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Hannah Dalton Jack Vickerman

1

Glossary of Terms

PART I THE NEGOTIATED SPACE

Life + Work

09

Cardross : Contested Regions

39

Navigating the ruin

61

PART II THE DELPHIC CORE

The Triad Landscapes

73

The Anchored Elements

105

The Disrupted Territory I

129

PART III THE LIVING QUARTERS

The Balcony

147

The Individual Cell

165

The Disrupted Territory II

189

Selected Bibliography

3

GLO SSARY OF TE RMS [oxford dictionary] NEGOTIATE verb

Obtain or bring about by discussion

Find a way over or through (an obstacle or difficult route)

AMBIGUITY noun

The quality of being open to more than one interpretation; inexactness

OBLIQUE adjective

Neither parallel nor at right angles to a specified or implied line; slanting.

Not expressed or done in a direct way.

LANDSCAPE noun

All the visible features of an area of land, often considered in terms of their aesthetic appeal.

Denoting a format of printed matter which is wider than it is high.

DISTURBANCE noun

The interruption of a settled and peaceful condition.

A state in which normal mental or physical functioning is disrupted.

DELPHIC adjective

Deliberately obscure or ambiguous.

4

GLO SSARY OF TE RMS [project context] NEGOTIATE verb

Obtain or bring about by spatial exploration Find a way over or through an architectural threshold/ landscape

AMBIGUITY noun

The ability to be A or B or A+B depending on the viewer/occupant

OBLIQUE adjective

A continuous ramped surface , subtle and responsive to staged tacit pathfinding indicators

LANDSCAPE noun

A horizontal plane deriving from the primitive architectural manifestation of the floor or ceiling

DISTURBANCE noun

An interruption or disruption from life or working spatial norms. A space encompassing beyond the personal interior

DELPHIC adjective

An architecture deliberately concealing and revealing, situated between spaces defined by programme, and spaces defined through occupation.

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6

The Negotiated Space was a 1 year academic project completed during our Masters of Architecture course at the University of Edinburgh. The work was overseen by tutors Giorgio Ponzo and Sohpia Banou. This document summarises the discourse and outcome of this design module by Hannah Dalton and Jack Vickerman. The wider context of the brief was to explore a project, which focused on the relationship between modern live-work spatial constructs and how this can be developed through a lens of global interiority.

Our demands on the environments in which we live and work is changing. Observations of ‘typical’ workers routines and spatial conditions led our enquiry to focus on the negotiated space, an opportunity to benefit from ambiguity. At the core of the investigation is the question of ‘negotiation’. A central theory of the contemporary architecture in two senses; first ‘to negotiate’ as in the practice of deliberation, dialogue, contestation and compromise, second ‘to negotiate’ is also to overcome, to find a way over or through.

Using this project as an vehicle to test the concept that the negotiated space creates an opportunity to benefit productively from its ambiguity. The project aims to increase this space and its elevation in spatial hierarchy would reflect and engage with western societies live work dynamic. Use the architecture of the negotiated space as a tool to respond the disparity between live work, spatial and social dynamics. Ultimately aiming to increase the level of ambiguous boundaries and space within a knowledge production environment. The defining element of these spaces is the users ability to control the extent of there personal interior within live and work programmes.

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8

Part I : Chapter 01

LIFE + WORK

9

HOME

Analysis of our personal interior “...the dwelling is at the core of how people situate themselves in the world” 1 The distinction between places in which people live and work is collapsing into a common place. A reflection on modern living and working is that the dialogue between the two is no longer clear-cut. When the term ‘domesticity’ was coined, the home became a place of new productivity; a role was created for women and the ‘household work’ an identity. Before this 19th/20th century understanding of the ‘home’, accommodation and work was often combined.2 Live-in workshops to servants’ quarters in large establishments, the reality of live and work have not always been so separate. Socially, our understanding of productivity has changed with modernity and domestic gender placement. This cultural shift away from prescribed stereotypes greatly impact the spaces we require. The way we as individuals choose to dwell is a key indicator of our social and economic standing within ones peers.

Conflicts between the agency expressed by individuals, family and household are the material structure of the house itself. The dwelling therefore involves the constant shaping and reshaping of a shell – our personal interior.

Technological advancements mean that hyper connectivity has blurred the boundaries of traditional work and domestic capacity. The type of work we, western civilisation, engage in has changed in the last century from largely manual labour to more intellectually knowledge based production. Britain especially has gone from the capital of manufacturing -to now earning, most in service and banking industries.3 Now you can work in the bath and shower at work. This technological evolution will only continue to evolve our live workspaces and require

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1. Munro,

M. and Madigan, R. (1999). Negotiating space in the family home. In: At Home: An Anthropology of Domestic Space.

2. Munro,

M. and Madigan, R. (1999). Negotiating space in the family home. In: At Home: An Anthropology of Domestic Space.

3. McNabb, D. (2016). A Comparative History of Commerce and Industry, Volume II. New York: Palgrave Macmillan.

more flexibility for change. However flexibility of spatial programme is not necessarily the answer as we have seen in recent developments of open plan office spaces, hot desks, alongside a temporal, rented, airbnb society.

It is power of the individual to choose the type of space they work and live best in. More and more pressure is being placed on analysing individuals productivity and how to maximise this within our capitalist society. The only concrete answer from this is that everyone works, lives and learns differently - we no longer live in a one-size fit all mindset.

High cost of land and political drive to sell houses to people on more modest incomes has made it a necessary to build on smaller plots. Simultaneously modern aesthetics have created demand for a greater sense of space and light.

A juxtaposition of modern living and working which the modernist free plan doesn’t solve. The free plan removes authorship of the dialogue, removes the idea of negotiating between. Aldolf Loos and Corbusier reduced homes to machines of living only with the bare minimum, rejection of the sentimental or conservative.4 However this design leaves little space for an individual ownership and level of expression of our personal interior. However neither does it require a classical prescription of rooms boundaries and function. It is the ability of choice, handing power to the ‘collective’ of productive individuals in society to work and live in different spaces - neutral zones that facilitate and control the dialogue between extremities.

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4. Teige,

K. and Dluhosch, E. (2002). The minimum dwelling =.

Cambridge Mass.: MIT Press.

PERSONAL INTERIOR Analysis and initial conceptual constructs The introduction to establishing a discourse came through a series of research-led drawings. Examining our individual personal live work environments and habits, was the initial step. Where do we call home? What represents this? What qualities of this space are meaningful and important? Diagramming our personal interior though an analytical and architectural lens in order to ascertain a thread of continued focus.

HABITUAL LIVING We are by nature, creatures of habit. The constants in our lives offer either, daily comfort or reminders of our place within society. Either way, we often as individuals enter into a routine. A relatable structure from which we navigate our daily obligations, eating and showering, to working or socialising.

