Harriet Garbutt - Master of Architecture Portfolio by harriet.garbutt

The Syncretic city gardens of procession, withdrawal and sustenance

Academic Portfolio arja11001 Edinburgh School of Architecture and Landscape Architecture city fragments: palermo institutions Harriet Garbutt s1320559

ARB prescription of qualification // part 2 general criteria GC 1

GC 2

GC 3

Ability to create architectural designs that satisfy both aesthetic and technical requirements. The graduate will have the ability to: 1

Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief

Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project

Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user

Adequate knowledge of the histories and theories of architecture and the relates arts, technologies and human sciences. The graduate will have knowledge of:

GC 6

Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of: 1

The needs and aspirations of building users

The impact of buildings on the environment, and the precepts of sustainable design

The way in which buildings fit into their local context

Understanding of the profession if architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The graduate will have an understanding of:

The cultural, social and intellectual histories, theories and technologies that influence the design of buildings

The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society

The influence of history and theory on the spatial, social and technological aspects of architecture

The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment

The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach

The potential impact of building projects on existing and proposed communities

Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of: 1

GC 4

GC 5

GC 7

How theories, practices and technologies of the arts influence architectural design

Understanding the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of: 1

The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals

The creative application of the fine arts and their relevance and impact on architecture

The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context

The creative application of such work to studio design projects, in terms of their conceptualisation and representation

The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation

Adequate knowledge of urban design, planning and the skills involved in the planning process. The graduate will have knowledge of:

GC 8

Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of:

Theories of urban design and the planning of communities

The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design

The influence of the design and development of cities, past and present on the contemporary built environment

Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques

Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development

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

general criteria // Continued GC 9

Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have the knowledge of: 1

GC 10

Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;

GA 4

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

GA 5

Understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation;

GA 6

Problem solving skills, professional judgment, and ability to take the initiative and made appropriate decisions in complex and unpredictable circumstances;

GA 7

Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

Principles associated with designing optimum visual, thermal and acoustic environments

Systems for environmental comfort realised within relevant precepts of sustainable design

Strategies for building services, and ability to integrate these in a design project

The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to: 1

Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design

Understand the cost control mechanisms which operate during the development of a project

GC 11

GA 3

Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements

Adequate knowledge of the industries, organisation, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of: 1

The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation

The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures

The basic management theories and business principles related to running both and architect’s practice and architectural projects, recognising current and emerging trends in the construction industry

graduate attributes GA 1

Ability to generate complex proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;

GA 2

Ability to evaluate and apply a comprehensive range of visual, oral and written medial to test, analyse, critically appraise and explain design proposals;

Modular pathway chosen studios

MArch 1

MArch 2

Hotel Paris

Palermo Institutions

architectural design studio c / hotel paris brief Summary Hotel Paris aims to develop a series of housing projects in relation onto buildings used for knowledge work; Parisian libraries and museums will be parasited by a housing project. Starting with the study of a series of institutional buildings used for knowledge work, the students will make them inhabitable through a series of moves that aim at developing projects where the boundary between living and working is critically questioned and made productive; the existing building and the new one will have to establish material and programmatic relationships, attempting to generate a new composite in the urban fabric. In these operations and in the final architectural resolution, the very definition of both “housing” and “work” will be addressed and elaborated. The reference to the hotel typology calls for projects that transgress the traditional understanding of the design of housing complexes. An initial set of themes have to be taken into account and - intertwined with one another offer the possibility to work on many levels towards original (architectural) definitions of inhabitation.

outcomes [Taken from handbook]

LO 1

GC 1.3, 2.2, 2.3, 3.1, 3.3

The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

LO 2

GC 1.1, 1.3, 2.3, 3.2, 5.1, 5.3

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.

LO 3

GC1.1, 3.3

A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modeling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

fondation le corbusier

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

architectural design studio c / hotel paris a photographic introduction

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

precedent study musée de l’orangerie

in collaboration with jan groholt

The first project was a study of a chosen ‘knowledge work’’ institution (libraries, universities, museums...), in which a set of drawings - focusing on programme, circulation and structure - diagrams, and a model were produced. The precedent study would act as a reference throughout the semester and join part of a studio collective. The chosen institution was the Musée de L’Orangerie, an impressionist and post-impressionist art gallery situated in the Tuileries Gardens. The gallery is most well-known for permanently housing Claude Monet’s ‘Nymphéas’ series, displayed in two large oval galleries. The precedent study focused on the renovation from 2000-2006 by Brochet, Lajus and Pueyo.

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

1:500 @ A3 AA

Ground Floor Plan

Circulation Plan

Reception Facilities Gallery Administration

Section AA 1:500 @ A3

ARB General criteria 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

Programmatic Section

1:500 @

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

assemblage of programme, circulation and structure

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

living/working the artist’s residence The art exchange provides young artists with affordable, low rent housing and studio space, for the promise of continuous work that is exhibited to the public. It takes the ideas of the artist squat, a community of creatives and an amalgamation of working/living space, and provides something more safe and sustainable. In Paris, art squats are an important part of the artist life, culture and existence. With rent so high in the city, and the uncertainty of an income, artists take over derelict, usually governmental buildings, to form a community, a work space and a home. One of the most notable is 59 Rue de Rivoli, situated 2km east of the Musee de L’Orangerie.

The project site is located on the old La Samaritaine department store, off the Rue de Rivoli, which has been demolished with the intention of redevelopment.

Musee de l’Orangerie

59 Rue de Rivoli

Project site

Notable art squats in Paris

1st Arrondissement squats

Le Bateau-Lavoir Arists such as Mattise, Braque, Derain, Picasso, worked and resided here until WW1 1900

Hopital Ephemere Project at the derelict Bretonneau Hospital housing artist’s studios, exhibitions, concerts 1990

ARB General criteria 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

59 Rue de Rivoli Artists took over an abandoned state building and worked and resided there illegally for 2 years 1999

eR ed

59 Rue de Rivoli

Le Laboratoire de Creation

ivo li

Musee de l’Orangerie

59 Rue de Rivoli The space was bought by the government, legalised and renovated, reopening in 2009 2005

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the artist’s residence visual displacement image becomes space Photographs taken from Paris of various knowledge/ work institutions (Musee de L’Orangerie, Fondation Le Corbusier, Lab City CentraleSupélec) are displaced through collage to create a series of new working spaces. A process of drawing over these collages led to another set of spatial arrangements, in both plan and section, which were worked into potential programmtic organisations. Three main ideas/concepts arose: separating public functions of daily life from the communal, and isolating them; having a public exhibition space with the studios situated above, creating a juxtaposition between viewing the final work and it being produced around you, much like the art squats; creating a public realm

Public exhibition space Private artist’s dwelling Private studio space

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the artist’s residence the artist’s dwelling a private life for living The artist’s dwelling has separated private life from communal living and is organised around four main private daily routines: contemplating, washing, dressing and sleeping. Each is designed around the body and the functions required to carry out these routines, represented by a series of forms. There are four types of dwelling, where a different private activity is the focal point of the street, as they are exposed to the Rue de Rivoli behind a transparent facade. This exposure makes comment on the modern flaneur, and perhaps voyeur, and the idea of a private life in a digital age, when one’s private life can so easily be made public.

contemplating

washing

dressing

sleeping

rue de rivoli

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the artist’s residence the artist’s dwelling a private life for living To be more space effective, the artist’s dwelling develops the initial forms into spaces that have been adapted to plug into the neighbouring unit. The initial concept remains the same however, with a different private aspect of daily life being exposed to the Rivoli in each dwelling.

ARB General criteria 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

washing

contemplating

sleeping

dressing

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

the artistâ&#x20AC;&#x2122;s residence ground floor plan

first floor plan

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

1 Exhibition hall

6 Dining hall

1 Exhibition hall

6 Dining hall

2 Cafe and courtyard

7 Kitchen

2 Cafe and courtyard

7 Kitchen

3 Sculpture workshop

8 Campaign office

3 Sculpture workshop

8 Campaign office

4 Sculpture garden

9 Campaign corner

4 Sculpture garden

9 Campaign corner

4 5 Drafting studio

10 Art shops

5 Drafting studio

10 Art shops

0 00

1:5

1 6

3 2

7 4

10 5 8 9

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

architectural technology research Course Summary [Taken from handbook] The ambition and scale of most projects at the level of MArch is such that the technical issues are complex and not usually appropriate to standard or routine technique. The growing complexity of the construction process and changing technology suggest that the architect becomes a practitionerâ&#x20AC;&#x201C;researcher. There is growing need for a deeper relationship between practice and academia, particularly regarding research and its application in practice. The complexity of projects demands that research becomes an important aspect of the design process. Methods of building are continually changing. New materials; new processes; and new design tools create an environment where traditional paradigms may have less validity. Architectural programmes take place in a particular location, creating a new context. This sets up complex relationships situated in the links between methods of building, both contemporary and vernacular; materials; topography; climate; transportation; and industry. This course is intended to accumulate various sets of information that are both contextual and responsive to contemporary technological issues. Students will be involved in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.

aims and outcomes [Taken from handbook] 1

To develop approaches for research in technology and environment, and reflect on its role in the design process.

To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form.

To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

LO 1

GC 5.2, 7.1, 8.1, 9.1, 9.2

An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture (eg. sustainable design).

LO 2

GC 5.1, 5.3, 7.1, 8.1, 8.2, 8.3, 9.1, 9.2

An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

GC 9.1, 9.2

An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

GC 5.1, 5.3, 8.3

An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

LO 3

LO 4

generic study

contextual study

Alternative Urbanism

The emergence of a new urban housing typology as an enduring, high-density model motivated by traditional London

The potential significance of achieving affordable housing through community-led design

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

generic study alternative urbanism [introduction]

[page 3]

London’s acute housing shortage is threatening the vitality of the city.1 As a consequence of it having one of the lowest density rates of any major city around the world,2 it is now undergoing major pressures for densification. Given that housing makes up +80% of London’s built environment 3 and the Greater London Authority’s requirement for 50,000 new dwellings per annum 4, how we go about doing this will ultimately determine the future identity of the city.

The terrace remains the one typology that modern design has struggled to surpass. This can be accredited to many of its architectural and social qualities still being desirable in a 21st century global city.

While London’s population rose by 12% between 2001 and 2011, housing only increased by 9%.5 In an effort to make London a more sustainable, ‘compact’ city, new housing development is being encouraged to accommodate for densities much higher than before with 2/3’s of planning consents; for densities above those set out by the London Plan.6 While the high-rise has been the obvious response to a crowded city, an ‘alternative urbanism’ (AU) can be seen emerging in parallel. It considers how high density living can be achieved in a low/mid-rise urban grain. 7 It takes precedent from traditional London and cities like Paris, Milan and Rome, pioneered by organisations such as The Princes Foundation for Community Development and Urban Design London. AU is an effort to look more closely at what people want, to supply the population with the housing they need but also deserve, finding a solution with longevity. Demographics have changed, affordability problems are plaguing residents 8, the high-rise is limited if the historic, architectural and urban identity of London is to be preserved and with it, associations with community living at street level. 9

“We need to build differently — to offer up a different housing

model which can be produced by a range of investors and builders, and which can ultimately be accessed by a range of Londoners. Aspirations for longevity, affordability and vibrancy should be held high. Londoners deserve homes fit for the needs of today, adaptable for future needs. Beautiful, well-connected, enduring homes for all. 10 ”

Storeys not overbearing from street

Can stand alone, or in continuous row

Personal front door and raised entry

Since, the terrace has been adapted to contrast the more dominant architectural movement of the time. Fleet Road, designed by Neave Brown in 1967, responded to the post-war movement following skepticism of how the high-rise was affecting the urban fabric and the inconvenient realities of families living in tower-blocks. Brown’s design was a unique prototype that demonstrated how high-density forms, with outdoor space, could be achieved without the destruction of the urban housing fabric. It also demonstrated a return to a more traditional form, the terrace, as the basic housing type.15 Unlike much of the architecture of its time, the development still exists and is inhabited, even by the architect himself.

A clear division between public and private space with almost all units guaranteed private outdoor space. In a city where personal space is so fleeting, this is preferable over the semi-private/public space emerging around high-rises.

A personal front door can almost be assumed, often with raised entry which accentuates privacy through a symbolic threshold. Complicated access arrangements and forced interactions within communal circulation zones are avoided allowing the option to interact with neighbours when one wishes .16

The building unit can stand alone for in a continuous series, without undermining the overall character and appearance.

The Georgian terrace has set a precedent for this new model due to its long lasting endurance as an inner city typology and the sustainable urbanism it promotes.12

During the 18th Century, ‘row’ housing became the most common form of development in England. The houses were built speculatively, with no client and therefore would simply sell for the highest price when finished. To reduce risk and cost, a standardised plan where builders could operate “the strictest calculations [to] limit their options in order to reduce uncertainties,”14 allowed a quick, failsafe typology to emerge.

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

London stock brick

The purpose of this report is to discuss a new housing typology and its potential to meet the needs of current and future London, without compromising on beauty, density or affordability.11

The development of alternative urbanism

ARB General criteria

Continuous facade

SOCIAL AND ARCHITECTURAL QUALITIES

Figure 7: Garbutt, H (2017)

A practical model for when reusing an urban site. 17

A continuous facade provides a uniform surface along the street 18, ensuring homogeneity at an urban scale but also impartiality at a human scale. It provides a social uniformity where inhabitants incomes can’t be determined.

The use of London stock brick, an immediately identifiable feature of the city’s vernacular. Aside from assisting contemporary design to integrate with the city’s character and a firm reminder of place, the extent of London’s clay beds still make it a sustainable construction material. 19

The 3-4 storeys are not overbearing from the street level and avoid overwhelming maintenance costs. It has been proven that people are happier, less stressed and feel safer living in lower-rise buildings.20

16 David Birkbeck and Julian Hart, A New London Housing Vernacular (London: Urban Design London & Design for Homes, 2012), p. 7 <http://www.urbandesignlondon.com/wordpress/wp-content/uploads/ANEWLONDONVERNACULAR-COMP. pdf> [accessed 26 October 2017]. 17 David Law and others, “Emerging Typologies”, in Housing And The City (London: LSE, 2007), p. 60 <http:// www.lse.ac.uk/LSECities/citiesProgramme/pdf/housingAndTheCity/3_emerging_typologies.pdf> [accessed 26 October 2017]. 18 Roger Sherwood, Modern Housing Prototypes (Cambridge: Harvard University Press, 1978), p. 66. 19 David Birkbeck and Julian Hart, A New London Housing Vernacular (London: Urban Design London & Design for Homes, 2012), p. 6 <http://www.urbandesignlondon.com/wordpress/wp-content/uploads/ANEWLONDONVERNACULAR-COMP. pdf> [accessed 26 October 2017]. 20 Robert Booth, “Architects’ Vision Of London Takes Inspiration From 19Th-Century Paris”, The Guardian, 2 January 2015 <https://www.theguardian.com/artanddesign/2015/jan/02/architects-vision-future-london-inspired-by-paris-skyscraper> [accessed 26 October 2017].

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

[page 7]

[page 6]

RESIDENTIAL DENSITY A LONG LASTING TYPOLOGY Achieving a successful new typology concerns more than high density living. Modern living requires modern factors to be regarded when formulating an enduring typology. For example, inhabitance is a lot more varied than when the original terrace was built, which saw larger households.27 While this type of household does still exist and the lack of larger sized units in high-rise developments is apparent28, single person

residential density households now make up 30% of all UK households. Elderly people living alone in cities has become increasingly common, as well as co-habitation.29 Furthermore, now more than ever lives are extraordinarily

varied. Internal spaces need to be exceedingly adaptable to suit all needs. There is also a prerequisite for 50% affordable housings in any new application.30 An urban housing model motivated by the Georgian Terrace can take into account mixed density occupancy and present social uniformity in the same way as the terrace.

If the concept of alternative urbanism is pursued long-term, further benefits will become apparent: Young workers and families are finding it virtually impossible to find footing on the housing ladder. In 2012 the average house price was 12x the median London salary.33 AU could lessen the burden on home ownership by tackling issues with affordable housing directed for the mid-tolower income earner.

From an urban planning point of view, the historic grid can be reintroduced on larger sites reminiscent of traditional 31 London. Comfortably familiar design aspects, such as doors to the street, allow planning authorities to approach applications with less apprehension than unique designs that need rigorous assessment.32

The new typology assists in dispersing issues of social stigmatisation due to its mixed tenure opportunities. The typology would discreetly encourage varied communities which, in time, could lead to long lasting ‘sustainable communities’.34

Uniformity in design reduces construction risks and contractors are able to price more accurately. Consequently, sales risks are reduced and land valuation and variation subdued.

