUDDU Silvia Maria Gioia, bin SUHAIME Mohd Ridwan Naim. Matriculation numbers S1545723, S1346413, S1889905.
Disadvantages: 1. Banks are less likely to lend to LTD as partners are only liable to the LTD’s assets, unless a “floating charge” is taken on the LTD’s assets, or that personal guarantees are present.
Coursework Questions (Delete the Question you do not answer) Question 1: Form of Business
Co-operative
Note from Practice Formation meeting:
In Co-operatives (CO-OP), responsibility is equally shared among members, who have particular views in common. A CO-OP may be established under any legal form such as under companies and partnerships.
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. ANSWER BELOW….
Advantages: 1. Ownership of the company is equally shared between members. Disadvantages: 1. Individual members of a CO-OP are liable to the company’s debt when liquidation is necessary in accordance to the amount of their share holdings. 2. The ownership of the Co-operatives can be held on the behalf of the employees.
firm’s survival. While founding partners share the company’s start-up cost in both LLP and LTD, the LTD pathway requires a lower start-up capital.
A LLP’s partners under a £232,654 taxable income in total in Scotland pays: (232,654 ÷ 3 x 41%) - 12500 [tax payable by each partner under higher rate after allowance as taxable income below £125,000] x 3 [no. of partners] = £57,888.14
The majority of Scottish companies are LTDs. There are existing LTDs that shed light on how our practice may be set up. The example of Collective Architecture LTD encourages free expression between staff which also benefits the staff community. On the other hand, Page/Park LTD offers a role model in encouraging idea exchange between staff by prioritising the sharing of ideas as the practice’s basic design principle. The examples suggest how the staff’s voices can be heard in a practice under their ethos. Therefore, LTD enables our practice to be benefited from a flat structure that we pursue.
Therefore, if the company gets at least £82,654 more income, the LTD taxation pathway in Scotland would cost less as compared to that of LLP.
Although LTDs are double taxed under Corporation Tax paid by the company and Income Tax paid by the shareholders, the sum of Corporation Tax (19% company income) and Income Tax is lower than the sum of Higher or Additional Rate Income Tax paid by partners in LLP. In our current situation, our LTD qualifies for the Basic Rate of Income Tax. When we gain more projects and increase income by £82,654 more, LTD will be a more tax efficient business model (see appendix for calculation) because an equivalent LLP would be paying more tax in the Higher Rate Tax Band. In LTD, the shareholders receive a dividend allowance and a lower rate of tax on the dividend earned. The shareholders of a limited company will pay tax on any dividends they receive and on any increased gain when they transfer their shares in the company. Finally, LTD may reduce financial risk as PAYE can prevent directors, employees from facing sudden high tax (Chappell and Dunn, 2016)
Imagine income is £150,000, in LTD the lowest tax is paid when salary is at £12,500 per shareholder A LTD and LTD shareholders under a £150,000 income in total in England and Scotland pays: 19% x 150,000 [corporation tax] + {(150,000 x 81% - 12500 x 3)÷ 3 - 2000}[each shareholder’s dividend after corporation tax and salary just below basic rate] x 7.5% [tax payable by each shareholder under basic rate on dividends over the allowance] x3 [no. of partners] = £34,350
An appropriate business structure is vital to reduce our practice’s liability. Given our limited business experience, our practice will focus on overcoming problems through democratic decision making. When all shareholders mutually confirm final decisions, liability will be reduced and are equally shared by all members. We anticipate risks such as contractual delay, miscommunications and technical disputes within the project. In consequence, we are exposed to liabilities as the project progresses. The LTD structure is ideal as it caps our liability only to shares but not to personal assets. In the event that a shareholder leaves the company, the LTD model is advantageous as it will continue to exist with the two shareholders, which provides flexibility for future changes. In a similar scenario for LLP, partnerships are required to be dissolved and reformed if any partner is removed or added to the partnership.
Question 3 - Getting Work
In conclusion, this document covers the three suggested forms of business models and a critical appraisal of their advantages and disadvantages. Our analysis has enabled us to choose LTD with a Flat Office Structure as a preferred business model. We believe that the LTD model will be more tax efficient and relatively safe from liability over long term. We will strive to gain more projects within the year in order to take advantage of the LTD taxation pathway. A Flat Office Structure is chosen so as to allow for democratic decisions. We intend to register with Companies House, which will advertise our practice as a LTD. A LTD as a business option offers flexibility for changes in shareholders. It is anticipated that the first project will set an example for how our practice will be run and expanded in future.
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.
---End of Answer 1---
Hierarchical Structure
ANSWER BELOW….
Advantages: 1. The levels of leadership are defined precisely, while responsibilities behind each role are clarified. 2. Employees are motivated at work by the possibility of promotion. Disadvantages: 1. Communication between staff may not be as effective as other business forms. 2. Staff may prioritise the interests of their roles instead of that of the practice. 3. The company may develop bureaucracy which leads to inefficient output of work.
Answer 1 This document summarises the characteristics of the three suggested forms of business options and includes a critical appraisal of their advantages and disadvantages, factors and their influence on our choice of Limited Company.
Flat Structure Advantages:
Limited Liability Partnership
1. Employees have more responsibilities. 2. Staff have greater efficiency when barriers from layers of management are removed. 3. As staff are involved stakeholders, a flat structure would enable democratic decision making. 4. An equal salary among staff may reduce the firm’s running costs.