These routines create patterns and generalisations within our architectural surroundings. However with societies ‘routines’ shifting and becoming less predictable, to what extent is this shaping our daily surroundings?

OBJECTS The increase of the rental market has induced a state of temporary ownership on our living and working spaces. 5 With this mode of temporal living taking precedent, often the objects in which we surround ourselves offer a greater sense of ownership and sentimental comfort in our surroundings. The elements of your personal interior, which become important, are refined with every cycle of moving.

People de-clutter possessions, refine there needs and desires of the perfect home. Does this mean as a transient generation we are more informed on what makes an ideal ‘home’ for us?

ARCHITECTURAL FRAMEWORK Another aspect of our personal interior to consider is the physical spatial qualities we prefer or choose in our ‘home’ space. Light and location are the dominant features here. This society of commodity, qualities such as large windows and high ceilings, create a premium value on the space, not just in architectural terms but also as a financial figure.

The analysis of Flat 19 and the habits, objects and architecture that attribute to the ‘personal interior’, indicated that the focus of the balcony was a defining feature. The prominent elements highlighted through this research were the ability to physically, visually, and technologically connect with the context of the city. Having the power to determine this relationship between the individual and the collective.

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5. Kollewe, J. (2018). Quarter of

households in UK will rent privately by end of 2021, says report. [online] the Guardian.

Photo of the view to Edinburgh Castle from Flat 19. [credit : Hannah Dalton]

13

FLAT 19 PLAN

Originally drawn at 1:50 A floor plan illustrating appropriation, scale, layout, and to an extent, use of my personal space. Highlighted is the balcony. The platform of interaction and definition. The pinnacle element of the space.

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HABITUAL LIVING The red dotted lines depict traditional domestic production spaces; the kitchen and bathroom. The blue dots represent a semi private space; the bedroom. The largest percentage of the flat is the main living space.

No longer defined by domestic gender roles or priorities, the space reflects this.

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OBJECTS The contents of a black 2003 Skoda Fabia - this is essentially the parameter of my personal belongings. Objects which I feel summerise an element of myself are mainly located within the main living space.

Clothes, bedding, kitchen and bathroom amenities come and go.

Personal keepsakes, photos, records and books stay . Unbranded and indicative of me.

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ARCHITECTURAL FRAMEWORK A hierarchy of thresholds. Those which connect to the city beyond, as well as internal doors and openings. Each an architectural element restricting or creating opportunity of movement, light and privacy.

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MAPPING BEYOND THE INDIVIDUAL Defining horizons through spatial concepts

Mapping Beyond the Individual

Highlighting a hierarchy of interfaces; material thresholds, immaterial

An extension of the intial mapping in order to convey and focus on the spatial field of view, visual material axis and enclosed individual cells. This attributesthresholds, at play. Highlighting a heirarchy of interfaces; threshold, drawing provided a basis of methodology in approach to the Kilmahew immaterial threshold, field of view, visual axis and enclosed studiolo.

site. The development of these initial mapping strategies directly informed the form of the final proposal.

Mapping Visual Interactions Position Key Scale 1:50

Mapping Visual Interactions Position Key Scale 1:50

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Original drawn at 1:50 Mapping Beyond the Individual An extension of the intial mapping in order to convey and focus on the spatial attributes at play. Highlighting a heirarchy of interfaces; material threshold, immaterial threshold, field of view, visual axis and enclosed studiolo.

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BALCONY ABSTRACTION A Dual Dialogue

The balcony; top of the architectural hierarchy for height, perception and depth through its vernacular precedent .

This interface becomes a point of reflection, appropriating urban devices into the ‘interior’ realm, exaggerating relationships of social, political and cultural value within the inhabited space. An abstract exploration, highlighting the complex dialogue occurring through material and immaterial boundaries. A symbol of exchange and encounter, inversions and displacements organising the face and interface mediating the built world.

In Rem Koolhaus’ ‘Elements of Architecture’ he describes the balcony as “A heavily charged articulator of the dependencies that exist between the public and private realms, an in-between sphere simultaneously connects and withdraws” .6 This description conveys that ultimately the public and private spaces cannot exist independently, however the device used to navigate the two (i.e the balcony) sets the tone of the conversation.

6. Koolhaas,

R., Boom, I. and Westcott, J. (2014). Elements of architecture. Venezia: Marsilio, Balcony edition

The balcony, historically, has been a symbol of political platform, a focal point of power and presentation from the individual to the collective of the city below. Beatriz Colomina suggested modern domestic interiors, like those of Adolf Loos, are not really lived but staged – where actors perform for the public then retire backstage to there private lives. 7 7. Chareau, P., Bijvoet, B., Futagawa,

Y. and Montes, F. (1980). Maison Dalsace (“Maison de Verre”).

Tokyo: ADA Edita, p.236.

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Balcony Articulation Paradoxical space

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THE DEGREES OF THE DOOR The Architectural Social Interface

When evaluating the architectural framework of the personal interior - the balcony was not the only disturbance.

The following analysis of the door looks at identifying architectural devices which dictate our personal interior parameters.

The creation of a threshold through a physical boundary and de-materialized zone, defines our personal space. Our personal space changes through our own ability to control the environment and the effect of external influences upon us. The door creates ambiguous relationships between the seen and unseen spaces of a city and personal interior.

The door has an aspiration of movement and accessibility while providing security and privacy. “A paradox that the door is charged with resolving…” 8 This collection of drawings and models explored the social conventions tacitly attached to the door. The degree of the door looks to expose the levels of control we have over the boundary we define as our personal space. The work draws comparisons between the array of the door’s openness to a dimmer switch, whereby the user has control to express the permeability of their own interior space. A door when open or deemed accessible can be seen as a symbol of freedom and entry however can simultaneously act as a shield for privacy, safety and security.

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8. Koolhaas,

R., Boom, I. and Westcott, J. (2014). Elements of architecture. Venezia: Marsilio, Door edition

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Degrees of the Door

The creation of a threshold through a physical boundary and dematerialized zone, denes our personal space. Like a boxer in a ght, creating distance to evade, and then selecting when most appropriate to engage. Our personal space changes through our own ability to control the environment and the effect of external inuences upon us.

The threshold in the physical realm of the city is often expressed through

usetoofthe doorways.

The work describes the social conventions thatthe align varying The levelcontroller to which of the doorway can give you access, assisted access or deny you entry. The level of permeability you and others a door is open within a shared flat. The degreehave is defined by the controller, like a 23 within the space. informs perception and level of engagement dimmer switch that they chose to open or close conveying a message to the exterior.

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THE SOCIAL INTERFACE Our personal space changes through our own ability to control the environment and the effect of external influences upon us. This drawing looks at the door, in isolation as an architectural element within a social context of the shared flat and consequently raises these questions within the city.

The Social Interface

Our personal space changes through our own ability to control the environment and the effect of external influences upon us. It looks at the door in isolation, as an architectural element, within a social context of the shared flat and within the city, providing an indication of spatial criteria for living.