1,400,0000 1,200,0000

Gross GrossResidential ResidentialDesnity Desnity[pers/ha] [pers/ha]

1,000,0000

Converting existing terraces is not the objective, instead re-imagining and re-asserting a housing type that has already proved its worth and popularity over time is the way to ensure an enduring typology.35

800,0000 600,0000

Household Size Household Size 200-240

2.59 to 3.59

160-200

2.53 to 2.59

140-160

2.46 to 2.53

120-140

2.41 to 3.46

100-120

2.35 to 2.41

80-100

2.3 to 2.35

60-80

2.25 to 3.3

40-60

2.16 to 2.25

20-40

2.03 to 2.16

1-20

1.28 to 2.03

400,0000

Greater London projected changes in population by household

200,0000

1991

1996

2001

2006

2011

2016

One person household

Lone parent household

Cohabiting couple household

Married couple household

2+ person household

Figure 16: Data adapted from Enterprise LSE Cities (2004)

Figure 17: Data adapted from Enterprise LSE Cities (2004)

Figure 15: Data adapted from Enterprise LSE Cities (2004)

27 David Law and others, “Emerging Typologies”, in Housing And The City (London: LSE, 2007), p. 73 <http://www.lse.ac.uk/LSECities/citiesProgramme/pdf/housingAndTheCity/3_emerging_typologies. pdf> [accessed 26 October 2017]. 28 Housing London, HOUSING LONDON: A MID-RISE SOLUTION (London: Prince’s Foundation for Building Communities, 2014), p. 26 <http://www.housinglondon.org/Housing-London_DIGITAL.pdf> [accessed 26 October 2017]. 29 Housing London, HOUSING LONDON: A MID-RISE SOLUTION (London: Prince’s Foundation for Building Communities, 2014), p. 9 <http://www.housinglondon.org/Housing-London_DIGITAL.pdf> [accessed 26 October 2017]. 30 David Birkbeck and Julian Hart, A New London Housing Vernacular (London: Urban Design London & Design for Homes, 2012), p. 18 <http://www.urbandesignlondon.com/wordpress/wp-content/uploads/ ANEWLONDONVERNACULAR-COMP.pdf> [accessed 26 October 2017].

ARB General criteria 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

31 David Birkbeck and Julian Hart, A New London Housing Vernacular (London: Urban Design London & Design for Homes, 2012), p. 20 <http://www.urbandesignlondon.com/wordpress/wp-content/uploads/ANEWLONDONVERNACULAR-COMP.pdf> [accessed 26 October 2017]. 32 David Birkbeck and Julian Hart, A New London Housing Vernacular (London: Urban Design London & Design for Homes, 2012), p. 14 <http://www.urbandesignlondon.com/wordpress/wp-content/uploads/ANEWLONDONVERNACULAR-COMP.pdf> [accessed 26 October 2017]. 33 Housing London, HOUSING LONDON: A MID-RISE SOLUTION (London: Prince’s Foundation for Building Communities, 2014), p. 10 <http://www.housinglondon.org/Housing-London_DIGITAL.pdf> [accessed 26 October 2017]. 34 David Law and others, “Emerging Typologies”, in Housing And The City (London: LSE, 2007), p. 66 <http:// www.lse.ac.uk/LSECities/citiesProgramme/pdf/housingAndTheCity/3_emerging_typologies.pdf> [accessed 26 October 2017]. 35 Housing London, HOUSING LONDON: A MID-RISE SOLUTION (London: Prince’s Foundation for Building Communities, 2014), p. 5 <http://www.housinglondon.org/Housing-London_DIGITAL.pdf> [accessed 26 October 2017].

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

[page 11]

[page 13]

density analysis

The alternative urbanist proposal

Floor Area Ratio:

AMPL

Studio B

No taller than the buildings on the opposite street.

Roof stepped back to be discrete from the street

Gross Floor Area of Building ------------------------Gross Site Area

Allows for adaptability according to street context.46

London stock brick facade

High-end luxury apartment OR Wheelchair accessible for larger families (both with private roof terrace behind parapet walls)45

Discrete organisation of accommodation

High-rise

Block perimeter

Mid-rise

Traditional Terrace

Design Report

1 person flat Affordable home for 2 Family maisonette

- Regular grid pattern mimics Georgian fenestration.45 - Deep reveals allow for balconies % of site covered: Levels: Total Floor Space: Floor Area Ratio:

12.5% 15 15,000 sqm 1.88

- Many more floors needed to obtain same no of dwellings - Large area for outdoor space but all semi public/private - Despite no of floors, lower usable floor space than mid-rise developments

Proportion of site covered: Levels: Total Floor Space: Floor Area Ratio:

- - -

44% 5 17,500 sqm 2.19

Very dense construction Outdoor space privately shared by residents Large available floor area

Figure 26: Adapted from ‘Key Strateygy’ (2015)

ARB General criteria 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

43% 5 17,100 sqm 2.14

Proportion of site covered: 43% Levels: 3 Total Floor Space: 10,300 sqm Floor Area Ratio: 1.28

Dense construction Opportunity for more individual private outdoor space Large available floor area More in keeping with urban street than block perimeter

- High proportion of site coverage but low density construction - All residents with private outdoor space - Full vertical unit as one dwelling - Less available floor area, fewer dwellings/hectare than mid-rise

Proportion of site covered: Levels: Total Floor Space: Floor Area Ratio:

- - - -

Private outdoor space away from public realm

Max number of homes have own front door. - Internal circulation space rarely shared Double stacked maisonettes for social rent (Apartments that share characteristics with houses subtly blend market sale)45

Market-sale flats

45 David Birkbeck and Julian Hart, A New London Housing Vernacular (London: Urban Design London & Design for Homes, 2012), p. 7-20 <http://www.urbandesignlondon.com/wordpress/wp-content/uploads/ANEWLONDONVERNACULAR-COMP.pdf> [accessed 26 October 2017]. 46 Housing London, HOUSING LONDON: A MID-RISE SOLUTION (London: Prince’s Foundation for Building Communities, 2014), p. 25 <http://www.housinglondon.org/Housing-London_DIGITAL.pdf> [accessed 26 October 2017].

Ground floor taller than intermediate floors or combine with first floor as maisonettes45

Figure 28 Garbutt, H (2017)

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

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MArch 2

AMPL

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Design Report

contextual study the potential significance of achieving affordable housing through community-led design

[page 2]

[introduction] The provision of housing is a key issue facing the nation. Successive governments have intervened with short term piecemeal programmes to increase supply and make planning system reforms; efforts that have periodically (artificially) stimulated the market, but the failure to provide housing to meet need has resulted in situations whereby people are unable to afford to buy their own home, or pay the rents, or accept the terms of private landlords.2 The process has distanced housing from local management and local need as a result.3

“The housing crisis is a key factor in the high cost living in

the capital, as well as putting home ownership out of the reach of many Londoners who fear they will never get a foot on the property ladder... In the worst cases, it can affect social cohesion, cause poor health and plunge residents into poverty. I cannot overestimate how terrible a situation we inherited. 1 ”

Affordable housing refers to social rented, affordable rented and intermediate housing. It is provided to households whose needs are not met by the current housing market with regards to local incomes and local house prices. Affordable housing should include provisions to remain at an affordable price for future residents.4

Affordability in London

Affordable housing is defined as taking up no more than 35% of your income

< 35% of income [Affordable]

35 - 50% of income

> 50% of income

> 100% of income [Un-affordable]

-Major of London, Sadiq Kahn

affordable housing: the current situation The government has addressed the need to look at the best way forward for estate regeneration as major opportunities for densifying sites and has appointed a panel to do so.5 Fortunately, they have acknowledged approval from local people, who don’t often see the need for redevelopment, will make the cause much easier. In 2017, the Mayor of London set out, in the London Plan, an annual housing target of 66,000, an increase of 24,000 from its previous target, half of which has to be affordable. To achieve this, investment into affordable housing has to increase to £2.7 billion.6

the London plan Ensure an average of at least 17,000 more affordable homes per year in London over the term of the plan Promote a strong and diverse intermediate housing sector

However, developers still seem to be over-promising and under delivering when it comes to affordable housing, making claims to local councils that they are no longer able to meet their agreed affordable housing target due to changing profitability since being granted planning permission. There needs to be a more reliable and sustainable method of delivering affordable housing if the London Plan targets are to be met.

A map showing the affordability of each London borough determined by a London average wage of £2,800 pcm

A map showing the affordability of each London borough determined by a London living wage of £1,450 pcm

60% of the affordable housing provision should be for social and affordable rent 40% for intermediate rent or sale Priority should be to the provision of affordable family housing

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

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MArch 2

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[page 3]

[page 7]

communtiy-led housing: a definition

case study criteria

Community-led housing are not for private profit organisational structures where a community takes control of their own housing needs and determines what type of housing the local people need and want. They aim to solve local problems such as creating sustainable and affordable homes, consequently building resilient communities.

Five urban, community-driven schemes were chosen against a specific criteria, all of which address a need for affordable homes in their area and have impacted the local community and built environment. The findings hope to present an understanding of issues that still need to be overcome to meet todayâ&#x20AC;&#x2122;s affordable housing needs whilst confirming many of the â&#x20AC;&#x2DC;established benefitsâ&#x20AC;&#x2122; commonly found in various governmental locality and organisational reports.

There are various models of community-led housing, each with their own agenda and specific issues they wish to address. This report and the subsequent case studies will mainly focus on Community Lands Trusts and Community Self-Build. The other models can be found in the appendix.

However, these reports very often do not come with relevant case studies, or lack convincing information. Therefore this report intends to make more evident, through the use of case studies, the potential positive impact of community-led design on urban communities.

Community land trusts CLTs are established and run by ordinary people with the intention to develop and manage homes longterm. They make sure initial claims, such as providing affordable housing, are fulfilled and are genuinely affordable for those in the community. The charitable trust protect future affordability also, by not being vulnerable to policy or economic pressures faced by the local authority. From the offset, the community is integrally involved and make key decisions on what type of housing is built and who it is to be for.

innovative There is the freedom to allow viable, innovative design and building methods, along with proposing new models for providing affordable housing and rent

democratic

Currently in the UK there are 1,300 Charitable Trusts registered with The Charity Commission, that either own, manage, deliver or support community-led housing.

Local housing organisations are accountable on a daily basis as they have been elected from and by members of the community and have constant contact with residents

Enables those on a low income or unemployed to learn the relevant skills in planning, design and construction in order to build their own homes. The scheme is organised by a national charity called the Community Seld-Build Agency.

ARB General criteria 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

A community-driven project is more likely to improve well-being, quality of life and sense of place

proactive community Enables local communities to proactively respond to their housing needs and issues

fulfill promises Benefits of organisations such as CLTs who are run and managed by local people, means there us the desire and commitment to deliver promises, such as making sure affordable housing is genuinely affordable

CASE STUDY CRITERIA Genuine community involvement of local residents in the decisionmaking process Address the need for genuinely affordable housing Not for private profit organisations 50+ units, or with the intention to be implemented at a much larger scale in the future

Design Report

To analyse and contrast various elements of each case study independently and against each other, a matrix was devised. The categories and questions we have composed allow for a breadth and depth of understanding. 1

What was the initial problem that prompted the proposal

The non-profit organisation developing the scheme and who else has a say (architects, organisations, GLA)

Who is financing the project and who will have say in the completed development to ensure longterm affordability

Forms of community engagement and influence in the final design

Opposition faced and time period to gain planning permission

The architectural model, who is being housed and tenure agreements

Short & long-term community benefits - viability as a successful business model?

ESTABLISHED BENEFITS

improved neighbourhoods

Self-build housing

Studio B

New build (as opposed to re-purposing underused or abandoned buildings) An urban scheme Innovative model Council or other funding body has agreed to take the proposal forward and preferably planning permission has been granted

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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MArch 2

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Design Report

[page 8]

case study: Brixton green

housing tenure 100% rent reason for development Somerleyton Road had become a dividing element in Brixton Town. Developing affordable homes aims to combat issues of deprivation, unite the town and improve quality of life. THOSE BEING HOUSED People in need who have a direct connection to the ward, not necessarily those directly in the local area which some people are finding controversial.

HOUSING MODEL Community Land Trust where anyone living or working in the area can be a member.

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

Market rent 50 2 , 1 £

Social rent

Market rent

Initial 10-15 years rent/month break down to reduce loans

BAND 2

BAND 3

Post 15 years rent/month break down to achieve 50% affordable housing

BAND 4

BAND 5

BAND 6

Provides a method for 50% of all homes in the development to be affordable and 25% for social rent, something recent London developments have not been able to do (see breakdown for 30 year plan). Model works even where land value is high, like in London

RENT TOTAL HOUSEHOLD INCOME

Social rent Under £15,000

Capped at 30% of household income

£15,000- £25,000- £35,000- £45,000- £55,000£25,000 £35,000 £45,000 £55,000 £70,000

BAND 7 Market rent Over £70,000

genuine affordability yes

ARB General criteria

£1,56 2.50

adaptable business model

TIME & PROCESS In 2013, after 5 years of lobbying, Lambeth Council agreed to develop the proposal in partnership with the community. In 2017, planning permission was gained 8 years after Brixton Green was established.

The Board of Brixton Green is elected from members who are local people. Big decisions discussed within the larger design group are reported back to Brixton Green for vote. A series of consultations and community events have also been conducted to raise further awareness.

BAND 1

yes

COMMUNITY ENGAGEMENT

Innovative rent model where rent is based on 30% of total household income. A tenant is allocated a home, reserved on a particular rent bracket. If income increases you are gradually moved up a bracket, if it decreases enough to change brackets, you are eligible to move down providing there is availability. You are always able to return to the bracket you started on, which means the original band space can’t be filled unless the family move out. The house size required is irrelevant to your rent bracket, this is purely assessed on need, e.g. number of children.

£1,

Social rent

£1 ,5 62 .50

All homes will exceed London Housing Design Standard: all homes built to the same standard and people will live side-by-side irrelevant of income

0 £75

304 homes and non-residential development for use by a variety of household sizes and age groups.

£1 ,2 50

£750

PROPOSAL

innovative design

00 ,0 £1

FACT FILE

Council to own free hold and leave to a Trust who become Landlord to protect future genuine affordability. The Trust is a charitable body so not exposed to pressures of the Local Authority. If the land is sold it must still abide by the rules of the Trust. The Trust ensure homes are always managed for the benefit of the local people and guarantees affordable homes will be maximised after 1015 years

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

[page 18]

Studio D

SCAT

lengthy process

matrix analysis extract planning and built environment implications

lack of opposition The case studies also illustrated a general lack of opposition at all the stages of the proposal leading to planning, from both the local communities and in Councils, granting permission. Reasons for the unanimous popularity found in communityled design can be speculated, however, with no party there for profit but genuine community improvement, you can start to see why. ‘

Unfortunately, the planning permission process for community-driven builds does still take longer, with decisions failing to be made within the targeted time periods. Groups find themselves having to engage with frustratingly uncooperative councils, as mentioned in the interview with Mark Slowikowski. Community-led housing planning applications are not a standard form of planning and therefore planning departments may not be used to this. Slowly, departments should become more accustomed to receiving applications of this kind. They could also assist by providing guidance to community groups about more complex elements of the planning system.

MArch 2

Studio G

AMPL

Studio B

Design Report

A level of environmental consciousness, with an emphasis on building sustainably, can be seen in a majority of the case studies, something the groups themselves see as imperative when formulating a viable business model for long-term sustainable neighbourhoods.

To be achievable, construction methods have been simplified with a return to timber frames. The ‘Segal mentality’ also presents a strong opportunity for flexibility and customisation of design for the tenant, whilst ensuring re-adaptability for future residents.

The recurring emphasis is on sourcing materials locally and reducing energy, while RUSS intend to take it one step further by incorporating resources of power, water and food within the project.

The idea that the home should be able to adapt and transition to work with the inhabitant and not the other way around, even within the city in a building of multiple storeys, is a vast change from the architectural notion of building permanency.

Seeing new urban developments which the community are backing to be environmentally sustainable should be a strong influence on the building sector as a whole.