Limited Liability Partnership (LLP) is a business model based on a “Members Agreement” or “LLP Agreement”. LLP requires at least two partners, who will not be jointly or severally liable for the company’s debts. Advantages:
Disadvantages:
1. Liability is limited to capital held within the company unless a partner is proven to be personally accountable. 2. A LLP is perceived to be more credible by clients because the company is required to be registered with Companies House.
1. Confusion may occur among management because of the absence of chain of command. 2. Employees will become generalists as they are not given specific responsibilities.
Disadvantages:
3. The model may only be applicable to limited sizes of practice. It may be difficult to be applied to large firms.
1. Partnership in LLP is a form of self-employment, therefore, partners are taxed through income tax. 2. Banks are less likely to support LLP as compared to other forms of partnership due to its limited liability. In consequence, banks would take a first charge on the LLP’s assets.
A shareholder owned business based on legal “Articles”, and is run by the directors. Employee ownership may be conveniently set up under companies limited by shares, which has a tendency in enabling a flat open structure.
This memorandum is a manifesto on our practice’s approach towards a sustainable office. It declares our view towards the future of this architectural practice in 3 parts, namely 1) General Points on Good Practice, 2) Specific Targets, and 3) Methods for Getting Work.
We expect all three founding members to assume the role of director cum shareholder, while one of the members will also be made the company secretary. As the founding project is a £2.2 million large scale project for the public sector, we prioritise work efficiency as the paramount value. In addition, our company will closely monitor cash flow and financial stability, which are critical factors to the
a. b. c. d.
Appendix Tax Calculation A LTD and LTD shareholders under a £150,000 income in total in Scotland pays: 19% x 150,000 [corporation tax] + (150,000 x 81% ÷ 3 - 2000)[each shareholder’s dividend after corporation tax, no salary] x 7.5% [tax payable by each shareholder under basic rate on dividends over the allowance] x3 [no. of partners] = £37,162.5 A LLP’s partners under a £150,000 taxable income in total in Scotland pays: (150,000 ÷ 3 - 12500) x 21% [tax payable by each partner under intermediate rate after allowance as taxable income below £125,000] x 3 [no. of partners] = £23,625 When taxable income is at a higher or additional rate, allowance is subtracted at the end. It is calculated that if the income is above 232,653.06, LTD would pay less tax than LLP in Scotland.
(Neil Dall, 2020)
We choose Limited Company as our business model. In order to determine the business model, we focused on different key factors in accordance with the company’s vision and purposes. We prioritise the key factors such as cost, financial trajectory and administration flexibility as ideal to our project with Forth Ports Authority.
Limited Company
Provide monetary incentives for staff to contribute to practice, e.g. unused sick leaves convertible to bonus. Encourage positive competition among staff with in-company competitions. Practice work-life balance for the staff’s wellbeing. Treat our team as a collaborative entity from wide range of specialties.
Imagine if the practice has an income of £232,654 [when income tax for LLP partners is in higher rate, at £50,001 taxable income after allowance] A LTD and LTD shareholders under a £232,654 income in total in Scotland pays: 19% x 232,654 [corporation tax] + (232,654 x 81% ÷ 3 - 2000)[each shareholder’s dividend after corporation tax, no salary] x 7.5% [tax payable by each shareholder under basic rate on dividends over the allowance] x3 [no. of partners] = £57,887.9905
Answer 3 Short memo on the development of a ‘Getting Work’ practice-strategy.
Last but not least, we may consider introducing our services to the public through putting up signboards on the construction site for our development in Leith Docks. We shall discuss this decision with both the contractors and the client and proceed with the idea with their feedback. (Chappell and Dunn, 2016)
1. General Points on Good Practice
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As highly skilled and professional trained architects, we are committed to turning our clients’ aspirations into reality through impartial and creative design thinking. As registered architects, we abide with the Architects Registration Board (ARB) Code of Conduct to deliver architectural services and upkeep standards to our clients. We believe that undertaking work professionally is our practice’s fundamental principle; The 12 standards of the ARB Code of Conduct is listed as followed: 1. Be honest and act with integrity. 2. Be competent. 3. Promote your services honestly and responsibly. 4. Manage your business competently. 5. Consider the wider impact of your work. 6. Carry out your work faithfully and conscientiously. 7. Be trustworthy and look after your clients’ money properly. 8. Have appropriate insurance arrangements. 9. Maintain the reputation of architects. 10. Deal with disputes or complaints appropriately. 11. Co-operate with regulatory requirements and investigations. 12. Have respect for others. Our architectural practice also registers as a RIBA Chartered Practice and upholds the RIBA Code of Practice (May 2019 Edition). Therefore, our practice offers assurances for our clients by providing the required individual RIBA Chartered Architects, purchasing proper Professional Indemnity Insurance, applying an adequate Quality Management system, following comprehensive Health & Safety, and Environmental policies.
2. Specific Targets With future development of the practice in mind, we understand that a business vision is crucial to the survival and sustainability of our practice. Our goal is simple, it is to keep the practice afloat so as to continue providing quality services. In order to materialise our vision of establishing a stable, consistent, and considerate architectural practice by taking environmental impact and the wellbeing of our community into account in our designs. In order to tangibilize the vision, we provide in this section some specific targets that we will commit to.