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Open

A series of thresholds that create a sequential hierarchy

A series of thresholds that create a sequential hierarchy

3

Closed

Application of a device to control permiablity within the hierarchy

A single door for 2 planes/ 3 rooms creates ambiguity and a physical diologue between one place and another.

Application of a device to control permeability within the hierarchy

A single door for 2 planes/3 rooms creates ambiguity and a physical dialogue between one place and another

Jack Vickerman - An element as a device to empower the individual.

9. Duchamp, M. (1927). Door: 11, Rue Larrey. [Sculpture].

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CURATING INTERFACES Activating the 5 degree vista

Generating an orchestrated perception of the collective, from the position of the individual. This work beings to express the idea of transience and the ambiguity generated in the state of flux. This 1:100 model and consequent drawing explores a series of kinetic thresholds.

An overlap of the stages from closed to open illustrates the impact of the kinetic elements can change the nature of the space. A key part of this study relates to presenting the occupant with the control and power to manipulate the shell and transparency of the space in which they live.

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27

ARCHITECTURAL DEVICES

Reappropriating traditional spatial language

01 WALL

Using the wall to explore the distortion of perspective and peripheral space both visually and physically.

02 HORIZONTAL PLANES

Issues of privacy, boundaries, movement and the dialogue between physical and visual axis are the key modes of exploration. Allowing planes to connect and create a dialogue between the occupant and the architectural framework.

03 DOOR

Exploring the kinetic nature and control of variable personal boundaries between a variety of inhabited scales.

04 BALCONY

Themes of power, display conceal, and the role of the elevation as a mediator/expression of these. Extenuating views through height, ownership through occupation. In between interior and exterior, belonging to the apartment and the city simultaneously.

These elements offer opportunity to reform and reshape the shell of the personal interior through reappropriating the traditional constructs.

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02

01 03 04

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ABSTRACT DWELLING Activating the 5 degree vista

Developed as an abstract testing site for the themes explored to date - the following 40sqm dwelling is a direct response to the territorial mapping (page 17). It is one of many possible outcomes using the same design codes.

This initial exercise directly informed the methodology and concepts in the final proposal. It had condensed the ultimately private space (the individual cell) as containing a personal entrance hall and bathroom, and then a hierarchy of living space projecting from this.

A combination of physical architectural devices have been used in order to create a layered space of negotiations between public and private. Using threshold dividers such as a change in level or kinetic screen have also been implemented. These kinetic elements enables individual control of the dialogue between their interior and the collective beyond.

A consideration to the degrees of the human vision, introduces a structure of visual display. The human vision works in degrees called the field of view. Our horizontal field of view can be divided into our macular vision (central 18 degree view) and peripheral vision (30-110 degree view)10. In design, these visions are the difference between a gaze and a glance. The individual unit considers placing the view of the collective within the central gaze of the occupier, with the option through kinetic elements to expand this view to include the peripheral.

The drawing to the left is an expression of the key relationships explored within the composition of an individual dwelling. A series of kinetic planes reflect the citys’ scenery, playing with privacy and visibility as controlling measures. Exploring the overlap between spaces and the negotiations at stake within the dwelling scale.

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10. Fox, P., Mintun, M., Raichle, M., Miezin, F., Allman, J. and Van Essen, D. (1986). Mapping human visual cortex with positron emission tomography. Nature, 323(6091), pp.806-809.

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the individual cell including a bathroom bedroom kitchen living space balcony

Display . Conceal

Scenery of a stage spectrum of concealment scale of permeability

Distorting Perspective Compress . Release The layered Illusion Shifting Perception

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Scale of Permeability

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DESIGN CODES

Framework for Informing Development Framework TheThe Layered Layered Illusion Illusion Compress . Release . codes, Release is the resulting diagrammatic This series ofCompress design analysis of The LayeredHeirarchy Illusion of Spatial Organisation Compress . Release the personal interior research. Each concept will be used as a basis of approach for the final proposition. At this stage in the project, they are of all equal importance, this will change as site and programme influence the project.

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INDIVIDUAL - COLLECTIVE Observation - Conclusion - Proposition

Observation and research of live-work spatial constructs, led to an enquiry of what constitutes ones personal interior.

Amongst technological, social and economic shifts towards an all encompassing ‘global interior’, arguably the eventual architectural solution is a ‘non place’, an endless span of open plan flexibility.

“This, it seems to me, is what is at stake in the most radical version of modern architecture’s dream of ultimate changeability and transparency: if people’s identities are all the time moving and shifting because of ongoing interactions with the outside world, they can only be accommodated in interiors that do not determine them,but rather allow for greatest possible flexible”. 11 Approaching this with the architectural lens, of adjusting the shell of our personal interior to be a more responsive surface. In summary of the current theoretical discourse, the observation is the notion of the collective interior. To quote Walter Benjamin “naturally, much of what is external to the individual belongs to the collectives internal nature” 12 . Identifying ones personal interior as a concept which is dependant on a dialogue with the exterior and subsequent collective.

11. Heynen, H. and Baydar, G. (2005).

Negotiating domesticity. Abingdon: Routledge, p.22.

12. Osborne,

P. (2005).

Walter Benjamin. New York: Routledge, p.31.

The conclusion of these observations is that the parameters of our personal interior shifts and morphs on a spectrum of interfaces between the individual and the collective.

Engineering spaces which allow more freedom of visual and physical control for the user, allows a spectrum of interiors to exist in one space – regardless of programme.

“The shell acting as a mediator between the individual and outside world.” 13 When approaching the proposition, a space maximizing/ minimizing the spectrum of interface between individual and collective.

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13. Heynen, H. and Baydar, G. (2005).

Negotiating domesticity. Abingdon: Routledge, p.22.

Ambiguous Zone Disrupted Territory Balcony

Exterior space surrounding dwelling

Interior space of dwelling

public, unprotected, polluted, uncontrolled

private, protected, non-polluted, controlled

male

female

“The boundary between the inside and the outside, just as much as between self and other and subject and object, must not be regarded as a limit to be transgressed, so much as a boundary to be traversed.� 14

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14. Grosz, E. and Eisenman, P. (2006).

Architecture from the outside.

Cambridge, Ma: The MIT Press, pp.64-65.

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Part I : Chapter 02

CARDROSS, SCOTLAND: CONTESTED REGIONS

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KILMAHEW ESTATE, CARDROSS Kilmahew (translated from Gaelic as Matthews Cell) Estate is located a mile outside Cardross on the West coast of Scotland. The 80 acre site, offers a wide range of rural qualities, from exposed meadowland to highly dense woodland. Kilmahew burn bisects the estate running from North to South. 15 Historically the site has been exploited for its solitude, providing an opportunity to escape the collective. Most recently in 1966, the Catholic Church utilised these qualities, positioning of St Peters seminary at the centre of the estate. The modernist building, designed by Gillespie, Kidd and Caoi, tied the isolated qualities of the site to the architecture of the monastic cell, creating a live work dynamic. The building was granted a category A listing in 1992, however due to changes in the Catholic Church’s approach to priesthood, the building became idle and fell into ruination. 16 Since this point the building has developed a level of prestige, which acknowledges its status as a ruin. The wider community have associated value and a level of ownership over a building that was not intended for them.