TRADITIONAL DESIGN AND CONSTRUCTION Furthermore, with many of the projects holding an element of self-build, there is an architectural shift back to more classic design and construction. Church Grove puts Walter Segal’s ‘Walter’s Way’, a method of designing and community living, at its forefront, asserting modular design and standardised building materials. It hopes to reduce the need for structural engineers, encouraging local people to acquire on-site jobs, to gain skills and practical experience to take forward.

Who is benefiting’ from each case seems to be a huge driver for both the community and council, with the recipients often being viewed as highly deserving or because of a concern for being priced out of their homes.

BUILT ENVIRONMENT

sustainable community

development of facilities

The mixed tenures and varying accommodation sizes within the schemes show the importance of creating mixed, sustainable communities.

Aside from people in need directly benefiting from new homes, bringing more people to an area requires facilities to be developed in parallel. Many of the cases incorporate some form of improvement or further development to the surrounding area, allowing communities the opportunity to address inadequacies in the existing infrastructure, ultimately positively impacting the wider community as a whole. In all the proposals, other than Bristol, the community had put forward the site to be developed themselves, recognising that a small redevelopment, on unused or underused land, could make a huge difference to the wider area without the need for demolition of actively used space.

The significance of finding ways to alleviate some of the pressures on the affordable housing shortage is being recognised. While community-led design is not the ‘cure’, it seems it can be part of the solution and more councils, organisations and partnerships are coming together to acknowledge this. These pioneering groups are recognising that taking each site independently to develop a scheme will not be enough and are piloting models in some of the most challenging, dense central locations. If a model functions in the most difficult scenarios the hope is for it to be applicable anywhere in the country. To do so, a more open-minded approach will have to be taken with policy, architecture and the relationship with people; inspiration should be taken from more progressive ventures in Holland or radical means of creating community, from the past.

sustainable building

The Government itself has stated that it wishes to support the community-led sector, and has done so through various funds, however research on the success or otherwise of the sector is still difficult to quantify.

You are able to live side by side, irrelevant of income group, whilst still only paying what you can afford.

PLANNING planning approval It seems the planning department itself is less likely to disapprove with the proposal after it is already being backed by a group of community, stakeholders, Trusts and design advisers. The Self-builds are actually viewed as a fairly safe investment as the extent of what is at stake is much higher when building your own home, failure is not an option.

ARB General criteria 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

A level of environmental consciousness, with an emphasis on building sustainability, can be seen in a majority of of the case studies, something the groups themselves see as imperative when formulating a viable business model for long-term sustainable neighbourhoods.

CONCLUSION

Engaging with the community and community-led groups and initiating design from the bottom up, will become commonplace in the architects role however, the balance of professional expertise with the voluntary spirit will not be without challenge. With the right approach and understanding from central and local government, the sector can grow, and play its part in meeting Britain’s housing objectives.

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

architectural design studio d / hotel paris brief Summary [Written by giorgio ponzo] Hotel Paris works on the definition of a building typology that combines a multiplicity of programmes into one complex, aiming to propose, at an architectural scale, a spatial experience that is not based on the compartmentalization of functions in different areas of the city or in different segregated buildings. The reading of the traditional typology of the hotel as ‘containers that, in the expansion and completeness of their facilities, make almost all other buildings redundant’ opens up the possibility to look at the hotel as a type that aims to reproduce, at the scale of a building, the diversity of spaces and programmes usually experienced in the urban scale: ‘[hotels] are the closest we have to urban existence, 21st-century style’.1 At the end of the first semester, each project delivered its own metaphorical definition of hotel as a mixed-use structure that identifies a group of users and programmes articulated in space by means of clearly identifiable typological and material features. In Semester 2 (studio D), the studio will attempt a more direct manipulation of the hotel typology. The main aim of the studio will be to assemble first the hotel, and then to hack it, in an effort of challenging and subverting the traditional understanding of this building type. Conceptual as well as material concerns (with specific reference to structural and environmental strategies) will drive the design process. 1. Rem Koolhaas, “The Generic City”, in S,M,L,XL (New York: The Monacelli Press, 1996), 1260.

outcomes [Taken from handbook]

LO 1

GC 1.3, 2.3, 3.1, 3.3

The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

LO 2

GC 1.1, 1.3, 3.2, 2.3, 5.1, 5.3

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.

LO 3

GC 8.1, 8.2

The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

GC 1.1, 3.3

A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

LO 4

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

project 05 food for thought thesis statement ‘Food for Thought’ is a hotel that stems from the socio-economic deprivation in the 19th Arrondissement of Paris. The site is situated in an old substation near the town’s Municipality, and the Mission Locale de Paris, an organisation that provides information, guidance and support to help 16-25 year olds with little or no qualifications develop a professional profile. The hotel is housed within a scaffold of timber framework, with one central, open-ended atrium and the distributed programmes almost balancing off it. Selling and trade operate the lower ground to raised ground floors, whilst growing and cultivating are expressed from first floor to third. The hotel rooms themselves are informed by the typology of lean-to greenhouses, with a polycarbonate cladding supported by a timber structure. The use of timber and semitransparent materials contrasts with the surrounding limestone context, presenting a lightweight facade and temporal feel to the overall design. The hotel emphasises a ‘healthy lifestyle means a healthy mind’ approach. Local and fresh produce is sold and traded in the public market hall, whilst a roof garden and greenhouse offers the opportunity for paying guests to grow and cultivate vegetation. The finance generated from the guests funds the upkeep of the hotel, as well as contributing to the running of the MLP. In addition to this, those who are in training with the organisation have opportunities to work with local butchers in an apprenticeship scheme at the Butcher School in the hotel. ‘Food for Thought’ is a celebration of the power that plants and vegetation can have on one’s mind and well being to help those most in need in the local community.

city of paris

19th arrondissement

10 rue armand carrel

Laumière Substation

The site chosen for Project 05 is part of a national competition proposed by the Municipality of Paris for the Reinverter Paris 2 competition, in which a list of abandoned or underused sites are released and teams are invited to submit proposals that are architectural, economic, social and cultural to bring a contemporary approach to the city. One of those site is the Laumière Substation, located on Rue Armond Carrel in the 19th Arrondissement of Paris. It is situated near the district’s Municipality Hall, the Parc des Buttes-Chaumont and the Bassin de la Vilette. The lot was acquired by the City in 1908 and was used to construct an electrical substation, which since 1999 has been decommissioned. The original arched facade has been retained, which forms part of a series of fake facades in the city that tend to house substations for the metro.

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

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Design Report

food for thought 19th arrondissement current socio-economic issues The 19th Arrondissement in Paris is the city’s poorest, with its inhabitants receiving an average household income three times below that of the 7th Arrondissement, the city’s wealthiest. The north-east in particular has been subjective to a wave of gentrification, where despite house prices being some of the cheapest in the city as a whole, they are no longer affordable to those inhabiting the district. This has led to its largely workingclass population being replaced by young professionals who are seeking somewhere more affordable to live. A district that is physically on the periphery of Paris, is now more than ever on the periphery of a socio-economic crisis. The unemployment rate of the district is the highest in Paris, alongside its neighbouring 20th Arrondissement. The same socio-economic condition is found in the 19th’s poverty rate, with 20% or more of the population living on or below the poverty line. Alongside this, only 65% or more of the district’s population aged 18-24 are in school, compared to 85% in the centre of the city.

Unemployment rate: 25 years and under (% of arrondissement population)

Poverty rate (% of arrondissement population)

19,277 young people sought help from the Mission Locale de Paris in 2016 Maïté Errecart MLP President

Help is being provided however to those facing unemployment and poverty.

Persons (18-24) in school (% of arrondissement population)

The 19th Arrondissement site’s proximity to the Lumiere Substation

The Mission Locale de Paris is an organisation that provides information, guidance and support to help 16-25 year olds develop a professional profile.

12.5% 14.6%

They aid people who face difficulties in terms of access to employment and professional training. The people that seek advice from the MLP tend to have little to no qualifications.

15+

12.5-15 10-12.5 7.5-10

5-7.5

20+

17.5-20 15-17.5 12.5-15 10-12.5

10-

85+

80-85

75-80

70-75

65-70

65-

The organisation have six sites across the city, one only 700 km from the Laumiere Substation. The most young people seeking help are from 4 arrondissements: 13, 18, 19 and 20. This highlights once again the socioeconomic situation the north-east of Paris faces. The 19th Arrondissement is second highest when it comes to young people seeking help, with its neighbouring district 20th as the highest.

ARB General criteria 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

16.5%

10.4%

Percentage of 16-25s seeking help from the four arrondissements most in need

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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Design Report

food for thought 19th arrondissement

looking forward

a food history

the ‘pigger’ picture The Provider

The Service

The User

provides for

1821

1865

1867

19th Arrondissement canal network

Abattoir and meat packing district

La Cité du Sang

1802 Napoleon Bonaparte commissioned a network of canals, most importantly Canal Saint Denis, which allowed food transportation from suburban farms

As part of the urbanisation of Paris, Haussmann grouped the abattoirs to the north and the livestock markets to the south in la Villette. It became the city’s largest abattoir district

Three large market halls were built. The most prominent and still surviving was the ‘Grande Galle aux Boeufs’

mlp young people

organises

for

provides

public

for

1959

1970

1979

2018

Reconstruction of abattoirs

Construction delays

Parc de la Villette

Food for Thought

To compete with the modernisation of food production it was decided to redevelop the abattoirs into a national wholesale meat trading market

Financial issues delayed construction and it soon stopped completely, with the complete closure of the abattoir in 1974

The site was redeveloped as the city’s third largest park, housing one of the largest concentration of cultural venues in Paris

ARB General criteria 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

Food for Thought intends to reinstate a home for meat, butchery, local produce and trade within the 19th Arrondissement

mlp young people provides

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

Urban Scale

food for thought urban, community and personal scale

‘Food for Thought’ is a celebration of the power that plants and vegetation can have on one’s mind and well-being to help those most in need in the local community. Finance is generated from paying guests of the hotel, which contributes to the funding of the MLP. In addition to this, those who are in training with the organisation have opportunities to work with local butchers in an apprenticeship scheme at the Butcher School in the hotel. The project operates at three scales: urban, community and personal. The emphasis on food and trading makes reference to the old slaughterhouse in the district (the site of which is now the Parc de la Villette) and its working-class industrial history at an urban scale. The community scale is thought through the working, dwelling and growing programmatic relationship, offering potential employment to those most in need in society, whilst adding to the economy of the community on a wider scale through the pubic markets and cookery schools housed in the building. A much more personal scale is also established through the emphasis on the mind and the body; the skills and training gleaned from the local butchers offers a knowledge/ work approach for the mind, whilst the almost spa-like quality and celebration of bathing in the hotel rooms acknowledges a care for the body.

Transport and Trading

Working: Market

Working: Butchers

Resolution

Community Scale

Programme and food / a curation of food, vegetation and produce Marketplace

Butcher School

Delicatessen

Dwelling

Garden

Greenhouse

Selling and Trading

Working

Dwelling

Growing

Learning

Bathing

Contributing

Personal Scale

Buying

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

food for thought ground floor spatial arrangement

ground floor concept

creating the central atrium

public urban realm transitioning into hotel

Private Transitional Public

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

food for thought programmatic grouping trade, living, growing The hotel has three main programmes: trade/commerce, living and growing. The trade and commerce programmes are organised from lower ground to raised ground floor, including the market hall, the butcher school and the delicatessen. Living is organised from first to second floor with twelve dwellings inhabiting the scaffold structure. Growing is situated on the roof and defined by the raised bed garden and greenhouse. The trade / commerce programme is explored over the lower, ground and raised ground floors. The public market hall and delicatessen are interwoven with the more private butcher school and hotel reception.

Trade / Commerce Living Growing

Private Public Hotel

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

food for thought typology of the dwelling an urban greenhouse The hotel rooms reference the language of three distinct greenhouse types, that slot into the scaffold structure. The timber structure and semi-transparent polycarbonate cladding contrasts with the surrounding, dense limestone context, presenting a lightweight facade and a temporal feel to the overall design. The rooms themselves focus on the personal scale of the project, with an emphasis on the body. This is played out through the moment of the shower and bathing. For the dwellings situated on the front facade, the shower room has balconies that look onto the street, subverting the conventional hotel room typology in which the moments of bathing are tucked out of sight. Each shower room has glass screens that hold concrete planters, with the plants themselves providing an element of discreetness, but also having been selected for their botanical properties on the body. Three-quarter

Span

Lean-to

FA House - Atellier tho.A

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

food for thought typology of the dwelling an urban greenhouse Each programme within the building has specially curated plants and vegetation which are specific to that type of work or activity. Within each hotel room shower, mint, aloe vera and eucalyptus have been potted in concrete planters which line the glass of the shower. Each plant can grow and thrive within the hot, humid climate of the shower. The plants are also very beneficial to humans, whether that be when eaten or in medicinal products. The intention is to celebrate the humble shower through this botanical, almost spa-like experience, and what it represents: the bathing and caring of the body.

Design concept: scaffold structure, â&#x20AC;&#x2DC;balancingâ&#x20AC;&#x2122; dwellings, central atrium Mint

Eucalyptus

Aloe Vera

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

ARB General criteria 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

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

food for thought ground floor plan SECTION AA 4

1 aa

1 Reception 2 Luggage Storage 3 Delicatessen 4 Outdoor Food Market 5 Bar 6 Street Vendor

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

food for thought first floor plan rue armand carrel elevation

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

The primary structure for the hotel consists of a cross-laminated timber flooring sat within a glulam framework. The use of timber adds a lightweight feel to the overall design and compliments the green and natural concept. It also adds a temporal feel to the design, especially when sat between a limestone context.

Primary Structure: The ‘Scaffolding’

The raised ground floor still sits behind the existing facade. It houses an independent butchers, which offers apprenticeships to those being helped by the Mission Locale de Paris. There is also storage to hang meat, which is visible from the street, and the kitchen for the deli.

Raised Ground Floor

The existing sub-station facade is retained, with the original openings being utilised for the street vendor to serve the public and for the main hotel entrance. The facade has been split in two, to allow a completely open-ended atrium to run through the middle of the building.

Ground Floor

The lower ground floor of the hotel houses a wholesale food market. Meat and fresh produce is sold and traded here. To the left of the main food hall is a series of food vendors and farm shops, and to the right is an open-to-all butchers which offers workshops and classes to the public.

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

Studio G

The roof of the hotel houses raised beds and a greenhouse where guests can contribute to the growing and cultivating of vegetation, which can also be sold in the market. The greenhouse continues the ‘scaffold’ concept with its timber structural framework, and becomes a beacon almost, sat atop of the hotel.

AMPL

Studio B

Design Report

Roof Garden and Greenhouse

The ground floor of the hotel houses the main entrance and reception, with luggage storage and toilets. There is also a delicatessen, outdoor market and bar. A private street vendor operates their business at the front of the building and sells street food to the public passing by.

ARB General criteria

MArch 2

The dwellings are sat across two floors, with twelve in total. There are five on each floor which have mezzanine sleeping floors, and one without. The dwellings are sat to the front of the building and make up the main facade. The window boxes which protrude from the middle are balconies which are accessed from the shower, enhancing the celebration of the shower and the bathing of the body. The hotel rooms themselves are informed by the typology of lean-to greenhouses, with a polycarbonate cladding supported by a timber secondary structure.

The main circulation core sits to the west of the building, whilst other stair access to the market hall below and to the roof garden are situated to the front of the building, to add further animation to the central atrium and to the street presence.

Second Floor Dwellings

First Floor Dwellings

ARB Graduate attributes

2.1 2.2 2.3 2.4 2.5 2.6 2.7 Lower Ground Floor

Circulation

MArch 1

Studio C

ATR

ARB General criteria 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

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

food for thought urban, community and personal scale

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studies in Contemporary Architectural Theory module Summary [Taken from handbook]

chosen theory specialism

Contemporary architectural theory scrutinises the interaction between design and the cultural, intellectual, political, social and economic contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating –as well as critiquing –design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (philosophy, political theory, cultural studies, anthropology, science and technology studies, media studies, semiotics, visual theory, literary theory, etc.), and this is reflected in the organisation of the SCAT course. The course is comprised of an array of options, of which students take one. While the choice available shifts from year to year, the overall constellation of options maintains a productive relation to the urban directed concerns of the ESALA M.Arch programme. Thus options will address topics such as, for example, urban development and contest over the city in an era of neo-liberalism; the semiotics of architectural and urban surfaces; practices of representations of the architecture of the city– projective and/or descriptive –examined via a series of symptomatic case-studies. Throughout, great value is placed on the active participation of students, who will have the opportunity to discuss and debate in detail the ideas raised in the seminar sessions and supporting readings. Taken as a whole, the SCAT course deepens and diversifies the study of theory in ESALA, equipping students with a close knowledge of areas of particular interest and concern to them.