References:
Getting work by approach requires a recognition of our architectural practice. This can be achieved through networking and promotion. As registered architects, we set up our practice as a RIBA Chartered Practice so that our potential clients will recognise our professional status with the Royal Institute of British Architects. Other ways of approaching clients include getting work through personal recommendation, through advertisement on different media, and through self promotion in networking events. We can accept work referral from other architects, affiliated consultants and contractors. In addition, we can take initiative in contacting new clients and connect potential clients with possible sites in their interest.
1. Architects Registration Board (Great Britain. (2017). The Architects Code: Standards of Professional Conduct and Practice. Architects Registration Board. 2. Chappell, D., & Dunn, M. (2016). The Architect in Practice. Wiley, Blackwell.
B. Online Marketing
3. Dall, N. (2020). Starting an Architectural Practice 2020.
Curating our online presence is necessary for our exposure. Our website needs to be articulated visually while we should make sure that the website is recommended in search engines when searched.
4. Foxell, S. (2019). Starting a practice : A Plan of Work. Riba Publishing. 5. RIBA. (2019). RIBA: Code of Practice. https://www.architecture.com/-/media/GatherContent/Test-resources-page/Additional-
The website has to include information such as the office address and our contact details. It is important that we highlight our commitment to expertise, ethos and quality services. The website will be updated on a regular basis with news releases on our latest work. An ideal website expresses the content through simplicity.
Documents/RIBA-Code-of-Practice--May-2019pdf.pdf
We will open social media accounts to publish newsletters, technical updates and commentaries on recent work. New communications services such as Zoom will also enable us to reach out to the general and international public by hosting seminars on architecture and our work.
Gradual expansion of the company over the long term by recruiting more talents and skilful teamwork. Incorporate office branches globally to provide quality services abroad in long term future.
C. Public Procurement
a. Undergo regular evaluation of company management direction so as to shape the practice in accordance with its contemporary setting. b. Be innovative and provide continuous training programmes for staff. c. Specialise in certain archetypes of architecture to remain competent.
Public procurements will allow our practice to access contract opportunities. There are platforms such as OJEU, Public Contracts Scotland, HubCos, Scape Procure Scotland, and Public Sector Construction Procurement Review offer potential clients the opportunity to recruit designers and consultants. Our practice will make use of the platforms to submit entries in order to gain work.
D. Design Competition
Finance a. Revise our shares and capital annually to reinforce investors’ and clients faith while sustaining our credibility to any potential funds. b. Increase the amount of company savings to leverage liability, which will prepare our practice for unpredictable events such as an economic recession.
Joining design competitions will allow our practice to gain exposure and experience. Competitions are different in nature, they include the categories of being by invitation, open, staged, student, young practices, international etc. Our practice in its early existence expects to focus on the competition categories of open, staged, young practices and international. For greater exposure, we will prioritise competitions published in trusted sources such as the Architects’ Journal.
E. General Marketing
Design Awareness for Environmental and Social Impact a.
We realise a constant engagement with projects could guarantee the sustainability of the company while advancing the network of our business. To begin, the following methods are considered to extend and reach more projects in the future. As suggested in The Architect in Practice:“ The reason why marketing should be carried out when work is coming in and everyone is busy is that the effects of marketing usually take some time to work through. It can easily be a year after the event that a commission happens. If a firm waits until work is falling off, any initiative may be too late to achieve useful results.” (Chappell and Dunn, 2016).
(Chappell and Dunn, 2016)
Growth in Practice Size, Employees and Global Footprint a. b.
3. Methods for Getting Work
A. Approach
Business Plan and Team Management
Finally, we chose our ways for getting the work: A. Approach B. Online Marketing C. Public Procurement D. Design Competition E. General Marketing
[AMPL]
Studio A
Be in touch with environmentally conscious NGOs to keep on top of the contemporary expectations for ecological architecture.
We can promote our Company and gain exposure by curating exhibitions at galas, meetings and cultural venues such as museums and libraries as well as online cultural platforms. Advertising shall be taken into consideration and must comply with the RIBA Code of Conduct (guidance note 3). As we are still a small business, we can advertise in local newspapers or in architectural magazines.