The building and estate are currently under the governance of NVA (an Argyll based arts company), with the challenges of restoration and cost management being address through the introduction of an Invisible college.

The future vision for the site combines community centre activities, university led research and the small holiday lodges. 17

15. Watters, D. and Farquhar, A. (2016) . St Peter’s, Cardross: Birth Death and Renewal

16. Watters, D. and Farquhar, A. (2016) . St Peter’s, Cardross: Birth Death and Renewal

17. Farquhar, A (2015) NVA Masterplan for St Peters Seminary PDF

the individual cell collective space N

40

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THE CORPORATE UNIVERSITY Kilmahew Campus Pharmaceutical Company

A corporate university is a place of education, owned by and run by a corporation as a place for additional learning for their employees. Corporations have highlighted a gap prevalent in many formal educational institutions between the academic qualification and job specific knowledge required in industry. The main objective of such an institution is that a private corporation can deliver a company biased education directly to their employees, filtering and tailoring the knowledge to suit the corporations’ ethos and growth strategy. They are not simply training schools. These universities are presenting a serious alternative to traditional education institutes.

For example Apple recently headhunted Yales’ business school dean to head up its latest university. 18 The typology of a corporate university provides the project with a framework that addresses local history, economy, social and political specifics, as well as a conceptual platform to explore live work dynamics at a range of scales. At an individual scale it exposes the relationship between a housed student and the architecture of their education. The corporations’ ambition for the individual does not extend beyond the collective shell. The individuals’ sphere of personal control is negotiated with the demands of the collective. At a larger scale its provides the paradox of university; the open sharing of knowledge and a corporation that values its unique knowledge. A dialogue of privacy is created between the global interior and the individual.

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Economist.

(2016).

18. The Keeping it on the company campus. [online]

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Cardross, Argyll and Bute Key Statistics

Education

Climate

Industry

Cardross, Argyll and Bute Key Statistics

36% Leave School with no qualifications

ographics

ms and a timeline to situate the work within a wider h and information regarding site, chosen programme

Education

2/3

1 in 2

Industry

of all workers in service industry

Climate

Days it rains in Cardross

36%

2/3

Leave School with no qualifications

of all workers in service industry

1 in 2 Days it rains in Cardross

19. Visionofbritain.org.uk. (2018).

A Vision of Britain through Time Maps, Statistics, Travel Writing and more. [online]

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BOUNDARIES Patterns of change

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tree line 1966 tree line 2016 areas of potential flooding kilmahew parameter boundary physical structures

CONCEPTUAL CONTENT MAPPING Programmatic and theoretical

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areas of domesticity areas of production inherent ‘doors’ and ‘balconies’ public and private pathways

VISUAL APPROPRIATION

Lines of sight established on site visit Original drawn at 1:1000

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long distance viewpoints mid distance viewpoints short distance viewpoints kilmahew Boundary

PHYSICAL NEGOTIATIONS To be reappropriated

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access pedestrian and vehicular existing and historic buildings topography areas of steep incline /decline

Kilmah ew Glen

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COMBINED MAPPING ANALYSIS Original drawn at 1:1000 / A1

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St Peter’s Seminary Ruin

‘a manifestation of the ever present struggle between the constructions of man and the power of nature’

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Vis

isu e and and of v ng ensity Axis , midra visual d ce f n o ta s dis rea ests a Sug g eas. en ar of op

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CONTESTED REGIONS Original drawn at 1:1000 / A1

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1.500 concept model photo Masterplan mapping with site territory outlined

THE DELPHIC CORE [work >life] A Concentration of landscape negotiations

The epicentre of the corporate university campus, anchored by the teaching block of St peters seminary. The building explores horizontal planes as a device to exploit the negotiated space. An ambiguous notion of privacy using height and material changes as threshold devices. A concept of belonging through occupation. Programmatically the building supports a variety of collective and individual learning environments.

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1.500 concept model photo Masterplan mapping with site territory outlined

THE LIVING QUARTER [life > work] A natural viewpoint

The predominately residential element to the masterplan, a place that starts with the individual cell. The building utilise the balcony as a device for negotiation and encourages diverse social constructs between inhabitants. Situated on a natural vantage point, the building emulates spaces of a hillside community.

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Photograph of St Peters Seminary. Site for Delphic Core. [credit: Hannah Dalton]

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Photograph of meadow area on Kilmahew Estate. Site for Living Quarter. [credit: Sander Paling]

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MASTERPLANNING STRATEGY Corporate University Campus

The masterplan derives from a series of detailed mapping studies that interrogate both the physical and immaterial conditions of the landscape. Contested regions and territories that display-negotiating characteristics, providing a focus and a critical mode of observation that frames the discourse. The masterplan proposes the development of four buildings on Kilmahew Estate campus to facilitate the corporate university. Each building is located within a contested region, that displays associated characteristics. Then each was assigned an architectural devices as a catalyst for negotiations.

The four buildings are a Research and Production unit (RPU), the Delphic core (the primary teaching building.), a Library and the Living Quarter.

Site 01 RPU: The hub of manufacturing and product based research lab. Enabling the site to contain all layers of the corporation’s employment and product structure.

Site 02 Delphic Core: The main teaching and administrative building negotiating between the corporate identity and the academic institution.

Site 03 The Library: Research and diverse learning site, including peer-peer learning, and multimedia resources. A place of negotiation between technology and people, but also where all people are equal, no corporate hierarchy.

Site 04 The Living Quarter: A combination of individual, paired and communal dwellings, to accommodate permanent staff and temporary residents.

The four buildings not only operate independently and negotiate their own parameters, but also act as a whole, having a physical and visual dialogue between them.

The Delphic core acts as an anchor for physical tensions between sites, manifested through existing negotiations and the introduction of physical elements such as routes.

The Living Quarter acts a visual anchor from which the other three sites can be seen and orientated from.

Originally drawn at 1:1000 N

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Visual Connection Physical Connection

Site 01

Site 02

Site 04

Site 03

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SITE ACCESS The site would primarily become private access with the public footpaths being restricted to the west of Kilmahew burn, creating a visual interface between the company and community. The footbridge at the South of the Delphic core site experiences a change in material, clearly identifying it as a threshold between public and private access. In between the proposed elements secondary sets of footpaths are introduce, with all paths being artificially lit through energy produced on site. The plan also includes the introduction of a new road to provide the Living Quarter with vehicular access and parking separate from the corporate entrance. The corporate entrance will utilise the opening in the landscape by the stable block to locate a new car park.