POETIC THINKING // Dr Fiona Hanley

aims and outcomes [Taken from handbook] 1

Develop and expand design and the city

Enhance your skills in critical reading and analysing the ideas presented in texts.

Refine your ability to write and communicate a focused critique of, and response to, texts.

LO 1

LO 2

LO 3

research GC 2.1, 3.1, 4.1

analyse GC 2.2, 3.1, 3.2

communication GC 2.2

your

understanding

what

theory

is,

and

how

relates

architecture,

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. 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. 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.

This course is an inquiry into and a practice of “poetic thinking”, where the “poetic” is seen not as a genre of literature, but as an epistemological approach to the world, counter to a systematic or rational understanding. Not alogical, or lacking in rigour or precision, this seminar course takes the poetic as a synthesis of another kind, based on how we are already understanding the world. Rather than attempting to speak about the world, or to explain it, the “poetic” is approached as an intensification of our perception and being-in-the-world. The seminar will explore texts which are philosophically poetic and poetically philosophical. We will read texts by Giorgio Agamben, Martin Heidegger, Lyn Hejinian, Jane Hirshfield, Lisa Robertson, Jean-Luc Nancy.

be ren ice a bbot

Pike and Henry Streets, Manhattan, 1936

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

seminar diary entries // poetic thinking Seminar 6 extract - the daydream core readings + Reference sample 1

Nancy, Jean-Luc. Listening. New York: Fordham University Press, 2007.

Zwicky, Jan. Lyric Philosophy. 2nd ed. Edmonton: Brush Education Inc, 2014. Journal 2 + 3 Jean-Luc Nancy, Listening (New York: Fordham University Press, 2007), 4

Jan Zwicky, Lyric Philosophy, 2nd ed. (Edmonton: Brush Education Inc, 2014), 39

Ibid.

What does it mean for a being to be immersed entirely in listening, formed by listening or in listening, listening with all his being?10 - Jean-Luc Nancy, ‘Listening’ To listen is to be guided by it, for it to take over your whole body, for it to be affected by ‘every whorl and spurt and flicker’11. For Dennis Lee, cadence is integral to listening, not only does he regard cadence as the inflection of the voice, but more importantly the rhythm of the poem, the constant shifting from one pattern to the other. He states, ‘it’s cadence that guides you’12, suggesting a tangible sense to language and listening. It has a liveness and a gestural quality about it, something which requires an element of participation. Nancy makes note that ‘rhythm separates the succession of the linearity of the sequence or length of time… it folds and unfolds a “self”’13. This personification of rhythm enhances the earlier quote, ‘to be immersed entirely in listening’14, as something which overwhelms and consumes you. Nancy

ARB General criteria 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

develops this idea of the self further when he writes, ‘To be listening will always, then, be to be straining toward or in an approach of the self.’15 He suggests that this strain, this longing, is a constant state of becoming who you are, always moving towards yourself, that this self is made up of a ‘relationship to self, or of a presence to self’16 The idea of the ‘presence’ suggests the self is routed in the here and now, the space existing around them, that they are a spatial self. In excerpt 68 of Jan Zwicky’s ‘Lyric Philosophy’ Dennis Lee writes:

And you can feel the heft of the cells in your arms, your neck, your sexual centre - you feel your hopes and forebears straining to reach those articulate gestures of being. You can’t compel them. But once you find the flow, once you enter the jostle and hover and rush of the right full carnal gesture in words there is a such a de-kinking, such a deep sense of release into what is quick and still and implacably there, that it nourishes you utterly. And for a time, at least, you don’t understand what other calling even makes sense.17 The imagery and lexicon that Lee employs lends itself to something all-consuming, most notably conjuring connotations of sex and desire. He uses expressions such as, ‘sexual centre’, ‘carnal gesture’, ‘deep sense of relief’, ‘nourishes you’, along with his string of adjectives ‘flow’, ‘jostle’, ‘rush’18, bringing to the forefront an epitome of primordial instinct and a fundamental desire of the human body. He ends the paragraph with ‘you don’t understand what other calling even makes sense’19 perhaps alluding to the climax of intercourse and the inability to think coherently. Or could it be read in another way; in her thoughts on the left of the page, Zwicky states ‘whose eros is clarity’20 suggesting that maybe in this moment you think the most clear, and that there is no other ‘calling’ for the human than language. Significantly, Lee directly relates this swell of sexual emotion and desire to the ‘right full carnal gesture in words.’21 He uses this strong imagery to heighten our bodily participation with language, something which Lee makes apparent as a visceral human characteristic.

2018

15th February

nourishes you utterly. And for a time, at least, you don’t understand what other calling even makes sense.17

2018

16th February

imagery emphasises a desire in language itself, the eros of language. It is a language which has a pull and a draw, a desire and yearning, an attraction, which draws

The imagery and lexicon that Lee employs lends itself

you into the text, creating an almost erotic charge.

to something all-consuming, most notably conjuring

Nancy writes of the poetic, ‘it gives it an amplitude, a

connotations of sex and desire. He uses expressions

density, and a vibration or an undulation whose outline

such as, ‘sexual centre’, ‘carnal gesture’, ‘deep sense of

never does anything but approach.’22 He suggests

relief ’, ‘nourishes you’, along with his string of adjectives

that it is always arriving, but never fully coming into

‘flow’, ‘jostle’, ‘rush’18, bringing to the forefront an

fruition, emphasising this eros yearning of language.

epitome of primordial instinct and a fundamental desire of the human body. He ends the paragraph with ‘you don’t understand what other calling even makes

What does to be listening, to be all ears, as one would say “to be in the world”, mean?23

sense’19 perhaps alluding to the climax of intercourse and the inability to think coherently. Or could it be

- Jean-Luc Nancy, ‘Listening’

read in another way; in her thoughts on the left of the page, Zwicky states ‘whose eros is clarity’20 suggesting

Nancy’s emphasis on the verb ‘to be’ suggests an

that maybe in this moment you think the most clear,

existence, ‘to be in the world’24, to be a being, to be

and that there is no other ‘calling’ for the human than

in place whilst listening. Zwicky also touches upon

language. Significantly, Lee directly relates this swell of

this idea of being in relation to listening. Throughout

sexual emotion and desire to the ‘right full carnal gesture

‘Lyric Philosophy’, she makes comment on the

in words.’21 He uses this strong imagery to heighten our

fundamental theme of being ‘whole’. In her musings

bodily participation with language, something which

in excerpt 34 she states, ‘Resonance is a function

Lee makes apparent as a visceral human characteristic.

of the integration of the various components in a

This eros however does not always have sexual

whole.’25 Perhaps Lee’s primordial emotive response

connotations, but can suggest a strong, expansive sense

to language also touches upon this, the idea of unity

of desire; a thinking and a longing which is inspired

and wholeness and instinct with the earth. Zwicky

by an eros and is therefore embodied. The sexual

states, ‘When philosophy attempts to give voice to an

This eros however does not always have sexual connotations, but can suggest a strong, expansive sense of desire; a thinking and a longing which is inspired by an eros and is therefore embodied. The sexual imagery emphasises a desire in language itself, the eros of language. It is a language which has a pull and a draw, a desire and yearning, an attraction, which draws you into the text, creating an almost erotic charge. Nancy writes of the poetic, ‘it gives it an amplitude, a density, and a vibration or an undulation whose outline never does anything but approach.’22 He suggests that it is always arriving, but never fully coming into fruition, emphasising this eros yearning of language.

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

seminar diary entries // poetic thinking 2018

22nd March

2018

23rd March

Seminar 8 extract - the glance core readings 1

for the glance, if you ignore an encounter, if your head

Casey, Edward S. The World At A Glance. Bloomington: Indiana University Press, 2007.

stays bowed and your eyes do not meet another’s, then are you truly here, in the now. Your presence, your existence, has gone unacknowledged. It is through the

Craig, Megan. “Review Essay: The World At A Glance”. Environment And Planning D: Society And Space 26 (2008).

glance that you articulate your presence. Casey writes, ‘We exchange glances as we greet each other: the two modes of connection, visual and verbal, intermingling. My glance conveys my look, my words, my greeting.’42 In this sense, the glance has its own language, the language of ‘hello’, of salutations and phatic expressions, one which is universally understood and spoken. Fig 6. Agnes Varda, Cleo de 5 a 7, 1962

Craig makes another crucial point in that she distinguishes the glance from the gaze.

The main

difference between the two is that one is in movement and one is a fixed state. The gaze is personified by Medusa’s petrified victims; they are turned to stone, static, unable to move. It is interesting to note however that it is not just Medusa’s gaze that is at work here. The initial gaze came from the victims themselves, it was their gaze upon her face which resulted in their demise. This macabre consequence of the gaze suggests something crucial about its definition and connotations. The word gaze conjures up adjectives such as stare, gape, leer, which suggest an objectification, and Fig 7. Agnes Varda, Cleo de 5 a 7, 1962

ARB General criteria 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

again is emphasised by the male gaze upon Medusa.

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

essay // poetic thinking 2018

11th April

writing the city at lunchtime reference extract Michel De Certeau, The Practice Of Everyday Life, 3rd ed. (University of California Press, 2011), 93

Phillipe Lopate, “The Pen on Foot: The Literature Of Walking Around”, Parnassus: Poetry In Review, 1993, 176

12:01

Writing the City at Lunchtime

Frank O’Hara, Lunch Poems (San Francisco: City Lights Books, 1978), 18

David Herd, “Stepping Out With Frank O’Hara”, in Frank O’Hara: New Essays On The New York Poet, 1st ed. (Liverpool: Liverpool University Press, 2010), 71 65

Measuring a lived experience in the city through the poetry of Frank O’Hara and the writing of a walk A photographic essay of New York City will accompany this investigation by the American photographer Berenice Abbott. Although working two decades before O’Hara in the 1930s, her photography captures the encounters

The physical copy of the journal was designed to resemble the notebook Frank O’Hara may have taken with him on his lunchtime walks. The book is leather bound with two gold screw binds down the side, and an almost exercise book layout in side, with spaces for the date and the classic blue border.

and the lived experiences of the city which O’Hara encapsulates in poetry.

I have never been to Manhattan, let alone New York, or even America for that matter. However I now feel like I have. I didn’t need to cross the Atlantic, but instead opened up Frank O’Hara’s ‘Lunch Poems’.

A sense

of nostalgia for something I had never experienced stirred; it sleepily opened one eye and then was jolted awake by the abrupt horn of the yellow New York cabs. It was lunchtime. I had overslept. And Frank was already stepping out into the city to commence on his daily walk.

A solitary walker, one which

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

writing the city at lunchtime concluding chapter ‘A Step Away from Them’ uses the idea of the step to measure O’Hara’s place in the world. It was written the day after the funeral of his good friend Jackson Pollock, so there is already a sense of reflection to the poem. One often thinks of a step as a means of getting closer to something, to achieving something, however O’Hara steps away, he distances himself, perhaps to allow him the space to think. Or could it be simply that his life is continuing whilst his friends’ have stopped still, and the only direction to step, is away? The poem emphasises an awareness of everyday life, it is a celebration of ‘the dailiness of everyday’74, with O’Hara noticing the ‘cats playing in sawdust’ and the ‘lady in / foxes’ who ‘puts her poodle / in a cab’75 suggesting that perhaps the only thing to do after a tragedy is to continue with life. However, the attention to these intimate details suggests something more than just awareness, but a sense of alertness too. O’Hara writes ‘Everything / suddenly honks: it is 12:40 of / a Thursday.’76 The honk of the New York cabs has a suddenness about it, it wakes up both O’Hara and the reader, emphasising an attuning to the city. The specificity of the time and date has a similar immediacy to it as the honking traffic. It signifies the present, and having a presence, within New York. It is this presence in life which interrupts the poem. O’Hara writes, ‘First / Bunny died, then John Latouche, / then Jackson Pollock. But is the / earth as full as life was full, of them?’77 This shift in the poem has an almost existential questioning to it, taking account of O’Hara’s place in the world after this disorientation of his friends’ death. There is a disorientation in the text also, the question disrupts the walk of the poem, almost as if O’Hara himself has stopped in the street to think. Perhaps this is also who he is stepping away from, not only his friends but his past self. This seems to materialise in the ‘Manhattan Storage Warehouse, / which they’ll soon tear down.’78 There is a tearing down of O’Hara’s own understanding of the world after being confronted by this life changing event and now he takes a moment to question it. However he does not stop long in thought, the text and his walk move swiftly on to the mundane Thursday afternoon. ‘And one has eaten and one walks’79

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

architectural design studio g / city fragments: palermo institutions brief Summary [written by christopher french] Proposals for complex, institutional buildings that combine public and private spaces and programmes, will respond to and understand Palermo as a city of (historical, material, social) fragments. Through these proposals a specific architectonic theses for Palermo will develop. The building(s) may take the form of any of the following: 1. Spaces for making fragments, including spaces for the authors, grand tourists, artists and travel writers who have visited and documented Palermo, workshops, technical colleges, art schools, etc., for particular crafts. 2. Spaces for collecting fragments, including archives for the artists, architects, photographers, etc. who have worked in the city but do not have formal records of their work . 3. Spaces for performing fragments, including theatres, both high and low, for local (teatro dell-Opera dei Pupi (puppet theatre), or the passeggiata, the evening promenade), national (opera, canta storia) and international (ballet, tragedy, etc.) productions; law courts, town halls and parliaments; museums. All of these spaces are spaces in which the city is performed (in one way or another) before it is made, and at the same time spaces that are reformed in the process of making the city. Your proposals will therefore describe architectures that operate at and engage with the city, architectures that are intrinsically urban. At the same time your proposals must be mindful of landscape, of the care required to act in landscape. Your proposals will therefore address three scalar relations: the scale of the body to the city, the scale of the building to the city, and the scale of the garden to the city. We will describe these three sets of scalar relationships through three terms and drawings: Axis Mundi, Theatrum Mundi and Hortus Mundi. These proposals will gradually develop, starting with a series of smaller interventions by drawing rooms, specifically Drawing Rooms.

outcomes [Taken from handbook]

LO 1

GC 1.3, 2.3, 3.1, 3.3

The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

LO 2

GC 1.1, 1.3, 3.2, 2.3, 5.1, 5.3

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.

LO 3

GC 8.1, 8.2

The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

GC 1.1, 3.3

A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modeling, photography, film, computer, installation, performance and workshop techniques).

LO 4

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the drawing rooms islam in italy icons and air-cons Italy is home to the fourth largest Muslim population in Europe, with over 1.6 million Muslims living in the country. However, due to legal restrictions, (the construction of mosques has been banned in Milan) there are only eight recognised mosques. The Italian government does not officially recognise Islam as a religion, therefore Muslims have taken to inhabiting cultural centres, garages, basements and warehouses as informal prayer rooms. What was once the church of San Paolino dei Giardinieri is now the Moschea di Tunisia a Palermo, the oldest mosque in the city, that serves a community of 8,500 Muslim residents. It is lead by Imam Boulaalam Abderrahmane MustafĂ . The series of photographs, taken by Delfino Sisto Legnani, an Italian architectural and still-life photographer, depict a syncretic narrative of two faiths. There is a serenity about the images, with the white-washed walls and muted colours. However if you look closer you can see an almost comical juxtaposition between the modern day necessities of the aircon unit, strip lighting and digital prayer clock, against the Islamic scripture sat on the shelf and the traditional prayer mats on the floor.

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

m osche a di t unisi a a pale rmo

Image by Delfino Sisto Legnani

Source: https://www.e-flux.com/architecture/ positions/211592/pandora-s-box/

ARB General criteria

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the drawing rooms islam in italy icons and air-cons

There is an almost temporal feel to the mosque; the abutment of the prayer niche against the existing old church walls, oriented towards Mecca, looks as if it could be lifted straight out. The decorative script on the columns also have an element of impermanence, as if they have been stuck on. The mosque is re-imagined in another disused building in Palermo; Galleria delle Vittorie was a shopping arcade that had been abandoned since the 1970s, and has only just started to become occupied. The series of collages are exhibited as a triptych to suggest a religious undertone and syncretism, but also to act as another method of framing, mimicking the Moorish arch of Islam and the round arch of Catholicism, to integrate these two religions further. The prayer mat appears in all three images. It becomes an important motif in representing landscape and the garden, as the carpet traditionally features embroidered images of the Garden of Paradise. The use of colour in fabric, and therefore landscape, also forms an important part of the thesis. This is explored further in the bodily Hortus Mundi / Atlas of Landscape.