Personal Development
LO1 Full submission
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Para-situation [Ahmedabad]: "Past, Present and Possible" Walls, Wells, Pols and Gates
The Space of Appearing as Enzymatic Territories
Project Brief 4 2019-2021
"This, final, semester will be the closing, framing and final presentation of your thesis. Therefore, we expect you to present all scales of the research from body through to The Loving Metropolitan Landscape scales. This final semester will allow you to develop further the designs of your building/s, making sure that all ARB criteria on the technical, environmental and sustainability issues are addressed properly, but also across the urban scale to potentially include further sites of operation – extending the network of your agencies." The sumbission consisted in: -Design Report -Folios -films
University of Edinburgh Edinburgh School of Architecture and Landscape Architecture
Master of Architecture Programme
PARA-situation [Ahmedabad]: “Past, Present and Possible” Brief 4: The Spaces of Appearing as Enzymatic Territories ECOSOPHIC URBANISM ECOSOPHIC PRACTICE 1. EU WORKS AS AN AGENCY OF SKILLED DESIGN PRACTICE. 2. EU PLACES DESIGN PRACTICE AT THE HEART OF URBAN PLANNING; THE LOCAL PLAN IS AS A RESULT OF LOCAL PRACTICES WITH AN INTERNATIONAL OUTLOOK. 3. EU DEVELOPS INFRASTRUCTURES FROM WITHIN AND BETWEEN ECOLOGIES. 4. EU DOES NOT CONSIDER ECOLOGY TO BE THE DOMAIN OF A NATURE LOVING MINORITY: ECOLOGY IS AN ECOSOPHIC PRINCIPLE FOR ALL DWELLING. 5. EU DEVELOPS MULTIPLE SITES OF PRODUCTION: NEW MICROSOCIAL AND MICROPOLITICAL PRACTICES. 6. EU DEVELOPS AND ENCOURAGES NEW SOLIDARITIES. 7. EU DEVELOPS A NEW GENTLENESS. 8. EU DEVELOPS NEW AESTHETIC AND NEW ANALYTIC PRACTICES. 9. EU PROPOSES AND DEVELOPS PROCESSES OF HETEROGENESIS: RATHER THAN PROJECTS THAT CONFORM TO THE SAME FORMAL PRINCIPLES, EU CONSIDERS HETEROLOGY AS APPROPRIATE AS HOMOLOGY WITH DIFFERENCE AND CHANGE HOLDING SWAY IN A STANDOFF. 10. EU DEVELOPS WAYS, MANY WAYS (HETEROLOGIES), TO ENABLE THE SINGULAR, EXCEPTIONAL AND RARE TO CO-EXIST WITH A STATE STRUCTURE WHILST ENCOURAGING THE STATE STRUCTURE TO BE THE LEAST BURDENSOME AS POSSIBLE.1
STUDIO H
Course Code: ARCH11174 Credit Points: 40
Course Organiser: Dr. Dorian Wiszniewski Course Tutors: Dr. Dorian Wiszniewski and Kevin Adams
1
10 non-exclusive points of Ecosophic Urbanism, Dorian Wiszniewski, 2014.
M Arch 2019-2021 PARA-Situation [Ahmedabad]: “Past, Present and Possible” Dorian Wiszniewski
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1
Many methods were suggested in preparation of the submission. I mostly focused on the n. 9, "Paper Models and Sections – Sangath in 3D and at various Scales" through a series of overlapping sections (both horizontal and vertical) of all the site. The "digital" paper model showed more than what normally a paper model would show, in a consonant way to the way in whic I developed the thesis as a Palimpsest.
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Learning Outcomes [LO]: LO1 The ability to develop a research inquiry which is clearly and logically argued, has awareness of disciplinary and interdisciplinary modes of research, draws from specificallydefined subject knowledge, and is relevant to current architectural issues. LO2 The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks. LO3 A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modeling, photography, film, computer, installation, performance and workshop techniques).
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The last semester started with the need to put all the pieces together. The film here presented, together with the image on the previous page, were finalized during the 4 semester, in an attempt, in fact, to reconnect the various experiences and order them according to a Palimpsest principle. The work collected in this Portfolio may seem heterogeneous between semester and semester, above all because the approach to the city and the design was quite experimental. I have chosen to present a corner of Ahmedabad, with a focus on one situation, however, which occurs several times throughout the riverfront. In the site, like in a memory theater, each of the parts occupies a precise space that speaks for itself, has its own cosmogenicity that is evoked in its own shapes, but at the same time, as part of a totality which is more than the sum of the parts, it could not be separated from its cosmological position. During the field trip we were able to witness how strong the communitarian dimension of sharing, communicating and narrating is. This, lead many people to occupy the city in the most disparate and often non predictable meeting places. I feel like India is less linked than the western world to the private dimension of the home. With this in mind, and, moreover, because of the tragic reality that India is currently experiencing, that keeps people apart and damages an already precarious system, I thought that it could be a good general approach to offer managed meeting places to the local communities, with rules, times and distances to be respected.
Film: Memories of Ahmedabad¹
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Sangath Drawings version 4, riverfront
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Sangath Drawings version 4, Administrative Building Theater and Restaurant
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The project culminates in semester 4 with the introduction of a parallelism with a card game, in which each hand represents an incomplete cosmology in a deck of infinite cosmological possibilities. The site is illustrated as if there was a cosmogenic principle of assembly between the parts, an incomplete cosmology with a cosmogenic principle that follows a chronology of development which is the one through which I developed the architecture. Parts of the “old” are also part of the cosmology, as if to mean that the new design has the task of bringing a forgotten past to life. The table becomes a cosmological device, like a horrery, a machinery that realizes the cosmological rules of invention to establish the orders and relationships among the parts. The following pages show in the superimposition of different sections (A total of 56 longitudinal sections all through the site), that the architectures are part of an incomplete cosmological system, a hand extrapolated from an infinite deck or infinite layers of Palimpsest.
Film: The Cosmology of a Palimpsest²
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INDEX I The Triangle II The Palimpsest Building III The Old Wall IV The House of Projections V The House of Light and Sand VI The Water Holder VII The Canal Connection 1 VIII The Canal Connection 2 IX The Mnemo-aquatecture X The Loti XI The Step-Wall 1 XII The Water Carriers XIII The Step-Wall 2 XIV The Administrative Building XV The Hypogeum Theater XVI The More Hypogeum Restaurant XVII The Water Carrier XVIII The Houses of Green XIX The Oasis XX The Hybrid Mandala
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Orbit One
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Orbit Three [GC]
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Methodologies The site was studied as a Palimpsest with a series of sections through three directions. The first one, was the vertical direction. The 1:500 site plan, describing the SET (Series of Enzymatic Territories) scale has been studied in all of its 7 levels, comprehending two underground levels reached by the Theater and Restaurant building. The second one is the main 1:500 series of sections and the derived 1:200 (building scale) that goes from East to West, facing the old wall. The clarifying importance of that was found in both the sovraposition and the seriality of all the 56 1:500 sections (for the series, see Appendix 1), detailing all the different courses and slopes of ground, canals, road, walls, ceilings. Whereas the larger scale, studied later in this document, enlightens the multilayered materiality of each building. The last direction, through the South/West axis, is more fragmented, but nonetheless, effective to represent the various elements.