ST PETERS SEMINARY The existing building of St Peters Seminary is used as an anchor, a fragment of the existing landscape to be utilized within the site new interior. The proposed physical impact to St Peters through development is that the project will overlap but not touch. More specifically part of the design is placed in between the teaching block and its podium, physically negotiating.

LOCAL CONTEXT The local context would benefit from an increase in employment opportunities, public events in the auditorium and through the community infrastructure levy. The local community may also benefit from increases to the local economy through a larger temporary population.

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[Top] Delphic Core proposal render [Lower] Living Quarters proposal render

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Part I : Chapter 03

NAVIGATING THE RUIN

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‘The ruin is the reminders and remainders of a world that used to be, but is no longer’. 20 One of the most striking aspects of Kilmahew Estate is the modernist ruin of St Peter’s Seminary. The building was left to be engulfed by nature; the concrete shell becomes reminisce of its former self, revealing the core spine of the building, the essence of the architecture. It is the remainder of what was, an unfinished image of the whole, and yet whole in the present, a reminder of time and natures impact of our man made creations. St Peters Seminary is part of a legacy with Kilmahew castle and Kilmahew house, in contributing to the estate now have a layer of built form that is being taken back by the natural landscape.

When considering these views in relation to the project the propositions are constructed in a manner that allows the core ideals of the architectural space to be filtered to their essence. Hypothetically if the proposed project was to fall to ruin, the underlying concepts and key spatial ambitions would remain, allowing the structures to accommodate a new programme or occupants. The physical and visual relations explored would continue to be experienced. This is important in order to consider the life span of the building and the life space of the structure as two separate entities. With social and economic rate of change turbulent, there is no guarantees that buildings will maintain the original programme for as long as the material structure could accommodate. Therefore the proposition uses fundamental architectural devices [balcony, door, horizontal landscape, wall] as the basis for spatial construction, reacting to the existing topography and landscape as an anchor.

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20. Vidler, A. (2002). Warped space. Cambridge, Mass.: MIT, p.84.

Photograph of the internal shell of St Peters Ruin, Cardross. [credit: Jack Vickerman]

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THE DELPHIC CORE

A concentration of negotiations The concept model splits the building into two main materials, delineating the two temporal zones of the project. The elements concrete structure below the oblique landscape, the stair cores and the oblique landscape itself would all degrade at one pace. The timber elements and consequent artificial landscape [steel and aluminium mesh] above path level would deteriorate at a quicker pace. The key to this is that the designed quality of the spaces, the question of what makes them a negotiated space would remain even if the building was left to ruin.

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THE LIVING QUARTER A natural viewpoint

The concept model illustrates a clear differentiation between the concrete structure [grey card] and the lightweight timber accommodation [acrylic]. The buildings core structure consists of a series of concrete fins, embedded into the hillside, and braced with a concrete plinth. All the balcony levels are concrete, duplexes and some other accommodation.

Therefore the potential ‘ruin’ of this architecture would maintain the negotiated space.

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THE TRIAD OF LANDSCAPES

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THE TRIAD OF LANDSCAPES The triad landscapes act as a singular device composed of a series of architectural elements. The device exploits existing and designed negotiations, to expand the architecture into a combination of interior and exterior spaces within a single building.

THE NATURAL LANDSCAPE Conceptually the Natural Landscape has existing physical and visual negotiations that frame the relationship and dialogue in conjunction with the other landscapes.

A harvesting of natural negotiations is embodied through a hierarchy of connections, the introduction of a complementary ecosystem and energy cultivation technology.

THE OBLIQUE LANDSCAPE A space in-between, that negotiates with natural and artificial landscapes, along with being in dialogue with a range of human interfaces. The landscape is realised through an elevated meandering route that creates a physical connection between Kilmahew Bridge and St Peters Seminary, starting at the location of the first visual negotiation. The route mediates topography and lines of sight through direction, compress and release as well as plateaus and pitch. The landscape also provides access to a series of programmatic volumes positioned in between the bridge and St Peters Seminary.

THE ARTIFICIAL LANDSCAPE The artificial landscape plays a key role in blurring the expression of interior and exterior space within a single building. A layering of semi-permeable planes creates moments of compression and release in between the volumes, expanding the kinetic shell that define transitions between programmes.

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Moments of compression are created through density of layering, proximity to the oblique landscape and the degree of perforation within the plane. These moments are positioned in areas of the plan where the individual is encouraged to pass though. Moments of release are created through increased permeability in the planes, a thinning of layers and distancing from the oblique landscape. These moments are positioned in areas where visual and physical negotiations suggest a moment of pause.

In plan the planes are pulled away from corners of selected volumes expanding the sense of separation between landscape and anchored element.

The planes comprise of a combination of white perforated metal and glazed sheets. They are suspended from a steel frame that is mounted to the volumes (anchored elements).

The junctions are concealed to generate the impression of the planes floating, giving the experience of each element being independent of one another.

The landscape provides varying degrees of shelter from rain and solar gain between the interior and exterior, using density and proximity to define levels of control. Glazed panels provide shelter from rain, with perforated metal panels controlling levels of solar gain entering the building.

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Plan 00 [above] The ‘Natural’ Landscape Plan 01 [opposite] The ‘Oblique’ Landscape Original drawn at 1:200 / A2

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Plan 02 The ‘Artificial’ Landscape

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NATURAL LANDSCAPE ENVIRONMENTAL STRATEGY Water . Hydropower screw turbine

The inclusion of sustainable technology is crucial to considering the continuing environmental impact of the building. Harvesting existing features of the natural landscape is a successful long term strategy.

A hydropower screw turbine will be located in Kilmahew burn, underneath one of the volumes. A chevron concrete wall will funnel water and provides a structural foundation to the volume. The water runs downstream through the archimedes screw thus generating energy.

The hydropower screw will provide power for external lighting on the campus. The lowest level of the adjacent element will provide space for the necessary plant space to convert the mechanical energy to electricity. A walkway will provide access for maintenance, although the day to day management can be done remotely.

A millpond is introduced up stream to help with storm management and overflow capacity. If required the intake can be halted through an automatic stop-log. A fish pass located slightly north of the screw allows fish to pass upstream.

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ENVIRONMENTAL AXONOMETRIC Utilising the horizontal

SUSTAINABLE DRAINAGE SYSTEM (SuDS) The natural landscape will form a wetlands meadow using the existing flood plain topography. The wetlands meadow is fed by a pre-existing stream and will harvest overflow surface water from the buildings. Water flow from the buildings and hard surfaces will be slowed and channelled using a series of control features. Rainwater down pipes will feed directly into rain gardens. These are shallow depressions, which will slow and clean runoff water. Walkways and roads will be constructed of permeable surfaces, which allow water to pass through capturing pollutants in the sub-surface matrix. Both of these will feed into filter strips, gently sloping grassy areas, which increase evapotranspiration and reduce the effect of urban ‘heat islands’. The final destination is a wet grassland ensuring the water is slowed, cleaned and able to naturally filter into underground aquifers.