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the drawing rooms religious crossroads studio 5 as a syncretic space

Hinduism and Islam come together with a design for an exhibition in the studio. One design looks at the procession of colour within Hinduism whereas the other re-inhabits the existing niches to create private places of worship, another comment on the issue of Islam being a hidden religion within Palermo. 5

The arch, the cleanse and the niche become architectural languages which feature throughout the development of the Drawing Room.

6 8 1

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

“We saw you take off your shoes so we took ours off too.”

Gateway to Mecca

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

Gateway to Mecca

Intimate worship

ARB General criteria 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

AY TO MECCA

Hidden curiosities

Intimate worship

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

the drawing rooms To maintain a purity as part of Wudu, an external door cannot open directly into a place of worship, therefore a procession of vestibules and thresholds creates a convoluted circulation towards the Prayer Niche.

call to prayer - axis mundi / body to city an imam’s residence

The Drawing Room situates itself on the east of the existing entrance to the technical collage behind the site on Via Del Celso (the sites chosen for the Drawing Room will be shown in greater detail with the Institution under the Studio B chapter of this portfolio). The moves made in the drawing room begin to inform the programme and language that is visible in the Syncretic city; a space of withdrawal through the prayer niche, the growing of botanicals on the periphery of the site, the utilisation of sun light, the emergence of a procession of space.

The Drawing Room is orientated in relation to the Qibla, the direction in which Muslims should face whilst performing Salat.

The hanging of fabric above the entrance references the corrugated steel roofs of the hidden mosques in the city and creates a threshold above the head, as well as level changes on foot.

Thresholds and Vestibules To maintain a purity as part of Wudu, an external door cannot open directly into a place of worship, therefore a procession of vestibules and thresholds creates a convoluted circulation towards the Prayer Niche. The hanging of fabric above the entrance references the corrugated steel roofs of the hidden mosques in the city and creates a threshold above the head, as well as level changes on foot.

This specific situation inevitably forms ‘leftover’ spaces of the site. These are utilised as Gardens of Sustenance that represent, on a much smaller scale, the pieces of ‘leftover’ site across Il Capo. These spaces will be regenerated as places of cultivation and growth for the Institution.

The Drawing Room provides residence for a visiting Imam. The facade is wrapped in a translucent fabric which creates an element of privacy, an external curtain. The use of fabric within Islam becomes a tectonic for the Drawing Room, with the language of wrapping mimicking the warp and weft of thread in the weaving of textiles.

An Imam’s Residence The Drawing Room provides residence for a visiting Imam. The facade is wrapped in a translucent fabric which creates an element of privacy, an external curtain. The use of fabric within Islam becomes a tectonic for the Drawing Room, with the language of wrapping mimicking the warp and weft of thread in the weaving of textiles.

Prayer Niche Reflecting upon the hidden worship within Palermo, the Prayer Niche is a moment of private withdrawal. Its folded form references the folding of faith in everyday spaces - the public and personal shrines across the city. It has a city scale in which it captures the morning light that forms part of the five daily prayers, but also has a body scale whereby it follows the movements of Islamic prayer.

Gardens of Sustenance The Drawing Room is orientated in relation to the Qibla, the direction in which Muslims should face whilst performing Salat. This specific situation inevitably forms ‘leftover’ spaces of the site. These are utilised as Gardens of Sustenance that represent, on a much smaller scale, the pieces of ‘leftover’ site across Il Cappo. These spaces will be regenerated as places of cultivation and growth for the Institution. For now, the water creates a space of contemplation, and the soil provides a micro condition for the growth of sumac and prickly pears.

AXIS MUNDI @ 1:100

ARB General criteria 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

12 m

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

the drawing rooms call to prayer an imam’s residence

SCAT

Garden of Sustenance

Prayer Niche

Entrance Threshold

Garden of Withdrawal

Vestibule

Imam’s Entrance

Wudu Cleansing

Imam’s Private Residence

Studio G

MArch 2

AMPL

Studio B

Design Report

aa 01

1 2 8

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

the drawing rooms call to prayer

Studio D

MArch 2

Studio G

AMPL

Studio B

Design Report

Dawn - Fajr

Dusk - Isha Sunset - Maghrib

Sunrise - Shuruq

an imamâ&#x20AC;&#x2122;s residence Afternoon - Asr

SCAT

The prayer niche is nestled on the east of the site; to emphasise the idea of pulling light into an over-shadowed site, the niche took on a language of folding, as if growing towards the sun, much like the botanicals grown in the Gardens. The facade of the niche features three moments of angled glazing which allow the morning sun to enter and cast light on the rear wall, which is kinked out to suggest the bodily movements in Islamic prayer.

Noon - Dhuhr

interefop

nterefop ENTE DI FORMAZIONE PROFESSIONALE

section aa

ARB General criteria 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

section bb

01 north elevation from via del celso

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

theatrum mundi

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Water

Design Report

Existing surface water

building to city Irrigation

an atlas of programme

Existing

Version 01 of the Theatrum Mundi drawing started to work a syncretic methodology by establishing a network of interweaving island sites that drift across Il Capo.

Manual

Cultivation

The drawing looks toward Stan Allen and his ideas on ‘notation’. He states, “The drawing as artefact is unimportant. It is rather a set of instructions for realising another artefact.”2 The Theatrum Mundi begins to generate a set of instructions through its sprawling territory and as a result a series of programmes come into being, forming a working landscape. 2. Allen, Stan. “Mapping the Unmappable: On Notation”. Practice: Architecture, Technique and Representation.

Controlled Wild Controlled Wild

Tectonics

Concrete facade Concrete structure Procession

Wrapping

Hanging Folding

Process

Pigments

Casting Dying Weaving

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

The Atlas of Landscape is one of the first moves into the collage/montage working methodology and is the opening, and perhaps culmination, of our Thesis of Colour. The drawing presents an amalgamation of syncretisms within the city that focus on the convergence of past and present colour.

hortus mundi garden to city an atlas of landscape

Under Arab rule, from 965 to 1072, the landscape between the Palermo Mountains and the Tyrrhenian Sea was a rich horticulture of citrus groves, pistachio and almond trees and sugar cane fields, sustained by the introduction of an irrigation system called Qanats. This landscape of orchards became known as the Conca d’Oro, the Golden Basin. This territory has since been lost due to the mass, uncontrolled urban expansion from the 1950s to the 80s, known as the Sack of Palermo. Only a small area of the plain still being cultivated remains in the rural villages of Ciaculli and CroceverdeGiardino, where the Ciaculli Mandarin is grown. The Syncretic city hopes to re-inhabit the city with the rich productive landscape and colour of the Golden Basin.

There is a density of beige limestone used predominately in the Old Town, which can be seen in the photographs of Il Capo in the first chapter. The yellow haze of the Conca d’Oro Basin dominates the west of the landscape. The haze becomes the Pollen of the The Syncretic city which drifts across the landscape and forms our Gardens, echoing a Garden of the past. The devastating, sprawling post-war construction fills the landscape outside the Arabic walls with the grey hue of concrete. The most northern terrain depicts Monte Pellegrino and the wild growth of the red Sicilian Sumac and purple Prickly Pear.

Arabic gardens The Conca d’Oro in 17th Century Palermo

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

hortus mundi garden to city an atlas of landscape

Under Arab rule, from 965 to 1072, the landscape between the Palermo Mountains and the Tyrrhenian Sea was a rich horticulture of citrus groves, pistachio and almond trees and sugar cane fields, sustained by the introduction of an irrigation system called Qanats. This landscape of orchards became known as the Conca dâ&#x20AC;&#x2122;Oro, the Golden Basin. This territory has since been lost due to the mass, uncontrolled urban expansion from the 1950s to the 80s, known as the Sack of Palermo. Only a small area of the plain still being cultivated remains in the rural villages of Ciaculli and CroceverdeGiardino, where the Ciaculli Mandarin is grown. The Syncretic city hopes to re-inhabit the city with the rich productive landscape and colour of the Golden Basin.

ARB General criteria 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

natural resources Sustaining the landscape

city materiality

The second layer unifies two

Colour in built form

specific botanics which are native

Old Town Palermo is awash with

to the island: the red Sicilian Sumac

the crumbling beige limestone,

and the purple Prickly Pear. The

quarried south of the island.

vegetation forms the sustenance of

Outside of the Arabic Wall is a

the Gardens and are cultivated for

vast expanse of grey concrete,

their intrinsic natural properties.

constructed during the Sack of

Reds

Palermo, which now dominates

and

purples

pollinate

ancient layers

Palermo through the street vendors

the landscape.

Arabic ruling

selling pears on the street, to the

An interior wealth of colour and

The Ancient Layers of Palermo

sporadic growth of sumac trees in

opulence can be uncovered in the

overlay the Phoenician City Wall

abandoned corners of the city.

Catholic churches sprawled across the city, whilst tucked away in

(circa 400 BC) with the Arabic Wall, who ruled the city from the

Traversing through Old Town is

abandoned buildings or between

9th to 11th Century.

the ancient Papireto and Kemonia

dense urban blocks moments of

Floating above is the yellow pollen

river, a natural resource which will

delight appear with the saturated

of the Conca dâ&#x20AC;&#x2122;Ora and the rich

be drawn upon for the nurturing

prayer mats in mosques and the

agricultural landscape.

of the Gardens of Sustenance.

gaudy Hindu shrines.

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

architectural management, practice and law Course Summary [Taken from handbook] Architectural Management, Practice and Law is a lecture, workshop and studio based course aimed at developing studentâ&#x20AC;&#x2122;s knowledge and understanding of the management of Architectural practice. It is delivered through a series of lectures presented by Architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can then be built on and developed by further reading.

aims and outcomes [Taken from handbook] 1

Acquire understanding of the issues and constituencies which influence the processes and delivery of design and theoretical aspects of project and practice management.

Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect.

Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project.

Develop an awareness and understanding of the financial matters bearing upon the creation and construction of built forms.

Develop an awareness of the changing nature of the construction industry, inter-relationships between individuals and organisations involved in building modern day building procurement.

LO 1

GC 6.1, 3.2, 11.1, 11.3

An understanding of practice management and codes of professional conduct in the context of the construction industry.

LO 2

GC 6.2, 10.1, 10.2, 11.1, 11.2

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.

LO 3

GC 4.3, 6.1, 10.3, 11.1

An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

contract game Harriet Garbutt Matthew Sawyer Yunzhou Fan Zishu Ma

individual reports Harriet Garbutt

regulatory drawings Harriet Garbutt Bulat Gafurov

exam Harriet Garbutt Bulat Gafurov

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

contract game individual report 01 team dynamics [page 3]

[page 5]

Early transitioning

norming but not quite performing

Once the contract particulars had been filled out and the Contract Game had started on Day 1, it was apparent that we needed to work more effectively as a team; the first thing we did was re-access our physical working arrangement. In her ‘punctuated equilibrium’ model, Gersick refers to this as a stage of Transitioning (Gersick, 1988) in which the team is ‘punctuated by concentrated, revolutionary periods of quantum change’ (Gersick, 1988, p.8). Whilst filling out the contract particulars, we were working in a square formation (Fig. 1.3) in which half the team was opposite the other, however with multiple laptops on the table blocking visions of site, it was increasingly difficult to communicate to each other, especially as the questions were getting longer and more complex. Therefore at the beginning of Day 1 we reorganised to sit in a line, so all team members could see what each other was working on. This then established much more definite roles within the group, as can be seen in Figure 1.5.

Pre- Day 1

When compared with Gersick’s expectations (Fig, 1.7), the pressure of an imminent deadline subsequently sees the most productive outcome from the team towards the end of the task (phase 2), however Team 4 suffers through a delayed period of inertia, post transition. If we refer to Tuckman’s model, it is only at Day 2 when the team establishes a state of Norming, whereby ‘in-group feeling and cohesiveness develop, new standards evolve, and new roles are adopted’ (Tuckman, 1965, p.13). However this does not necessarily correlate with improved scenario response time, regardless of our established roles - this is discussed further on the next page.

Fig. 1.3 Team 4’s initial spatial working arrangement

The spatial arrangement was developed further on Day 2, when the co-ordinator sat between the contract researcher and the document control team, reinforcing his role as leader and subsequently allowing a much clearer delegation of tasks and supervision. (Fig. 1.4.) In addition to this, a journal was started which kept track of our initial thought process and subsequent amendments to our responses.

The productive output of this reorganisation on Day 1 is evident when compared against our scenario completion rate (Fig. 1.6). However from that graph, it is also very apparent that we were still falling short, sometimes considerably, to the targets set by the controller. There is a clear push at the end of Day 1, however this does not reoccur at the end of Day 2.

However both Tuckman’s stage of Performing, and Gersick’s expectation of high performance as the team approach the end of the work is absent. (Fig. 1.6). Both graphs show that the expected period of high performance is only achieved at the end of Day 1, as the mid-point transition, as is discussed in the previous page, actually happens relatively early on, which drives this outcome.

Day 1 AM

Day 1 PM

Day 1

Day 2 AM

Day 2 PM

Controller targets Team 4 completion Fig. 1.6 Team 4’s performance compared to targets set by the Controller

High Completion Phase 2

Performance

Day 2

Minimum scenarios answered by end of Day 2 (set by Controller)

Early transition

Phase 1

Phase 2

Completion

Mid-point transition

Phase 1

Low Finish

Start Gersick’s model Team 4’s performance Fig. 1.4 Team 4’s revised working arrangement

ARB General criteria 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

Fig. 1.7 Team 4’s performance compared to Gersick’s model

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

contract game individual report 02 procurement types [page 10]

[page 11]

traditional procurement

time

CLIENT The Border College Trust

The procurement type chosen for the Veterinary College was Traditional, putting emphasis therefore on the quality and cost control of the project, over a quicker design and construction period. A JCT Standard Building Contract with Quantities was implemented, resulting in The Border College Trust appointing both Team 4 as the architect and Double Felix Construction as the contractor (Fig. 2.3). The architect in this instance acted as contract administrator on behalf of the client and was also lead consultant, managing the quantity surveyor and engineer, establishing a Team 4 design team.

CONTRACT Appoints

Appoints

ARCHITECT

Contract Administrator

CONTRACTOR Double Felix Construction

Team 4 Lead

Appoints CONSULTANTS QS: Kerr Ching Quantity Surveyors

The contractual relationship with the architect as contract administrator allows for greater accountability, as there is not one single party operating the project. As a result of this accountability, there are also on going cost control measures which the architect can implement to ensure the project stays on budget.

SUBCONTRACTORS Messrs Hearth, Wind and Fire

Engineer: Chianti Leaverer Consulting Engineers

Casticat

Fig. 2.3 Contractual relationship of Traditional procurement

DESIGN TEAM

Design and Build procurement If a JCT Design and Build contract was used then the client would still appoint the contractor, however the contractor would then appoint the architect (Fig. 2.4). The architect would no longer therefore be contract administrator, but instead an employer’s agent would be appointed by the client to fulfill this role. A contractor’s team would be established, encompassing the architect, any consultants and sub-contractors.

CLIENT The Border College Trust CONTRACT Appoints

Appoints

EMPLOYER’S AGENT

Contract Administrator

The benefit of a Design and Build procurement with regards to time can be seen in ‘Scenario 14’. An off-site fabrication created by the contractor was deemed “defective” as it consequently affected the fitting of a disabled access gate. The contractor claimed that Team 4 had approved in writing of the fabrication stating that the work is “proceeding well”, and therefore responsibility was

As is evident in Figure 2.6, there is considerable contractor input during the detailed design stage. As a result of this, the construction period would be more cohesive, and the contractor would be more attentive to the drawings whilst fabricating off-site if they had been detailed in-house. This would reduce any potential moments of error and subsequent delay.

Under a Design and Build procurement, the contractor would stay wholly responsible for any errors made, and therefore if there was an issue it would have been rectified sooner; the contractor could not have tried to pass the blame to the architect, delaying the time taken to reconstruct the fabrication.