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Level 4
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Level 0
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Level -2
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Roof Plan and the totality of the East-West sections
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Overlap of East-West sections. (See Appendix 1 for the series.)
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Plan of the riverfront and cross sections
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22 19
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1.Study Space 2.Restrooms 3.Stepped Water System 4."House of Light and Sand" 5."House of Projections" 6.Mnemo-aquatecture 7.Rain collection 8."Houses of Green" 9. Suspended Aluminium footbridges 10. Steel pillars 11. Concrete pillars¹ 12.Concrete vaulted sloped structure 13.Aluminium mesh boxes 14.Underground passage 15.Internal sliding wooden panels and seats 16.Internal Operable Louver system 17."Loti" or floating platforms 18.Sabarmati River 19.Main underground canal 20.Concrete footbridge 21.Entrance 22.Entrance to the Riverfront site 23.Road 24.Main canal 25.Canal system to bring purified water to the rest of the riverfront 26. Canal system 27. Discharge of extra water 28."Palimpsest" building 29. Old wall
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Level 2 Plan of the Riverfront
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Second Semester athmospheric views of the "House of light and Send" and of the "House of Projections"
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furniture
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structure
passages
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internal load bearing walls
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Design Report
concrete retaining walls and arched ceiling in bricks external shaded spaces with mesh
external aluminium arched roof
corten hanging box
lightweight concrete arched roof and brick main walls
internal aluminium arched mesh
framed truss structure concrete upper roof concrete lower roof and load bearing walls
concrete pillars¹
structural truss system
movable internal wooden panels
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arched coverage in bricks
internal box of aluminium mesh and concrete enclosing walls
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various levels of raised aluminium footbridges and load-bearing waterproof steel pillars
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Overlap of floor plans and longitudinal sections
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Sovraposition of Cross Sections. See Appendix 2 for the series
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upper truss system
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upper horizontal aluminium mesh
vertical mesh
steel structure
upper load bearing truss system
cables hanging corten roof hanging corten box partially hanging corten box grounded corten box
vertical mesh
internal steel structure external steel structure upper load bearing truss system and cable
5 layers of hanging horizontal mesh (roof) corten finishes and rotating louver system
aluminium footbridges and cables
hanging corten boxes
steel structural system
horizontal meshes
concrete double wall
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Further Developments on Ecologies: The water system of the Riverfront
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water from the river
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rain collection to irrigate the site
rain collection
rain collection to irrigate the site
valves
water from the river
water from the river
rain collection rain collection
rain water irrigation without fertilization and one swimming pool
valves rain collection
water from the river
fertilization water from the river
pool
rain collection empty tank valves
pool
water from the river
riverfront and rain water irrigation with fertilization and one swimming pool
riverfront irrigation without fertilization and two swimming pools Three different configurations of the system of the sloped canals water from the river
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Further Developments on Ecologies: the "Houses of Green" and the "Water Carrier" vertical mesh
The houses of green, spread through the axis NorthSouth behind the road, were the first inspiration and pure example of the metallic mesh that can be found all around the site, named the “immaterial” material, that takes the shapes of the materials with which it lives.
horizontal mesh
Its main feature is that of allowing the climbing vegetation to become a further cladding material with the important important task of oxygenating, shielding from the sun, absorbing humidity, cooling down all the material spaces. The houses of green are composed of many layers of this material. Some of them mark the passage between the parts of the site divided by the road, Some of them hold some element of urban design, such as seats or, as the road is higher than their level, stairs. furniture
They follow the progress of the the “Water Carrier” (XVII) that can potentially continue indefinitely all through the riverfront.
passages
Exploded axonometric view of the "Houses of Green"
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Appendix 1
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Appendix 2
Notes 1. The video Memories of Ahmedabad could also be found here: https://www.youtube.com/watch?v=crVK8Vm49tQ 2. The video The Cosmology of a Palimpsest could also be found here: https://www.youtube.com/watch?v=X2MFk2yr44M
Reading the Virtual City. Full Submission.
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Design Report
Integrated Pathway: The cosmology of a Palimpsest Memories of Ahmedabad ESALA
Edinburgh School of Architecture & Landscape Architecture
Master of Architecture
Modular + Integrated Pathway
Year 2 (2020-21)
Design Report
Course Code: ARCH11069 Credit Points: 10 Year 2, Semester 2 Adrian Hawker
Design Report Synopsis
This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail the final studio project the completed during the MArch Programme. The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. 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 students 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.
Aims and Objectives
A Design Report in architectural practice situations (competitions, project tenders, planning applications, funding applications, post-occupancy evaluations, peer publication / dissemination) is often constructed to both introduce and to document architectural designs. Audiences for a Design Report include both those architects and other specialists in the discipline interested in the design, how it works, how it came into being, and how effective it is, as well as those in the wider context of commissioning, public approvals, legislation and project implementation connected with the application and effectiveness of the design. In Architectural Education, a Design Report may be constructed to introduce, document and reflect upon a significant architectural design project. The objectives are to: 1. Critically appraise and argue the rationale of a design proposal using text and image in the context of a crafted report. 2.