The benefits to this system include; better water management, reducing the destructive power of surface run off; improving water quality; increasing natural groundwater levels; offsetting the possible ‘heat island effect of nearby buildings; encouraging wildlife and increasing the well being of people using the area. In addition, there is a possibility of creating blue and green corridors between other sites.

SOLAR STRATEGY The buildings’ location [not overshadowed by any other built environment] is ideal for the utilisation of solar power.

Solar panels are positioned on the south facing areas of the element roofs, with a 5 degree slope introduced where beneficial to improve efficiency.21 Protection from solar glare is managed through positioned timber cladding. The density of the cladding is a direct

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21 MacKay, D. (2016). Sustainable

Energy ‘ without the hot air. UIT Cambridge Ltd

response to solar glare and programmatic requirements.

In addition, the artificial landscape also protects parts of the ramp and internal areas through its density and positioning of its layers. In addition to solar shading measures, glare reducing glazing will be used throughout.

VENTILIATION The scale of the internal spaces and consideration of window placement allows for natural cross ventilation in all of the volumes. In addition void spaces have been utilised for stack ventilation in many of the elements. The interior exterior notion of the projects circulation, allows for greater fluidity of natural ventilation. The auditorium and cafe space have a HVAC system in order to increase the level of environmental control. This is due to these areas having larger amount of occupation and extraction requirements.

WATER Rainwater harvesting system is installed within the elements. This will help to provide gravity fed water for the sanitary facilities (toilets and sinks), and the sprinkler system.22 Additionally, water reduction measures will be installed within the building such as spray taps and low pressure showers and toilets.

LIGHTING Where possible, a hierarchy of natural light is used to provide areas with filtered or direct sunlight [depending on orientation of each facade]. Skylights are also incorporated above voids to allow natural light to reach the full depth of the plan. The only area that uses purely artificial lighting is the auditorium, enabling greater flexibly and control of the space.

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22 Thomas, R. and Fordham, M. (2005). Sustainable urban design.

London: Spon Press.

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rainwater harvesting sustainable drainage system archimedies screw natural cross ventilation stack ventilation thermal mass

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THE OBLIQUE LANDSCAPE An un/interrupted pathway Sequence of design moves - Identification of a key existing visual negotiation; A first line of sight between the Kilmahew Bridge and St Peters Seminary.

- Expansion of the negotiation through the creation of a physical route.

- Altering the route within a field of view, to deny movement along the identified vista.

- Manipulating the route to create moments of pause through plateaus, in acknowledgment of existing negotiations within the Natural Landscape.

- Moments of compression and release are created through narrowing and expanding points along the route.

- Independent structural supports enable the landscape to be identified as an independent element.

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Fire Escape Exits Plan

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fire enclosed escape stairs secondary escape routes

Fire Distance Zoning Plan

Original drawn at 1:500 / A3

9m 18m

The Building Regulations 2010.

(2013). London: NBS (RIBA Enterprises).

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fire safe lobbies primary escape exits to outside

THE ARTIFICIAL LANDSCAPE A responsive mediator

Sequence of design moves - Develop an understanding of the dialogue between the Natural and Oblique landscapes, as well as the inhabitation of the teaching volumes.

- Vistas identified from the Natural and Oblique Landscapes are used to split the form of the Artificial Landscape, creating a direction through form and the manner in which light enters the building.

- The identification of moments in between the overlapping negotiations where expansion and contractions can be assigned. This is then manifested in the layering density and positioning of the planes that form the Artificial Landscape.

- Structurally each landscape is distinct with the artificial landscape being suspended in-between volumes.

It is mounted on to the frame of the volumes with a base point concealed and offset from the perimeter to provide the impression of detachment.

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5mm perforated sheet steel treated and painted white 50mm x 50mm box steel framing Angled stainless steel plate fixing 7.5mm recessed metal runner Ancor bolt 350mm insitu cast concrete floor plate Triple glazing with recessed framing detail 400mm x 75mm larch timber framing Concealed metal ventilation grate

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THE ANCHORED ELEMENTS

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THE ANCHORED ELEMENTS The programmatic elements are positioned in the peripheral field of view of a vista, identified in the Natural landscape.

As the occupant traverses the Oblique Landscape, the anchored elements act as fixed obstacles, concealing or revealing St Peters Seminary at different points on the journey. This experience of the building is reflective of the scenery of a stage, with layered elements distorting perspective and field of view, to create a new dialogue with St Peters Ruin. This visual relationship with the ruin is a constant anchor in the occupant’s ability to navigate the building. As the user navigates the device (The Oblique Landscape), the anchored elements become more or less revealed. The kinetic nature of the elements façade, encourages secondary visual links and the ability for these elements to change from solid to transparent.

The relationship between collective interior and exterior is also negotiated programmatically, as types of spaces are layered with more private programmes held deeper within the plan. The volumes are independent from one another, however are intrinsically linked through blurring of boundaries. Programmatically, materially, visually and physically through the ‘Triad of Landscapes’ unite these elements. Architectural moves such as window seats, voids and kinetic elements facilitate the expansion of the negotiated space. The dialogue is also informed by the notion of concealment and reveal through massing, variation in cladding and window placement.

The elements are split by the oblique landscape, architecturally this manifests as a material change. The material change reinforces the horizontality of the key device, as well as aids temporal notion of the timber and concrete construction. Below the landscape (concrete construction) is situated secondary programme; plant, WCs, additional teaching space, sloped hall, which require less natural light. Above the landscape (prefabricated timber construction) is situated primary programme, with ample natural light and no flood risk.

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6 x Individual Office 2 x Shared Open Plan Office 3 x Conference Rooms / Teaching spaces 1 x Staff room with kitchen 3 x Private Individual Study Cells 3 x Break out/ flexible space internal and external (balconies) WC’s, showers and changing facilities including Disabled 2 x Storage Plant This Volume also contains a lift for DDA

VOLUME 02

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3 x flexible study spaces 6 x individual study cells WC’s Plant including Hydroscrew Generator plant Storage

3 x Teaching spaces 2 x multifaith/ contemplation spaces Group working space WC’s Plant Storage

1 x Double height group working space 8 x Private Individual Study Cells Storage

1 x 125 seat Auditorium 1 x Sloped multipurpose hall 1 x Cafe WC’s

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All disabled accessible through DDA compliant ramps and lifts. Please read in conjunction with plans for further detailed layouts.

TECHNICAL AXONOMETRIC Utilising the Horizontal 01

A chain of precast concrete columns and beams at 5m spans support the concrete ramp. They are in turn held in the ground with pad foundations.

Intermittent trench drains are positioned along the ramp to help alleviate any surface water.