Considerable contractor input

Minimal contractor input

CONTRACTOR Double Felix Construction

Cost decided Planning

ARCHITECT Team 4

CONSULTANTS QS: Kerr Ching Quantity Surveyors Engineer: Chianti Leaverer Consulting Engineers

Fig. 2.4 Contractual relationship of D+B procurement

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

moved from the contractor to the architect. This resulted in delays to the works, as statutory regulations with regards to disabled access had to be adhered to. In addition to this, the fabrication would have to be reconstructed to be in accordance with the architect’s drawings, other wise it would be in conflict with Clause 3.6. It was also not appropriate for the contractor to interpret Team 4’s remarks regarding their workmanship as being any form of approval.

Appoints

This contractual relationship is beneficial as it creates one point of contact between client and contractor, who effectively assumes complete responsibility of the project. There is therefore a higher degree of integration between the various parties from the beginning, resulting in a more streamlined, cohesive project.

ARB General criteria

In Traditional procurement the design process is undertaken separately from the construction period. The architect responds to the level of detail, and subsequent quality, the client wishes to be implemented in the project by completing a detailed design package. This is then released to several selected contractors for tender, resulting in the appointment of the most suitable, whether that be as a result of price or quality. (Fig. 2.5) The consequence of this process however, results in the programme for the Veterinary College taking a lengthy amount of time. If a Design and Build contract were to be implemented then construction can start whilst detailed designs are still being finwwalised, which would significantly reduce the overall programme length (Fig. 2.6), allowing the client to occupy the building much sooner.

SUBCONTRACTORS Hearth, Wind and Fire Casticat

Decide architect

Concept design

Detail design

Tender

Decide Finalise contractor details

Fig. 2.5 Traditional procurement process

Collaborative input

Michael Flowers Ltd

Considerable contractor input

D+B related time and money savings

Cost decided

Manx Roofing

CONTRACTOR’S TEAM

Construction

Planning

Decide D+B firm

Concept design

Detail design

Construction

Fig. 2.6 Design and Build procurement process

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

[page 14] C2

COST

conclusion

Design and Build would have shortened the contract period due to its integrated design and construction, however ‘Scenario 31’ makes its evident that, ultimately, it was the quality of works which concerned the client the most. Traditional procurement allows the architect, as contract administrator, to undertake quality control measures and ensures accountability.

Q1 Traditional

IT AL

ME TI

In terms of the Veterinary College project, the client had a tendency to want time, cost and quality to be of almost equal importance. It is apparent however, that their financial situation was to a degree unstable, and therefore a Traditional procurement method allowed for an element of flexibility, whilst also implementing cost control measures to ensure the client did not receive any unnecessary additional costs. The client’s frequent involvement in the project perhaps suggests that Design and Build would not be the most suitable procurement, as the input of the employer is significantly reduced. (Fig. 2.10)

ME TI

An ambiguity arises however when it comes to cost. Figure 2.10 shows that cost favours Design and Build slightly more than Traditional. This is because of the fixed price which is agreed before detailed design, meaning the contract sum is guaranteed. However, this obviously comes to the expense of the quality of the design, and the flexibility with regards to any changes the client wishes to make. Traditional procurement allows for this flexibility, as provisional sums can be included in the tender, however this does open up unexpected additional costs throughout the project.

the completion of design and construction by the contractor (Designingbuildings.co.uk, 2018). This would allow the expertise from the architect to ensure a quality of design is detailed, while still leaving the contractor with sole responsibility, as is the case in Design and Build. Therefore this would eliminate the confusion apparent in ‘Scenario 14’ as responsibility would have been established immediately, and there would be no subsequent time delay. The quality of the off-site fabrication would have been significantly better also, as both architect and contractor would have had an input in detailed design, and therefore there would have been a better understanding of what was required.

Throughout the project, it is evident that not one procurement method would have been best suited to the scenarios Team 4 were exposed to. It is clear however, that both methods proved their suitability to either time or quality. Traditional procurement, as analysed in ‘Scenario 8’ favours much more towards a quality of design. Whereas Design and Build is more suited to a shorter contract period and time becomes of importance. (Fig.2.10).

Design and Build

COST

C1 C2 C3

Lowest possible capital expenditure Certainty over contract place - no fluctuation Best value for money - overall

QUALITY

Q1 Q2 Q3

Top quality, minimum maintenance Sensitive design - control by employer Detailed design not critical - leave to contractor

TIME

T1 T2 T3

Earliest possible start on site Certainty over contract duration Shortest possible contract period

In light of this, perhaps a process of novation may have been more beneficial, as it would maintain a continuity between the detailed design undertaken by the client and

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

1996

regulatory drawings

se tti n g a pre c e de n t

3 0 S t. M ary Ax e Fo s t e r + Par t ne r s

Planning Harriet Garbutt and Bulat Gafurov

30 st. mary axe / foster + partners Students working in self-selected pairs will be asked to complete two analytical drawings, of a personally selected building precedent , demonstrating how the precedent complies with UK statutory requirements . The drawings are to illustrate a critical understanding not only of how the statutory requirements have been complied with but also demonstrate a thematic relationship to the regulation selected. 30 St. Mary Axe by Foster+Partners is analysed with regards to the theme of ‘Setting a Precedent’ across the two regulatory drawings.

The Millenium Tower proposition

setting a precedent

Design Report

July 1999

2000

4th May 2000

5th June 2000

3rd July 2000

Planning Permission submitted for The Gherkin

The Mayor of London role created

Ken Livingstone elected as first Mayor of London

The Town and County Planning (London Spatial Development Strategy) Regulations guidlines for future London Plan

SPDS comes into force

Counter -terrorism and Eva cuation

‘ I don’t want uniformity... I want a city that is diverse and changing. ’ Ken Livingstone

approach towards developing London, and instead encouraged change; ‘I don’t want uniformity’, he states in the Architects’ Journal, when presented with the AJ100 Greatest Contribution to the Profession Award in 2009, ‘I want a city that is diverse and changing.’ (Sell, 2009) The timeline shows that even before The London Plan came into force in 2004, Ken Livingstone already had intentions to develop London in a new way. The Town and County Planning (London Spatial Development Strategy) Regulations in June 2000 paved the way for a development strategy which was to later become the first edition of The London Plan. Published in 2004, this planning document was crucial in what would become the development of the ‘Eastern Cluster’. In Policy I.1 The Mayor’s Objectives, Livingstone sets out the ambition to ‘Achieve an urban renaissance through higher density and intensification in line with public transport capacity, leading to a high quality, compact city, building upon London’s existing urban quality and sense of place.’ (Greater London Authority, 2004)

The construction of The Gherkin established a cluster of high-rise offices that helped the growth of economic activity in the City, London’s financial district. Its ‘planning and design provided a framework for revisions to planning regulations’ (Massey, 2013, p.5-6) and implemented a series of policy interventions, which are depicted in Fig. 1 The timeline shows the emerging planning policy that was crucial to the construction of 30 St Mary Axe, and the subsequent development. It is important to note the correlation between the establishment of the Mayor of London, and the election of Ken Livingstone, a former member of the Labour Party. His first term as mayor was actually run as an Independent, however his hard left ideologies were still apparent in the planning legislation he implemented. Livingstone rejected the views of Prince Charles and the conservative

2002

December 2003

February 2004

Consultation of The London Plan

Planning Permission granted for The Gherkin ref no. 5173K

Unitary Development Plan

Heron Tower planning permission granted

The Gherkin completed

The London Plan is first published

30 St Mary Axe Foster + PartnersWelcomed

180m

high-rise towers within “clusters”

This is explained in greater detail in Chapter 4, Part B of the London Plan and is the most crucial policy in relation to 30 St. Mary Axe setting a precedent for high-rise buildings in the City. Policy 4B.8 is set out in Fig 1.

fact file Address : 30 St. Mary Axe, London Architect : Foster + Partners structural engineer : Arup Planning Granted : 1999 Construction Period : 2001-2003 Height : 180m Floors : 41 Floor Area : 47,950 m Prizes : Stirling prize 2004 2

Emporis Skyscraper Award 2003 London Architecture Biennale Best New London Building

July 1999

2000

4th May 2000

5th June 2000

3rd July 2000

Planning Permission submitted for The Gherkin

The Mayor of London role created

Ken Livingstone elected as first Mayor of London

The Town and County Planning (London Spatial Development Strategy) Regulations guidlines for future London Plan

SPDS comes into force

25th August 2000

Planning Permission granted for The Gherkin ref no. 5173K

May 2001

Consultation of The London Plan

2002

December 2003

February 2004

Unitary Development Plan

Heron Tower planning permission granted

The Gherkin completed

The London Plan is first published

Welcomed high-rise towers within “clusters”

180m 202m

2005

cr e at iv e l a n d m a r k

The first drawing explores the theme in terms of planning; 30 St. Mary Axe established a high-rise cluster in the City of London which helped the growth of the financial district and also provided a framework for revisions to planning regulations.

The advertising April campaign in 2004 April to ‘Back 1992 1993 the Bid’ for the London 2012 Olympic Games features 30 St Mary Axe twice in the series of six posters (Massey, 2013, p.1), demonstrating The Baltic Bishopsgate its recognisability amongst the public as an Exchange IRA IRA bombing important landmark, whilst also demonstrating bombing that ‘London possessed the expertise and daring to handle [the] risk’ (Massey, 2013, p.2) of the Olympic Games, exemplifying the character of the city. It has since become one of the most iconic, recognisable landmarks in Greater London.

The second drawing explores the theme with regards to building regulations; the study focuses on the evacuation policy, and how this was changed and adapted due to contemporary risk factors and counter-terrorism, whilst establishing innovative fire safety strategies.

1970

which had been severely damaged after an IRA explosion in 1992 in a heavily regulated historic preservation zone. The original design proposed The Heron Tower was granted permission in 1996 by Foster + Partners was The Millennium in 2002 which boasts a height of 202m, the Tower (Fig.4) which stood at a height of 386m. Broadgate Tower and the Leadenhall Building It is clear from Fig. 2 that this far exceeded were both granted permission in 2005, with the tower buildings that already existed, and as the former being 164m tall and the latter 225m, a result faced strong opposition from English and then in 2007 planning was granted for 20 Heritage and other conservation organisations. Fenchurch street, with a height of 192m. The The height was significantly reduced to 180m, construction of these buildings all contributed and inDecember 1999, English Heritage’s LAC stopped to the May development of September the financial 2003 2001 2001district, objecting, describing the project as having evident in Fig. 2, in the City now known as the ‘such exceptional architectural interest that ‘Eastern Cluster’. it would be a justifiable replacement for the The Twin 30 St. Mary 30 St. Mary Baltic Axe Exchange.’ (LAC cited in Kufner, 2011, Towers attack completion Axe r e Construction g e n e r at io n p. 148) The granting of planning permission The Gherkin ‘favoured the interests of demonstrates a shift in planning policy with landowners, developers, and multinational regards to conservation, demonstrated by financial services firms over those-Structural of heritage steelEnglish Heritage’s support, and allowed a listed undergoes a resilience conservationists’ (Massey, 2013, p.5) to allow building to be demolished which spurred on the for a ‘catalyst of regeneration’.check The site regeneration of a financial district. -Strengthened housed the former listed Baltic‘bollards’ Exchange,in the plaza

e co n o m ic cl u st e r

-X-ray and metal dector screenings implemented in entrance lobby

1969 St Helen’s Tower 118m

1970 125 Old Broad Street 100m

1972 99 Bishopsgate 104m

1975 150 Leadenhall 83m

1981 Tower 42 183m

1986 Lloyd’s Building 88m

4 1

2007

Leadenhall Building planning granted

20 Fenchurch Street initial planning granted

Policy I.1 The Mayor’s objectives

225m

Initial: 192m

164m

Chapter 4, Part B: Policy 4B.8 Tall buildings The Mayor will promote the development of tall buildings where they create attractive landmarks enhancing London’s character, help to provide a coherent location for economic clusters of related activities and/or act as a catalyst for regeneration and where they are also acceptable in terms of design and impact on their surroundings.

• Achieve an urban renaissance through higher density and intensification... leading to a high quality, compact city

4.56 Tall buildings can be a very efficient way of using land and can make an important contribution to creating an exemplary, sustainable world city… Well-designed tall buildings can also be landmarks and can contribute to regeneration and improve London’s skyline.

Fig. 1 Timeline showing the development of the ‘Eastern Cluster’ in relation to the evolution of planning policy in London

As well as influential factors which helped shape the regulatory framework that emerged in the early 2000s, there were areas of sensitivity with regards to sight-lines and environmental issues. Fig. 3 shows the impact of the London View Management Framework SPG and St Paul’s protected vistas, derived from the Local Plan Core Strategic Policy CS14 and the supplementary ‘Tall Buildings in the City of London Guide 2018’. The LVMF states in policy Policy 7.12 that ‘New development should not harm and where possible should make a positive contribution to the characteristics and composition of the strategic views and their landmark elements.’ (Greater London Authority, 2012, p.14) Taking the factors listed to the right of Fig.3, there is space to the east of the city which is suitable for tall buildings; 30 St. Mary Axe did not disrupt protected vistas, conservation areas or flight paths. It is evident that the Eastern Cluster grew into this space as it squeezes around conservation boundaries, ensuring it does not impede on policy.

Fig. 3 The

smithfield

finsbury circus

2004

In April 1992, the IRA detonated a bomb inside a van which was parked at 28 St. Mary Axe. consequently leaving the listed neo-classical Baltic Exchange, which formed part of the City’s financial sector and would become the development site for 30 St. Mary Axe, severely damaged. (Massey, 2013, p.19) This was the beginning of what would become a conscious effort from architects, engineers and developers in the City to ensure adequate counter-terrorist measures were implemented; the attack ‘precipitated planning and policing studies that led to the creation of the Ring of Steel’ (Massey, 2013, p.19) after a second bombing close by in Bishopsgate a year later. The second half of this study looks at the statutory compliance of 30 St. Mary Axe with regards to its evacuation policy, and how this was changed and adapted due to contemporary risk factors, whilst establishing innovative fire safety strategies. Although in some cases, the security provisions implemented in the building were not uncommon, they ‘were not only determined by City conventions and policies; they were overdetermined by the profiles of the site and the client.’ (Massey, 2013, p.19)

However Foster + Partners designed out this risk; it uses design in a way which still complies with regulations, however at no cost does it let these measures dictate the design concept. The success of the way in which 30 St. Mary Axe deals with risk perhaps also influenced the subsequent London Plan and set a precedent for the proceeding towers of the Cluster. The innovation of 30 St. Mary Axe is evident when each unique element of the building (structure, form, ventilation) also addresses and works in a way to deal with fire safety, evacuation and terrorist threats.

The planning precedent study established the effect and influence 30 St. Mary Axe had on the subsequent planning laws in London, most evidently the London Plan. Within that plan, it addresses terrorism under the Core Strategic Policy CS7: Eastern Cluster, stating in 3.7.6 that the City will ensure the most effective counter-terrorism measures are maintained and enhanced throughout the Eastern Cluster (City of London, 2015, p.76). Standing on a former site targeted by terrorists, and opening in the wake of 9/11, as one of the tallest buildings in the City and the first tower to be built since the 1970s, it became a potential target itself, and could have easily succumbed to disruptive security measures and a re-think of its accessibility to the public.

The mixed-mode ventilation of 30 St. Mary Axe is an important design feature that not only works as its original intention, but also plays a crucial role in the fire safety of the building. By not utilising a central HVAC system, and instead relying on the external cladding through individual vents in the window coursing on every floor (Fig 2.), which heat or cool the air using water pipes, it ‘eliminates the risk that a chemical or biological attack will travel through centralised air handling systems’ (Massey, 2013, p.18) In Approved Document B1 5.46, it states that mechanical ventilation and air-conditioning systems should be designed so as to not assist in transferring fire and smoke through the building. (HM Government, 2010) The fact that 30 St. Mary Axe utilises a mixed-mode method of ventilation significantly reduces this chance, with the unique means of ventilation through the window coursing reducing the distribution of smoke through the building.