Demonstrate ability to analytically and logically synthesise documentation which encompasses a range of architectural issues, research and design processes undertaken in the development of a major architectural thesis and to reflect upon aspects of personal practice.
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1.1 1.2 1.3
"This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail the final studio project they completed during the MArch Programme. The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. 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 students to reflect not only on their finished project but also a key aspect of their methodology and practice. The Report should clearly introduce and set out the design project or design thesis, thematic and territorial frameworks."
2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
Learning Outcomes [LO] LO1 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. LO2 Demonstration, through architectural design, of the integration ofknowledge in architectural theory, technological and environmental strategies, and an understanding of architecture's professional and economic context. LO3 The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.
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The Design report has been an occasion to critically analyze the design project in its completeness. The chosen title "The Cosmology of a Palimpsest. Memories of Ahmedabad" is essentially the content of the document and at the same time, the title of the finalized architectural thesis that introduces the document. The introduction to the thesis, "The cosmology of a Palimpsest" is preceded by an abstract and a short presentation of the project site with its peculiarities, as well as some examples of some conceptual visualizations of
1
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the previous semesters [1]. After the introduction of the thesis[2], the Architectural drawings are presented with a specific order: starting from the general Master Plan [3] and continuing with the specificity of the project, which is studied as a multi layered cosmology and divided therefore in 3 macro categories, called "orbits", that are, essentially, about: Technology and vegetation [4], the buildings and their materiality [5] and the water system [6]. In each group the reality of the Palimpsest emerges through a series of
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overlapping sections. The final part is called "Memories of Ahmedabad" and is basically an Archive of the primeval experimental approach towards the city, that culminated with the field trip between the first and second semester [7]. The very last pages contain the conclusion of the thesis, two appendices on the various sections of the site,the notes and the references [8].
Table of Contents
Introduction - The Thesis Introduction - The Thesis
4 17
The Cosmology of a Palimpsest
The cosmology of aTable Palimpsest of Contents
Part One
34
Part Two
48
Part Three
Memories of Ahmedabad
Kalpur Darwaja The thesis evokes the Palimpsest that constitutes Ahmedabad Baba Lului's Mosque expressed both in presence of absences and in absence of presences. Khan Jahan's Mosque and design site
17
The Cosmology of a Palimpsest Part One
34
Part Two
48
Part Three
78
Conclusions
Mill Owners' Association Building and Rani no Hajiro
91
Kalpur Darwaja
98
Baba Lului's Mosque
103
Khan Jahan's Mosque and design site
107
Appendix 1 end of the historic city. Appendix 2 The “Palimpsest” is a writing that has been superimposed Notes writings and multiple simultaneous readings. Bibliography In the old wall times and spaces collide. In the new walls times and spaces collide. Sitography
Palimpsest of Memories
89
Conclusions
117
The Credits methodology
Appendix 1
118
the Visual site and making them become new “spaces” that will be References
Appendix 2
120
Notes
121
Bibliography
121
Sitography
121
Credits
122
Visual References
123
studied
The thesis evokes the Palimpsest that constitutes Ahmedabad
The city of Ahmedabad is composed and nourished by a multitude of realities that coexist in the chaotic metropolitan city in constant evolution. Monuments of the Mugal era coexist with the traces of a
here
deals
projects; stone monuments and modernist architecture.
89
Mill Owners' Association Building and Rani no Hajiro
4
expressed both in presence of absences and in absence of presences.
78
Palimpsest of Memories
Introduction - The Thesis Introduction - The Thesis
with
end of the historic city.
91
shaped by a methodology that mixes a present of ruins of a
The “Palimpsest” is a writing that has been superimposed
98
old wall.
writings and multiple simultaneous readings.
107
In the old wall times and spaces collide. In the new walls times and spaces collide.
The city of Ahmedabad is composed and nourished by a multitude of realities that coexist in the chaotic metropolitan city in constant evolution.
117
The
Monuments of the Mugal era coexist with the traces of a
103
methodology
studied
here
deals
with
extrapolating
118
the site and making them become new “spaces” that will be
120
of possible times. This echoes the title of the studio: The results are a cosmogeny of elements and an incomplete
121
123
life as the Sabarmati wetness does to the Gujurat dryness. The site is enclosed by a southern lower level which ends the curved lines of the road and the Sabarmati river in a
of possible times. This echoes the title of the studio:
symbolizes the “Palimpsest”.
The results are a cosmogeny of elements and an incomplete Silvia Maria Gioia Puddu S13461413 Design Report Integrated Path 2019-2021
collects and connects to give a new sense to once disparate Historic map of Ahmedabad and site, Murray, 1901
life as the Sabarmati wetness does to the Gujurat dryness.
1 6
21
8 12
19
10
13 16 24
14
passages round passage of "green" anal of canals 1 of canals 2 of canals 3 ng platforms
8
Clouds and dust: the materiality of the immater ial and the immateriality of the material
Recent pictures of the souther n area of the site near the Khan Jahan’s Mosque showing the enclosing concrete wall and slums.