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The teaching volumes construction below the Oblique Landscape level consists of institute cast concrete walls with horizontal timber shuttering.

These spaces have a high flood risk and the programmatic distribution reflects this. Areas of Plant, WC’s, Storage and areas of flood mitigation are housed. Habitable zones in these spaces use a double skin, DPM linings and DPC’s to protect them.

The elements will require the millpond upstream to be utilised, enabling the setting of the concrete and the settling of the ground to be managed during construction.

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Above the ramp level a prefabricated timber frame system is used for walls and floors. These elements are clad with vertical timbers made from Scottish larch. This type of construction enables a large part of offsite preparation reducing lead times and effectively the total build time.

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OFFICE UNIT 3 private individual staff offices, 1 large conference/tutor space, 1 shared open office and 1 storage space.

Multiple typology of office space within the same area, a mixture of student and staff work spaces. Utilising internal and external viewpoints, and an internal double height void in the circulation space. This is an example of this type of space in the project.

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prefabricated timber construction, with scottish larch external cladding 350mm concrete floor construction with 75mm polished screed finish 500mm timber floor construction 200mm internal wall stud construction, finished with skimmed plasterboard triple glazed inset window with timber reveal

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Lower Ground Floor Plan The ‘Oblique’ Landscape

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INDIVIDUAL STUDY CELL 8 individual study cells and 1 double height group working space Individual study cells situated in the middle of building, directly over Kilmahew burn. Each cell has a full height window, with views over the landscape. In the centre of the volume is a double height group working space.

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prefabricated timber wall construction, with scottish larch external cladding 350mm concrete floor construction with 75mm polished screed finish pivot scottish larch glulam panel 500mm timber floor construction

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Ground Floor Plan ‘The Oblique’ Landscape

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CAFE Relaxed social space, bar area and tables A main social space within the project for both private corporate and public use. An overflow space adjacent to the auditorium, for informal working and socialising within the void of St Peters ruin.

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Entry Floor Plan ‘The Oblique’ Landscape

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Accessiblity to all spaces within the building is provided through a 1/20 ramp and wheelchair lift with reference to building regualtions Part M. The ramp provdes access to mulitple viewing locations in the auditorium that are greater than the specifide 900x 1400. in the auditorium. the ramp also has a balastrade and handrail that are constructed of no combustible and clearly visible material.

AUDITORIUM

125 seat auditorium, sloped hall, break out space, WCs

The wheelchair lift opperates between the stage, lower auditorium, upperodiorium and the sloped hall. In doing so The Auditorium is a primary teaching space providing equal oppotunities to all.

that is designed to allow for a large amount of people to divided into smaller brainstorming groups.

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10 Wheelchair Lift 11 1.20 Ramp Access with DDA Handrail

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350mm concrete floor construction with 75mm polished screed finish triple glazed inset window with timber reveal staged auditorium floor with follow concrete insitu construction, allowing for service routing cantilever timber floor construction prefabricated timber wall construction with external larch cladding prefabricated timber roof construction with recessed guttering and a ? finish beam and column concrete wall/roof construction with prefabricated panels inset 300mm internal wall stud construction foldaway firerated internal door system

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[left] Lower Floor Plan The ‘Natural’ Landscape [right] Upper Floor Plan The ‘Oblique’ Landscape Original drawn at 1:200

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THE NEGOTIATED

Defining a Collective Exterior Communal spaces within the building offer places of natural light openness and engagement. The cladding often separate at these moments allowing light to flood through and visual connection between volumes.

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auditorium/ sloped hall cafe group working spaces teaching spaces open plan office space conference rooms

THE INDIVIDUAL CELL Defining a Personal Interior

The individual moments are places of private study where the occupier is in a place of retreat. These spaces have been designed with a single aspect window per occupier that is uninterrupted by built form or human interaction.

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Part II : Chapter 03

THE DISRUPTED TERRITORY

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THE DISRUPTED TERRITORY The space between

Within the building a series of moments have been identified that experience a wide range of conflicting negotiations due to the arrangement of elements. In The Delphic Core the disrupted territories occur along the keynegotiating device of the Oblique Landscape.

These zones overlap the interior with the exterior, the architectural element and significant site constraints.

They manifest through the extension of the device into the ground floor of volumes through materiality, as well as a series of kinetic interfaces that display the scene as open or closed. This alters the perception of the permeability, as well as shifting power and ownership. The ability for the user to extend their ‘personal interior’ through these kinetic elements creates the true achievement of a ‘collective interior’.

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500mm in-situ concrete wall construction 500mm in-situ concrete floor construction with 75mm polished screed finish 150mm precast concrete ‘oblique’ landscape with concrete column and beam construction pivot scottish larch glulam panels 400mm prefabricated timber construction wall panel 150mm larch timber baton facade/ rain screen 300mm internal structural glazing within a larch reveal

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1:100 physical model photos Lasercut greyboard and walnut with a suspended transparent acrylic topography.

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Navigating the Ruin

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Navigating the Ruin

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Part III : Chapter 01

THE BALCONY

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THE BALCONY

Urban interactions - building scale The balcony has already been interpreted as an individual’s expression on the fabric of the city and the cities intrusion on an individual’s interior. An unavoidable dialogue between the two, that converses continuously in an unpredictable manner. Understood as an experiential teaser between spatial and socially paradoxical constructs.

At building scale, the concept of the collective cityscape being stripped back to the individual cell is applied.

Communal and private balconies combine, overlap, and blur the perception of the collective and the individual.

The photograph of Cinque Terra, Italy [right] is a key concept image. This project emulates a hillside village dwelling within the structure of one single building. The living units are all designed and orientated to respond and take advantage of the views and relationship to the rest of the masterplan.

A sequence of courtyards that have inward and outward views, link the physical and visual collective. The physical collective is experienced through the merging and overlapping of routes for different residents and the visual through the shared experiences, a view to another dwelling or landscape. The circulation is similar to the nature of streets, the balconies reminiscent of plazas. This creates a dynamic space, allowing for urban interactions within a singular building.

Structurally the communal balcony spaces are supported by a concrete podium and a sequence of shear concrete spines that runs parallel to the topography. These elements would be constructed on site first along with a retaining wall at the north of the site. A series of temporary platforms would be constructed to aid construction.

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Photo of hillside town in Cinque Terra, Italy. [credit : Hannah Dalton]

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Plan 00

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BALCONY AS A VIEWPOINT The visual dialogue within the building as well as from the building is strengthened through the design responding to topography. Long distance views are available from all SW balconies. These balconies also allow light into the depth of the building plan.

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BALCONY AS A SOCIAL SPACE An extension from the surrounding dwellings, the introduction of balcony spaces both private and shared, encourages social interaction with several neighbours. It creates a social equality between the private, staff and student properties [despite the varying unit sizes+ aspects] as they communally share a balcony. This facility for accidental human interaction is a key factor of knowledge production as well as a successful accommodation building.