• Achieve an urban renaissance through higher density and intensification... leading to a high quality, compact city

April 1992

April 1993

The Baltic Exchange IRA bombing

Bishopsgate IRA bombing

May 2001

December 2003

September 2001

30 St. Mary Axe completion

The Twin Towers attack

30 St. Mary Axe Construction

-Structural steel undergoes a resilience check -Strengthened ‘bollards’ in the plaza -X-ray and metal dector screenings implemented in entrance lobby

One of the most distinct design features of 30 St. Mary Axe is its diagrid structure (Fig. 1), referencing Buckminster Fuller’s spaceframes. to resilience and the threat of terrorism, post 9/11, after the steel had been ordered and the pilings sunk, a resilience check was performed on the building. It was concluded that the diagrid structure would survive an airplane impact without collapsing (Massey, 2013, p.18). Approved Document B, B3.ii states that the fire resistance of an element of construction is a measure of its ability to withstand resistance to collapse, i e. to maintain the load bearing capacity (HM Government, 2010). The use of steel in highrise construction is prevalent and has had extensive fire testing, coupled with the diagrid structure, the likelihood of the collapse of the building is very slim. The lateral stability of the diagrid ensures that if part of the steel is damaged, fails or collapses, then as a result of5its structural redundancy, the building should remain structurally stable. In addition to this, the curve of the building and Compartment its ability to deflect wind would consequently reduce the impact of a blast coming from a neighbouring building. Compartment 6 With regards

Fig. 1 Diagrad structure

Compartment 4

Compartment 3

Compartment 8 Compartment 2

Compartment 8 30 St. Mary

Axe also deploys a method of phased evacuation in its fire safety strategy (Fig. 5). The building is divided into compartments every six floors above 30 meters, complying Compartment 7 with Approved Document B3 8.18.b. This allows a systematic approach to evacuation whereby the floor that is most at risk can be evacuated first, ensuring6 a complete control Compartment of the flow of people in the building and therefore panic and overcrowding. Smoke curtains are also deployed, as seen in Fig. 4, isolating each compartment by enclosing Compartment 5 the atriums at each floor, preventing the spread of fire and smoke.

Compartment 1

City of London 1:10000

Compartment 7

Compartment 6

Compartment 5

Compartment 4

bishopsgate

Atrium smoke curtains

Compartment 4

Horizontal escape route

Vertical escape route

guildhall 2004 7 30 St. Mary Axe 180m

bank

Compartment 3

Compartment 2 Fig. 2 Natural ventilation method

20m Compartment 2

30m

20m Compartment 1

2008

2008 The Willis Building 125m

2011 Heron Tower 202m

Temples

Compartment 1

30 St. Mary Axe St. Paul’s Cathedral 30m

2014 10 20 Fenchurch Street 160m

10 8

Section 3.7.5 of the City of London Local Plan 2015 states ‘An increased concentration of tall building development in the Eastern Cluster could exacerbate the problem associated with wind turbulence’ and that suitable amendments to schemes should be made to eradicate any problems. It is evident to see from Fig. 4 that the initial design by Foster + Partners for the Baltic Exchange site was a 386m tower, which continued its relatively square plan to its top, without tapering. The wind turbulence generated at ground level would have been far too great, therefore the project eventually developed its circular plan. This form leads to a much smaller downdraft effect and the lack of square corners slows down wind speeds.

2018 The Scalpel 190m

13 2019

100 Bishopsgate 172m

2019 14 70 St. Mary Axe 90.5m

12 14

2019 15 22 Bishopsgate 278m

2019

2021 16 6-8 Bishopsgate 203.7m 13

2021+

Fig. 2 Timeline of high-rise development in the Eastern Cluster, highlighting 30 St. Mary Axe as a pivotal moment since the 1970s for high-rise construction within central London

180m 150m

2021+ 1 Undershaft 310m

The Millennium Tower (proposed) 1996 - Foster & Partners

Airport Safeguarding Area St Paul’s Heights Policy Area Conservation Area LVMF Protected Vista Viewing Corridors LVMF Protected Vista Assessment Areas

Heathrow Safeguarding Height

386m

20m

The Eastern Cluster

2014 15

Fig. 5 Phased evacuation method

The City of London

2014 The Leadenhall Building 225m

30 St. Mary Axe 2004 - Foster & Partners

The Local Plan Core Strategic Policy CS14 states that any proposals over 150m in the Airport Safeguarding Area have to be consulted with Heathrow. (City of London, 2015,p.121) As indicated in Fig. 3, the site for the Millennium Tower falls within this zone, and a major reason for its objection was due to the disruption it would cause flight paths because of its extreme height.

The circular plan of 30 St. Mary Axe is not only beneficial with regards to environmental factors, but ‘by pulling away from its irregular property lines, the tower achieved almost perfect formal autonomy from its context’ (Massey, 2013, p.17), and in this sense allows a public realm to emerge, whilst still being accessible and welcoming to the public. This is achieved through the landscaping of low walls and planters acting as bollards, (Fig. 3) with the area of the plaza itself allowing clear sightlines for video surveillance and providing protective distance to reduce the effect of a potential bomb blast. (Massey and Weigand, 2013) 4

Fire exits leading off escape stairs

Landscaping ‘bollards’

Entrance lobby security checkpoint

In addition, each storey has access to two escape stairs, which complies with Approved Document B 3.3, and two firefighting lifts, adhering to 30m Smoke curtains are in place B5.i.b. on the perimeter of the atrium on 20m every floor, compliant with BS 8524, to prevent the spread of smoke and to protect the open plan escape route.

20m 5

20m

20m 30m 20m 15m

15m 20m

30m

20m

Figure 4 describes the means for which 30 St. Mary Axe deals with horizontal evacuation and its circular plan. It ensures that travel distances are kept to a minimum, never exceeding the Approved Document B recommended maximum of 45m where travel is possible in more than one direction (HM Government, 2010).

5 16th Floor Plan

Fig. 3 Ground Floor Plan and Plaza

20m

33rd Floor Plan

Fig. 4 16the and 33rd Floor Plans showing compliance with minimum travel distances and evacuation stairs, with dashed line indicating atrium fire curtains.

20m

Fig. 4 Comparative wind turbulence between proposed and actual design of the Baltic Exchange site

20m

15m

15m 20m 30m 20m

ARB General criteria 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

Broadgate Tower planning permission granted

Policy I.1 The Mayor’s objectives

202m

This study investigates 30 St. Mary Axe and its pivotal role in re-shaping the City of London skyline, acting as precedent for the development of the ‘Eastern Cluster’, whilst also establishing a unique approach to counter-terrorism.

Compartment 7 Broadgate Tower planning permission granted

Objective 1: To accommodate London’s growth within its boundaries without encroaching on open spaces (see Chapter 2).

There are three key phrases from Policy 4B.8 that establish 30 St Mary Axe as the precedent for this legislation: firstly ‘creative landmarks enhancing London’s character’, secondly ‘coherent location for economic clusters’ and lastly a ‘catalyst for regeneration’.

2005

Objective 1: To accommodate London’s growth within its boundaries without encroaching on open spaces (see Chapter 2).

Compartment 8

The Millenium Tower proposition

2002

May 2001

Harriet Garbutt and Bulat Gafurov

1996

25th August 2000

30m 20m

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

20m

15m

15m 20m

200

Leaden Buildi planni grante

164m

Chapter 4, Part B:

Policy 4B.8 Tall buil

The Mayor will prom buildings where they enhancing London’s c coherent location for activities and/or regeneration and wher terms of design and i

4.56 Tall buildings c using land and can m to creating an exempl world city… Well-desi be landmarks and can c improve London’s skyl

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

regulatory drawing \ planning

1970 2

‘I don’t want uniformity... I want a city that is diverse and changing.’

In July 2000, a new governing body, The Greater London Authority, was established; with this change came the formation of a new role that would shape the planning of London for the foreseeable future, the Mayor of London. The first part of the study sets out a political timeline in relation to emerging planning policy, whilst also taking into consideration sensitive planning issues, such as protected vistas and environmental issues, that established 30 St. Mary Axe as a main precedent with regards to the growth of high-rise buildings in the City of London. The construction of The Gherkin established a cluster of high-rise offices that helped the growth of economic activity in the City, London’s financial district. Its ‘planning and design provided a framework for revisions to planning regulations’ (Massey, 2013, p.5-6) and implemented a series of policy interventions, which are depicted in Fig. 1 The timeline shows the emerging planning policy that was crucial to the construction of 30 St Mary Axe, and the subsequent development. It is important to note the correlation between the establishment of the Mayor of London, and the election of Ken Livingstone, a former member of the Labour Party. His first term as mayor was actually run as an Independent, however his hard left ideologies were still apparent in the planning legislation he implemented. Livingstone rejected the views of Prince Charles July 1999

4th May 2000

2000

5th June 2000

3rd July 2000

Planning Permission submitted for The Gherkin

The Mayor of London role created

Ken Livingstone elected as first Mayor of London

The Town and County Planning (London Spatial Development Strategy) Regulations guidlines for future London Plan

SPDS comes into force

and the conservative approach towards developing London, and instead encouraged change; ‘I don’t want uniformity’, he states in the Architects’ Journal, when presented with the AJ100 Greatest Contribution to the Profession Award in 2009, ‘I want a city that is diverse and changing.’ (Sell, 2009) The timeline shows that even before The London Plan came into force in 2004, Ken Livingstone already had intentions to develop London in a new way. The Town and County Planning (London Spatial Development Strategy) Regulations in June 2000 paved the way for a development strategy which was to later become the first edition of The London Plan. Published in 2004, this planning document was crucial in what would become the development of the ‘Eastern Cluster’. In Policy I.1 The Mayor’s Objectives, Livingstone sets out the ambition to ‘Achieve an urban renaissance through higher density and intensification in line with public transport capacity, leading to a high quality, compact city, building upon London’s existing urban quality and sense of place.’ (Greater London Authority, 2004) This is explained in greater detail in Chapter 4, Part B of the London Plan and is the most crucial policy in relation to 30 St. Mary Axe setting a precedent for high-rise buildings in the City. Policy 4B.8 is set out in Fig 1.

25th August 2000

May 2001

2002

December 2003

Consultation of The London Plan

Planning Permission granted for The Gherkin ref no. 5173K

Unitary Development Plan Welcomed high-rise towers within “clusters”

Heron Tower planning permission granted

IRA bombing

ARB General criteria

Axe Construction

Towers attack

Axe completion

-Structural steel undergoes a resilience check -Strengthened ‘bollards’ in the plaza -X-ray and metal dector screenings implemented in entrance lobby

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

The Gherkin completed 180m

202m

Fig. 3 shows the impact of the London View Management Framework SPG and St Paul’s protected vistas, derived from the Local Plan Core Strategic Policy CS14 and the supplementary ‘Tall Buildings in the City of London Guide 2018’. The LVMF states in policy Policy 7.12 that ‘New development should not harm and where possible should make a positive contribution to the characteristics and composition of the strategic views and their landmark elements.’ (Greater London Authority, 2012, p.14) Taking the factors listed to the right of Fig.3, there is space to the east of the city which is suitable for tall buildings; 30 St. Mary Axe did not disrupt protected vistas, conservation April 1992 December 2003 May 2001 September 2001 areas or flight paths.AprilIt1993is evident that the Eastern Cluster grew into this space as it squeezesThearound conservation boundaries, ensuring it does not impede on policy. Baltic Bishopsgate The Twin 30 St. Mary 30 St. Mary Exchange IRA bombing

1970 125 Old Broad Street 100m

1972 99 Bishopsgate 104m

1975 150 Leadenhall 83m

1981 Tower 42 183m

1986 Lloyd’s Building 88m

2005

February 2004

2005

The London Plan is first published

Broadgate Tower planning permission granted

Policy I.1 The Mayor’s objectives

20 Fenchurch Street initial planning granted

225m

Initial: 192m

smithfield

finsbury circus

• Achieve an urban renaissance through higher density and intensification... leading to a high quality, compact city

bishopsgate

7 7

2004 30 St. Mary Axe 180m bank

2008

Temples

2008 8 The Willis Building 125m

30 St. Mary Axe

2011 Heron Tower 202m

2014 20 Fenchurch Street 160m

2014 The Leadenhall Building 225m

St. Paul’s Cathedral The City of London The Eastern Cluster Section 3.7.5 of the City of London Local Plan 2015 states ‘An increased concentration of tall building development in the Eastern Cluster could exacerbate the problem associated with wind turbulence’ and that suitable amendments to schemes should be made to eradicate any problems. It is evident to see from Fig. 4 that the initial design by Foster + Partners for the Baltic Exchange site was a 386m tower, which continued its relatively square plan to its top, without tapering. The wind turbulence generated at ground level would have been far too great, therefore the project eventually developed its circular plan. This form leads to a much smaller downdraft effect and the lack of square corners slows down wind speeds.

2014 12

2018 The Scalpel 190m

13 2019

100 Bishopsgate 172m

14 14 15

2019 70 St. Mary Axe 90.5m 2019 22 Bishopsgate 278m 386m

Policy 4B.8 Tall buildings The Mayor will promote the development of tall buildings where they create attractive landmarks enhancing London’s character, help to provide a coherent location for economic clusters of related activities and/or act as a catalyst for regeneration and where they are also acceptable in terms of design and impact on their surroundings.

17 16

2021 6-8 Bishopsgate 203.7m

180m 150m

2021+

Fig. 2 Timeline of high-rise development in the Eastern Cluster, highlighting 30 St. Mary Axe as a pivotal moment since the 1970s for high-rise construction within central London

2021+ 1 Undershaft 310m

The Millennium Tower (proposed) 1996 - Foster & Partners

Airport Safeguarding Area St Paul’s Heights Policy Area Conservation Area LVMF Protected Vista Viewing Corridors LVMF Protected Vista Assessment Areas

Heathrow Safeguarding Height

Chapter 4, Part B:

Fig. 1 Timeline showing the development of the ‘Eastern Cluster’ in relation to the evolution of planning policy in London

City of London 1:10000

guildhall

2019 Objective 1: To accommodate London’s growth within its boundaries without encroaching on open spaces (see Chapter 2).

Design Report

Fig. 3 The

2007

Leadenhall Building planning granted

164m

Studio B

2004

12 The Millenium Tower proposition

1969 St Helen’s Tower 118m

13 1996

Ken Livingstone

AMPL

30 St. Mary Axe 2004 - Foster & Partners

Fig. 4 Comparative wind turbulence between proposed and actual design of the Baltic Exchange site

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

Compartment 8

regulatory drawing \ building regulations 1996

In April 1992, the IRA detonated a bomb inside a van which was parked at 28 St. Mary Axe. consequently leaving the listed neo-classical Baltic The Millenium Exchange, which formed part of the City’s financial sector and would Tower proposition become the development site for 30 St. Mary Axe, severely damaged. (Massey, 2013, p.19) This was the beginning of what would become a conscious effort from architects, engineers and developers in the City to ensure adequate counter-terrorist measures were implemented; the attack ‘precipitated planning and policing studies that led to the creation of the Ring of Steel’ (Massey, 2013, p.19) after a second bombing close by in Bishopsgate a year later. The second half of this study looks at the statutory compliance of 30 St. Mary Axe with regards to its evacuation policy, and how this was changed and adapted due to contemporary risk factors, whilst establishing innovative fire safety strategies. Although in some cases, the security provisions implemented in the building were not uncommon, they ‘were not only determined by City conventions and policies; they were overdetermined by the profiles of the site and the client.’ (Massey, 2013, p.19) The planning precedent study established the effect and influence 30 St. Mary Axe had on the subsequent planning laws in London, most evidently the London Plan. Within that plan, it addresses terrorism under the Core Strategic Policy CS7: Eastern Cluster, stating in 3.7.6 that the City will ensure the most effective counter-terrorism measures are maintained The circular plan of 30 St. Mary Axe is not only beneficial with regards to environmental factors, but ‘by pulling away from its irregular property lines, the tower achieved almost perfect formal autonomy from its context’ (Massey, 2013, p.17), and in this sense allows a public realm to emerge, whilst still being accessible and welcoming to the public. This is achieved through the landscaping of low walls and planters acting as bollards, (Fig. 3) with the area of the plaza itself allowing clear sightlines for video surveillance and providing protective distance to reduce the effect of a potential bomb blast. (Massey and Weigand, 2013) 4

Landscaping ‘bollards’

Entrance lobby security checkpoint

4th May 2000

2000

5th June 2000

3rd July 2000

25th August 2000

May 2001

2002

and enhanced throughout the Eastern Cluster (City of London, 2015, p.76). Standing onKen a former site targeted SPDS by terrorists, and opening in theUnitary Planning Consultation The Town and comes Planning The Mayor of Permission of The London Development Permission Livingstone County Planning into in force role wake of London 9/11, as one of the tallest buildings the City and the first tower submitted Plan Plan granted for elected as (London Spatial created for The first Mayor Development The Gherkin to be built since the 1970s, it became a potential target itself, and could Gherkin of London Strategy) ref no. 5173K Welcomed Regulations have easily succumbed to disruptive security measures and a re-think ofhigh-rise guidlines for towers future London its accessibility to the public.PlanHowever Foster + Partners designed outwithin “clusters” this risk; it uses design in a way which still complies with regulations, however at no cost does it let these measures dictate the design concept. The success of the way in which 30 St. Mary Axe deals with risk perhaps also influenced the subsequent London Plan and set a precedent for the proceeding towers of the Cluster. The innovation of 30 St. Mary Axe is evident when each unique element of the building (structure, form, ventilation) also addresses and works in a way to deal with fire safety, evacuation and terrorist threats. April 1992

April 1993

The Baltic Exchange IRA bombing

May 2001

Bishopsgate IRA bombing

December 2003

September 2001

The Twin Towers attack

30 St. Mary Axe Construction

30 St. Mary Axe completion

20m 20m -Structural steel undergoes a resilience check -Strengthened ‘bollards’ in the plaza -X-ray and metal dector screenings implemented in entrance lobby

Heron Tower planning permission granted

December 2003

The Gherkin completed 180m

202m

5 4

20m 20m

1 5

The London Plan is first published

Broadgate Tower planning permission granted

Policy I.1 The Mayor’s objectives

feature that not only works as its • Achieve an original intention, but renaissance also plays a through crucial role in the fire safety densityof the building. By not utilising aintensification... central HVAC to a high quality, system, and instead relying on the city external cladding through individual vents in the window coursing on every floor (Fig 2.), which heat or cool the air using water pipes, it ‘eliminates the risk that a chemical or biological attack will travel through centralised air handling systems’ (Massey, 2013, p.18) In Approved Document B1 5.46, it states that mechanical ventilation and air-conditioning systems should be designed so as to not assist in transferring fire and smoke through the building. (HM Government, 2010) The fact that 30 St. Mary Axe utilises a mixed-mode method of ventilation significantly reduces this chance, with the unique means of ventilation through the window coursing reducing the distribution of smoke through the building.