Views of the site
4
5
6
10
11
12
The old wall: from The Kahn Ja hn’s Mosque to the “Palimpsest Building”
7
8
13
14
19.Raised passages 20.Underground passage 21.Houses of "green" 22.Main Canal 23.System of canals 1 24.System of canals 2 25.System of canals 3 26.Floating platforms
11
strative Building heater rant of Projections" or a room of light and sand" or laboratories ed Water collector oms mic Study space
7
11.Administrative Building 12.Main Theater 13.Restaurant 14."House of Projections" or multimedia room 15."House of light and sand" or creative laboratories 16. Stepped Water collector 17.Restrooms 18.Panoramic Study space
20 7
The old wall: from The Kahn Ja hn’s Mosque to the “Palimpsest Building”
6
1.Old Wall 2.Palimpsest Building 3."New Wall" on the Riverfront 4.Road 5.Sabarmati River 6.Slums 7.Khan Jahan Gate 8.Khan Jahan's Mosque 9. Hindu Temple 10. Raised level
9
2 22
han Gate han's Mosque Temple d level
Views of the site
5
Historic map of Ahmedabad and site, Murray, 1901
ti River
Clouds and dust: the materiality of the immater ial and the immateriality of the material
Recent pictures of the souther n area of the site near the Khan Jahan’s Mosque showing the enclosing concrete wall and slums.
4
ilvia Maria Gioia Puddu S13461413 Design Report tegrated Path 2019-2021
l est Building ll" on the Riverfront
symbolizes the “Palimpsest”.
old wall.
collects and connects to give a new sense to once disparate
121 122
the curved lines of the road and the Sabarmati river in a shaped by a methodology that mixes a present of ruins of a
121
extrapolating
The site is enclosed by a southern lower level which ends
projects; stone monuments and modernist architecture.
23
4
17 15 18
25
3
26
5
Second semester view
Second semester view
Axonometric view of the admini strative building and main theater behind the ro ad
Final Project Proposal. Roof p lan
9
Second semester view
15
Second semester view
Axonometric view of the admini strative building and main theater behind the ro ad
Proposal. Roof p lan
9
10
2
11
12
13
14
15
The Cosmology of a Palimpsest The project culminates in semester 4 with the which each hand represents an incomplete cosmology in a
I The Triangle II The Palimpsest Building III The Old Wall IV The House of Projections V The House of Light and Sand VI The Water Holder VII The Canal Connection 1 VIII The Canal Connection 2 IX The Mnemo-aquatecture X The Loti XI The Step-Wall 1 XII The Water Carriers XIII The Step-Wall 2 XIV The Administrative Building XV The Hypogeum Theater XVI The More Hypogeum Restaurant XVII The Water Carrier XVIII The Houses of Green XIX The Oasis XX The Hybrid Mandala
new design has the task of bringing a forgotten past to life.
The project culminates in semester 4 with the which each hand represents an incomplete cosmology in a
rules of invention to establish the orders and relationships among the parts.
The site is illustrated as if there was a cosmogenic
new design has the task of bringing a forgotten past to life.
I The Triangle II The Palimpsest Building III The Old Wall IV The House of Projections V The House of Light and Sand VI The Water Holder VII The Canal Connection 1 VIII The Canal Connection 2 IX The Mnemo-aquatecture X The Loti XI The Step-Wall 1 XII The Water Carriers XIII The Step-Wall 2 XIV The Administrative Building XV The Hypogeum Theater XVI The More Hypogeum Restaurant XVII The Water Carrier XVIII The Houses of Green XIX The Oasis XX The Hybrid Mandala
Palimpsest. While the Roman numerals follow the cosmogeny shown in three major groups that deal with elements of a
rules of invention to establish the orders and relationships among the parts.
Orbit One
INDEX
The following pages show in the superimposition of
cosmology with a cosmogenic principle that follows a chronology of development which is the one through which I developed the architecture. Parts of the “old”
Orbit One
INDEX
The site is illustrated as if there was a cosmogenic cosmology with a cosmogenic principle that follows a chronology of development which is the one through which I developed the architecture. Parts of the “old”
The Cosmology of a Palimpsest
The following pages show in the superimposition of
Palimpsest. While the Roman numerals follow the cosmogeny shown in
Orbit Two
Orbit Two
three major groups that deal with elements of a
16
17
17
Presences and absences between hand and deck. Example of a Symbolic Cosmolog y.
Presences and absences between hand and deck. Example of a Symbolic Cosmolog y.
Orbit Three
Cosmogeny of a Cosmolgy (video 1)
18
19
20
21
Orbit Three
Cosmogeny of a Cosmolgy (video 1)
18
22
19
20
21
22
Methodologies The site was studied as a Palimpsest with a series of sections through three directions.
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1.1 1.2 1.3
comprehending two underground levels reached by the Theater and Restaurant building. The second one is the main 1:500 series of the old wall.
The clarifying importance of that was found in both the sovraposition and the
materiality of each building.