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Fire Escape Exits Plan

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fire enclosed escape stairs secondary escape routes

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Fire Distance Zoning Plan

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fire safe lobbies primary escape exits to outside

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Part III : Chapter 02

THE INDIVIDUAL CELL

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THE INDIVIDUAL CELL The core of one’s personal interior

The building is anchored by five duplexes that are situated in juxtaposition to a combination of individual staff units and shared student accommodation.

Shared Student – The shared student accommodation provides every resident with an individual front door. This generates a disparity between the residents you share a courtyard and dwelling with. This expands the realm of ambiguity, shifting the traditional perception of joint occupancy. It also encourages a dynamic set of relations and accidental occupancy similar to that in an urban setting.

Individual staff- The individual staff units benefit from a two storey arrangement with inward and outward looking views enabling a range of visual relationships.

Duplex – Positioned in the premier location with uninterrupted views, the duplex houses a variety of public and private residents. The arrangement of the dwellings is derived through orientation of physical and visual negotiation, both internally and externally. Each dwelling is designed with a sequence from the individual to the collective. In many cases this takes the form of the transition from the door to the balcony.

The dwellings are primarily constructed from timber frame system that is collectively supported by the concrete shear walls and podium. The timber elements could primarily be constructed off site which would improve product quality, speed of onsite erection and reduce cost.

“Living together is only possible if there is always the possibility to be alone” – Dogma studio’s hard-line look at architectural solitude .23

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23. Aureli, P. (2014). Possibility of an Absolute Architecture.

Cambridge: MIT Press.

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Th e Living Qua r ter

Rain and grey water harvesting [feeding WCs, sprinkler system, external water supply] Wall Types Environmental Solar panels 05 Insitu concrete retaining wall 01 Rain and grey water harvesting 06 Timber framed wall with external timber cladding [feeding WCs, sprinkler system, external water supply] Window/ balcony reveals maximising sun paths 07 Structural glazing with timber framing 02 Solar panels 08 Insitu concrete load bearing wall with shuttering texture 03 Window/ balcony reveals maximising sun paths heat pump 09 Timber stud internal partition 04 Ground Ground source source heat pump Insitu concrete retaining wall Timber framed wall with external timber cladding Structural glazing with timber framing Insitu concrete load bearing wall with shuttering texture Timber stud internal partition Load bearing Insitu concrete with 75mm polished screed and integrated underfloor heating Timber framed and clad roof with intergrated drainage Insitu concrete foundations with gravel substrate and continuous polished screed floor finish Timber framed floor with timber floor finish Technical Section D-D Scale 1:50

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Floor + Roof Types 10 11 12 13

Load bearing Insitu concrete with 75mm polished screed and integrated underfloor heating Timber framed and clad roof with intergrated drainage Insitu concrete foundations with gravel substrate and continuous polished screed floor finish Timber framed floor with timber floor finish

Original drawn at 1:50/ A0

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PRIVATE DUPLEX UNIT 2 double bed with 1 single bed or study Multiple entry points for pedestrian and vehicular access with direct access from private garage. Cantilevered front elevation restricts access from the front of the accommodation, providing a private balcony.

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500mm concrete floor construction with integrated underfloor heating in 75mm polish screed flooring 250mm timber stud internal wall construction, bathroom lined with water resistant plasterboard triple glazed facade, including timber framed balcony door consatina style scottish larch screens insitu 500mm concrete external communal balcony slanted ? roof with integrated draining, concealed behind 500mm concrete parapit concrete floor plate (01) with concealed ‘loft’ storage in excess

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STAFF UNIT self contained 1 bed apartment A single dwelling split between a series of half levels to create the maximum amount of living spaces facing the SW views. Roof lights are integrated into the courtyard design to allow natural light into the depth of the plan.

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500mm concrete floor construction with integrated underfloor heating within 75mm polished screed solid timber stair continuing internal flooring finish structural floor opaqued glazing glazed facade in larch framing timber prefabricated wall construction with scottish larch external cladding insitu 500mm concrete external communal balcony 3 degree slanted ? roof with integrated draining, concealed behind continuous cladding

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Lower Ground Floor Plan

Ground Floor Plan

First Floor Plan

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GUEST OR STUDENT UNIT 2 private ensuite double bedrooms with individual access, a shared living, kitchen and balcony space Occupants who share a common dwelling gain access through different courtyards, each having a private entrance, forming part of their ‘individual cell’. The shared living space faces views SW and allows visual connections through to both adjacent courtyards.

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500mm concrete floor and wall construction with integrated underfloor heating in 75mm polish screed flooring cantilievered prefabricated timber wall and floor construction externally clad with scottish larch 150mm timber stud internal wall glazed picture window with access to balcony (framed with larch)

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Ground Floor Plan

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GUEST OR STUDENT UNIT Individual self contained studio apartment Designed for individual use, these spaces are located at juxtapositions to other units to maximise privacy and visual connection where desired.

Each unit has a SW facing private balcony.

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prefabricated timber wall and floor construction with external scottish larch cladding 150mm timber stud internal wall, bathroom lined with water resistant plasterboard glazed picture window with access to balcony (framed with larch) timber balustrade concealed with continuing external cladding

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Ground Floor Plan

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THE NEGOTIATED

Defining a Collective Exterior Communal spaces within the building offer places of natural light openness and engagement. These most obviously manifest in the collective courtyards - the balconies. The arrangement of dwellings separate, at these moments, allowing visual and physical connections.

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THE INDIVIDUAL CELL Defining a Personal Interior

The individual cell with the Living Quarter offers complete isolation from the collective. These spaces are able to be manipulated through occupants control of visual and physical connections.

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Part III : Chapter 03

THE DISRUPTED TERRITORY II

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THE DISRUPTED TERRITORY Controlling the social interface

Within the building a series of territories have been identified that experience a wide range of conflicting negotiations due to constructed elements. In the Living Quarter the disrupted territories occur in locations on the communal balcony that can be interrupted by the movement of a controllable elements. These elements expand the kinetic shell of the collective and individual to overlap. Creating a powerful device that shifts levels of permeability. This dialogue is manifested through pivoted and hinged devices that meditate between the individual units and the communal balconies. The individual has been assigned the control of their own personal interior.

The resultant provides a direct relationship of open and closed between the collective and the individual.

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concertina folding larch panels, user operated optional shade and privacy screens fully glazed facade with access to balcony half height 150mm internal partition full height window inset larch framing insitu 500mm concrete construction

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70mm larch timber panel recessed aluminium runner, sprayed and treated steel pivot joint stainless steel hinge panel guide pin

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1:100 physical model photos Lasercut greyboard and walnut with a suspended transparent acrylic topography.

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Navigating the Ruin

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Publication a summary of work exhibited Summer 2017 Degree Show at Minto House, Edinburgh.

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