2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3
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The Cosmology of a Palimpsest The project culminates in semester 4 with the
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which each hand represents an incomplete cosmology in a The site is illustrated as if there was a cosmogenic cosmology with a cosmogenic principle that follows a chronology of development which is the one through which I developed the architecture. Parts of the “old”
Studio H
Orbit One
INDEX I The Triangle II The Palimpsest Building III The Old Wall IV The House of Projections V The House of Light and Sand VI The Water Holder VII The Canal Connection 1 VIII The Canal Connection 2 IX The Mnemo-aquatecture X The Loti XI The Step-Wall 1 XII The Water Carriers XIII The Step-Wall 2 XIV The Administrative Building XV The Hypogeum Theater XVI The More Hypogeum Restaurant XVII The Water Carrier XVIII The Houses of Green XIX The Oasis XX The Hybrid Mandala
new design has the task of bringing a forgotten past to life.
rules of invention to establish the orders and relationships among the parts. The following pages show in the superimposition of
Palimpsest. While the Roman numerals follow the cosmogeny shown in
Design Report
Orbit Two
three major groups that deal with elements of a
16
3
Presences and absences between hand and deck. Example of a Symbolic Cosmolog y.
17
Orbit Three
Cosmogeny of a Cosmolgy (video 1)
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19
20
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Methodologies The site was studied as a Palimpsest with a series of sections through three directions.
comprehending two underground levels reached by the Theater and Restaurant building. The second one is the main 1:500 series of the old wall. The clarifying importance of that was found in both the sovraposition and the
materiality of each building.
Level 4
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Level 3
24
Level 2
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Level 1
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Level 0
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Level -1
28
29
4
ORBIT ONE I The Triangle II The Palimpsest Building IX The Mnemo-aquatecture X The Loti XVIII The Houses of Green
The elements that belong to this group are the simplest cells and most symbolic parts from which more complex elements derive. The building called "triangle" is treated here in its generative singularity. It's described in the Body building chosen in semester 3 microuniverse in its own right with its own ecological rules transposed then to the smaller scale.
Level -2
Roof Plan and the totality of the East-West sections
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I
31
Overlap of East-West sections. (See Appendix 1 for the series .)
32
I
video 2
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I
I
1
1 steel truss system with 3 la yers of mesh 2 entrance 4 tank for rainwater collectio n
2 Sloping system
Structural cable system
3
External Corten steel plating
vapour barrier
Stainless steel support
waterproof sheet
Mineral wool insulation batts 80mm
Mineral wool insulation batts 80 mm
I
3 layers beam glass glued together 30 mm
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36
I
XVIII
Double glazed opened skylight Operable Countertop with steel structure
Corrugated metal sheet Steel structure
Internal Corten steel plating
6 concrete footbridge 7 maintanance spaces for the s ystem of fertilization and ducts system connected to the river
34
Upper load-bearing truss syste m
Truss system
vertical mesh
functionality. with some precautions it is possible to choose the most suitable design areas
3 2
Cat’s-claw vine scrambles across the ground until
1
hardy. 4
1
5
4
without rooting hormone or special treatment. The
Stainless steel support
4
and pure example of the metallic mesh that can be
Upper cover of the boxes with glass openings 5
It is drought-tolerant but grows quickly with regular irrigation and likes sandy or clay soil that is well-draining.
Opening panels
1 2 3
6
3
with which it lives. Its main feature is that of allowing the climbing vegetation to become a further cladding material
Wisteria has plenty of nutrients and proper aeration. The
of the boxes with operable ope nigns
Corrugated metal sheet
4
having “wet feet.” You can choose a planting site in your yard that gets full sun throughout the
cooling down all the material spaces.
optimal growth.
The houses of green are composed of many layers of this material. Some of them mark the passage
horizontal mesh
The Climbing Hydrangeas bloom during the early
Primary truss system
yellow. Climbing hydrangeas love rich soil and do well
7
They follow the progress of the the “Water Carrier”
Their enthusiasm to grow knows no bounds.
Hanging corten boxes
The
8
7
Boston
Ivy
vines not
only lend
furniture
all through the riverfront.
greenery
color.
5
Corrugated metal sheet
4 6
6
Canals irrigation system 3 layers of aluminium mesh
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Steel Joint between footbridge and boxes Joint between beam and cable
8
Corrugated metal sheet
horizontally to function as ground covers. It will tolerate full shade.
Mineral wool insulation 100 mm
plants might do best on walls facing east or north.
Primary hanging truss system
passages
Hanging truss system
Aluminium footbridge
Plan of level 0 of the "Triang le"
37
Longitudinal Section 1:150
Cross Section 1:150
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II
Exploded axonometric view show ing the Triangle structure
Longitudinal Section 1:60
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40
Exploded axonometric view of t he "Houses of Green"
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5
42
43
IX X ORBIT TWO
The
symbolism of water is a
constant
in
III The Old Wall IV The House of Projections V The House of Light and Sand VI The Water Holder XIV The Administrative Building XV The Hypogeum Theater XVI The More Hypogeum Restaurant XIX The Oasis XX The Hybrid Mandala
the
and rebirth. Its characteristics are in analogy with the human condition: even when its roots are
The elements that belong to this agency of the natural forces.
their own materiality.
the research for evocative forms that could give
two main zones. One is that of the Riverfront
redeem the nature from that idea of negative force that will impetuosly take back its spaces.
materialities and shapes derived The other one is behind the
For the spatial closeness of the second one were studied together
Front elevation of the "Palimp sest Building"
44
[GC]
1.1 1.2 1.3
longitudinal section of the ri verfront showing the sectioned Palimpsest Build ing on the Left
The "Mnemo-Aquatecture" and th e "Loti"
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[AMPL]
Studio A
Design Report
Studio H
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Design Report
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Studio C
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Studio H
Design Report
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[GC]
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