20m Fig. 4 16the and 33rd Floor Plans showing compliance with minimum travel distances and evacuation stairs, with dashed line indicating atrium fire curtains.

2005

February 2004

In addition, each storey has access to two escape stairs, which complies with Approved Document B 3.3, and two firefighting lifts, adhering to B5.i.b. Smoke curtains are in 30mplace on the perimeter of the atrium on every floor, compliant 20m with BS 8524, to prevent the spread of smoke and to protect the open plan escape route.

2005

Leadenhall Building planning granted

164m

Objective 1: To accommodate London’s growth within its boundaries without The mixed-mode ventilation of 30 encroaching on open spaces (see Chapter St. Mary Axe is an important design 2).

30m

urban higher and leading compact

225m

Chapter 4, Part B:

2007 Compartment 7

One of the most distinct design features of 30 St. Mary Axe is its diagrid structure (Fig. 1), referencing Buckminster Fuller’s spaceframes. With regards to resilience and the threat of terrorism, post 9/11, after the steel had been ordered and the pilings 20 Fenchurch Street initial sunk, a resilience check was performed on the building. It was concluded that the diagrid structure would survive an airplane planning Compartment impact6 without collapsing (Massey, 2013, p.18). Approved Document B, B3.ii states that the fire resistance of an element granted of construction is a measure of its ability to withstand resistance to collapse, i e. to maintain the load bearing capacity (HM Government, 2010). The use of steel in high-rise construction is prevalent and has had extensive fire testing, coupled with the Initial: diagrid structure, the likelihood of the collapse of the building is very slim. The lateral stability of the diagrid ensures that if part 192m of the steel is damaged, fails or collapses, then as a result of its structural redundancy, the building should remain structurally stable. In addition to this, the curve of the building and its ability to deflect wind would consequently reduce the impact of a blast coming from a neighbouring building. Compartment 5

Policy 4B.8 Tall buildings The Mayor will promote the development of tall buildingsFig. where they structure create attractive landmarks 1 Diagrad enhancing London’s character, help to provide a coherent location for economic clusters of related 4 activities and/or act as a catalyst Compartment for regeneration and where they are also acceptable in terms of design and impact on their surroundings. 4.56 Tall buildings can be a very efficient way of using land and can make an important contribution to creating an exemplary, sustainable world city… Well-designed tall buildings can also be landmarks and can contribute to regeneration and Compartment 3 improve London’s skyline.

Compartment 8

Compartment 8 Compartment 2

30 St. Mary Axe also deploys a method of phased evacuation Compartment 1 in its fire safety strategy (Fig. 5). The building is divided into Compartment 7 compartments every six floors above 30 meters, complying with Approved Document B3 8.18.b. This allows a systematic approach to evacuation whereby the floor that is most Compartment at risk can6 be evacuated first, ensuring a complete control of the flow of people in the building and therefore panic and overcrowding. Smoke curtains are also deployed, as seen in Fig. 4, isolating each Compartment 5 compartment by enclosing the atriums at each floor, preventing the spread of fire and smoke.

Compartment 7

Compartment 6

Compartment 5

Compartment 4

Atrium smoke 1 Compartment 4 curtains 2

Horizontal escape route

Vertical escape route

Fire exits leading off escape stairs

July 1999

30m

Compartment 3

20m 20m

Compartment 2 Compartment 2

15m

4 5

30m Compartment 1

Compartment 1

15m 20m

30m 20m

16th Floor Plan

Fig. 3 Ground Floor Plan and Plaza

20m

33rd Floor Plan

Fig. 2 Natural ventilation method

Fig. 5 Phased evacuation method

20m

30m

ARB General criteria

ARB Graduate attributes

15m 20m

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 30m

20m

15m 20m

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

AMPL exam completed with Bulat Gafurov question 1 / appointment and insurance We have just received a proposed, appointment document from the lawyers acting for the Leith Community Benefit Trust. It is full of legal jargon but they want us to sign it by return, saying we can sort out the details later. One of the items asks us to ensure that we will successfully obtain planning permission for the development, despite the fact that they now want us to revise the scheme to include the demolition of the existing A listed crane which sits partly on the site and include a café/ restaurant which was not included in our competition winning design? It seems the project will be covered by a collateral warranty. What can we compare this proposed appointment with to see whether it seems fair and reasonable and what else should we do before signing? The appointment also asks some questions about our professional indemnity insurance policy, which we put in place last week. The premiums are really low which is great! Much cheaper than the RIAS or the RIBA! I have checked the indemnity policy and can confirm that our policy has an aggregate limit of £250,000.00. The providers have confirmed there is no need for an ‘Innocent Non-Disclosure Clause’. I also asked them about the proposed collateral warranty but they said the policy would not cover specific third party agreements. Can you please take a look at this and send me your thoughts before I sign the appointment document?

Before singing the contract, both Three G architects and the client need to establish the project details and services to be provided, the procurement method of the project, an approximate construction cost and the timetable of the project. These details need to be set out clearly in writing, by us the architects, and state our terms and conditions of engagement, along with how we will calculate the fees and expenses payment. The ARB states in Standard 8 of the Architects Code that as a practice we are expected to have adequate and appropriate insurance cover for ourselves, the practice and our employees and that it is able to meet a claim whenever it is made. The Board recommends that the minimum limit of indemnity should be £250,000 for each claim, however you have stated that the aggregate limit is £250,000, meaning that will be the maximum amount that an insurer will pay, perhaps we therefore need to look into RIAS as a provider to ensure we meet the minimum requirements. In addition to this, it might be better to seek insurance from the RIBA Insurance Agency as its main PI policy includes an ‘Innocent Non-Disclosure’ clause in order to protect the architect in an event of accidental non-disclosure of claims. If we continue with the policy you have suggested without an ‘Innocent Non-Disclosure’ clause, then the insurers have the potential to significantly reprimand us on grounds of us failing to reveal a relevant fact, whether accident or not. Therefore to avoid any miscommunications and a potential financial hit, it would be best to include one within our agreement. With regards to collateral warranty, it is important that a clause is included in the policy that acknowledges the third party, as the architect’s right to contribution can be protected by stating that claims made under the warranty will only be valid provided all consultants have entered warranties at the same time in similar terms.

question 1 / answer Three G Architects recommend comparing the proposed appointment document with the RIBA Standard Agreement 2010 (2012 revision), which is regularly updated to take account of any changing legal and economic circumstances. The document is a useful reference as it ensures that any misunderstandings or disputes can be avoided, defines fees and any provisions for payment, establishes a fair and reasonable allocation of risks between client and architect, provides clarity and protection for both parties, incorporates standard industry practices in a legal agreement and complies with RIBA and ARB code of conduct requirements. With regards to ensuring that we will successfully obtain planning permission for the development, despite the revision of the scheme, the RIBA Standard Agreement 2010 states that under Obligations and Authority of the Client, the Client should acknowledge that the Architect does not warrant that planning permission and other approvals from third parties will be granted at all. Therefore it is important for you to compare the appointment document to the RIBA Standard Agreement to ensure that was the client’s lawyers are detailing are fair and reasonable, as there may be other instances, perhaps with regards to fees etc, that the lawyer has overlooked. It is important that the appointment document complies with both Standard 4 of the ARB’s Code of Conduct 2010 and Guidance Note 4 of the RIBA Code of Professional Conduct.

References: ‘Starting a Practice - Plan of Work’ Simon Foxwell RIBA ‘Appointment Contracts RIBA Agreements 2010 (2012 revision)’ - An Overview of the RIBA Appointment Agreements - Presentation ‘It’s Useful to Know’ June 2015 - RIBA Document RIBA Architects Handbook of Practice Management

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

question 2 / planning for future business

Business Potential

We would like to make a pitch to a bank for some additional start-up funding to see us through the first year until as we hope, regular fees start to come in after the completion of the Leith ‘Ideas Store’ commission.

Having started with Edinburgh as our main market area, the practice sees opportunity in roughly 3-5 years time to expand to other cities in Scotland, such as Glasgow. As the practice constitutes architects graduating from the University of Edinburgh, we are deeply conscious with regards to the geographical context of Scotland and in particular local communities.

Can you please prepare an outline summary business plan which considers questions the bank is likely to ask in relation to our start-up? Please provide a short paragraph on relevant content in each of the business plan sections proposed. I am told it has to include a SWOT analysis and set out our USPs for winning work in a competitive environment.

Three G Architects won its first commission working with Leith Community Benefit Trust and sees its future commissions as potential cultural, public and community buildings.

question 2 / answer [summary]

Before setting up the practice, we thought thoroughly about potential clients. We compiled our previous work experience, some undergoing a longer period than others, and discussed whether past clients may be of help in recommending us. There was clear desire from past clients for new, innovative architectural practices, which we believe Three G Architects are. Alongside past client recommendations, we wish to work with local councils and community organisations.

The Company \ Three G Architects We are three, recently qualified Part 3 architectural students from Edinburgh who are looking for additional start-up funding for our new practice, which has recently won an architectural competition organised by RIAS. We are looking for funding to help aid us through our first year, until regular fees start to come in, after the completion of the competition commission.

The practice was already exposed to potential competitors after winning the RIAS commission: other local, small-scale firms who had been established a few more years than Three G. However this gave us great opportunity to get to know their work, and provide potential future collaborators, along with honing the strengths of the company and working on any weaknesses that arose from the competition.

We are currently working with Leith Community Benefit Trust, and for the foreseeable future, would like to stay working in Edinburgh and attain local clients. Longer term goals would include expanding the practice and perhaps establishing clients in Glasgow and Aberdeen, focusing on community projects.

USPs:

Strengths:

Weaknesses:

Opportunities:

Threats:

-Not long finished university, therefore still very creative and uses youth to an advantage in this sense -Bulat has had several years prior experience of working in the construction industry -There is a diverse range of skills between the three of us - Harriet utilises her skills in representation; Bulat is very efficient with BIM modeling -We have good local knowledge as we have lived in Edinburgh for a few years and have been involved in various events that local councils/organisations have put on -All three of us have a very hard working ethic, proven by our dedication and investment into our architectural education -We all have a very active online presence personally and as a practice

-No previous experience of running a business -The first live project we have worked on as a team - still establishing our roles within the group -Very little income currently as we are still establishing ourselves as a practice -Our office is not in the best location, due to higher rent costs in the city centre

-Interest for the practice derived from press and media attention following the completion of the ‘Ideas Store’ -Good relationships with local press due to Harriet being an editor on the student architecture magazine -Establishing a good working relationship with the contractor on the RIAS commission - could lead to recommending future clients -Have been invited by ESALA to give a talk about the competition win and opportunities available to graduates

-We are still a very new practice, therefore more established firms get a lot of the work available in the area -Only able to pursue projects in Edinburgh currently, due to practice size and facilities, therefore unable to compete with nation-wide projects -Conservation officers very adverse to modern/new ideas in Edinburgh - may struggle to an extent with receiving planning permission for future projects -Not enough funds to see us through the year - therefore applying for additional funding

ARB General criteria 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

-Three G Architects consist of highly skilled, determined architects, who have a great experience of working as a team, and will provide a high standard of architectural design.

-Three G Architects use innovative design technologies such as BIM (Building Information Model), which allows us to achieve high productivity rate and reduce human errors during the design.

-We provide innovative design solutions, due to not long having left university and retaining our creativity, and have a focus on research-based design due to our interest in existing contexts.

-As a result, we produce highly detailed 3D models of a project and therefore enabling the client to have a better understanding of what we are proposing.

-We believe this will help with achieving planning permission and bring new clients to a project.

-The practice has also had experience using Virtual Reality, and we feel this will attract interest and potential clients as it is still a relatively new piece of technology.

Business Arrangements The company structure is a Limited Liability Partnership, chosen due to its flexibility of the practice’s internal structure and the ability to share out management amongst the partners. Ownership is shared equally between the founding member and the two associate members. An LLP ensures contentment across members in their decision for equal ownership as each partner is liable for their own misconduct. In addition to this, an LLP is a separate legal body fro the partners of the company, and therefore any legal claims being made can only be made against the LLP, protecting its members from any potential lawsuits. Currently there are three establishing members of Three G Architects, however we wish in 5 years to expand this practice to a team nearing 10, including 2 more associates, and several project architects and architectural assistants. and establish a better facilitated office in the centre of Edinburgh. This will enable us to take on more work and to seek out projects in other parts of Scotland.

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

architectural design studio b / city fragments: palermo institutions brief Summary [written by christopher french] The brief for Palermo Institutions (Act 2) is to design and detail a complex building project to a high level of resolution to enable an articulation of architecture and technology. We have called this building project an Institution; the design of your Institution (its programme, siting, materiality, tectonics, etc.) should be considered part of the thesis you have been developing through the Drawing Room(s) and Palermo Institutions (Act 1). While the Drawing Room(s) were individual projects conceived within groups (operating in productive dissensus) your Palermo Institutions will be collaborative. These will be complex buildings, which will have multiple parts and multiple programmes but that will share theses. Working together will allow you to explore these theses in greater detail, and bring greater resolution to the Institution. As buildings, your Institutions will be considerably more spatially and organisationally complex than your Drawing Room(s). They will be programmatically diverse, novel and hybrid.

outcomes [Taken from handbook]

LO 1

LO 2

LO 3

LO 4

GC 1.1,1.3, 2.3, 3.3, 4.2, 5.1, 5.3, 6.3, 7.2, 7.3

A sophisticated approach to the programmatic organisation, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts).

GC 1.2, 1.3, 7.1, 7.3, 8.1, 8.2, 9.1, 9.2, 9.3, 10.3

A knowledge of how to develop 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.

GC 11.2, 5.2, 8.3, 9.1, 9.2, 9.3

An understanding of the issues relating to the question of sustainability, and its concomitant architectural, technological, environmental and uban strategies.

GC 1.1, 3.3

Studio C

MArch 1

ATR

Studio D

SCAT

the syncretic city palermo a syncretic history Palermo is a city which has been influenced and infiltrated by multiple cultures, religions and empires over its lifetime; one only has to glance at the Cattedrale di Palermo to see the diversity of the city and its Greek, Norman, Moorish and Baroque impresisons. The city was founded by the Phoenicians in 734 BC as Ziz, and colonised by the Ancient Greeks, who knew it as Panormus, meaning sheltered or complete harbour. It was subsequently sacked and besieged by multiple civilisations until 965m when it was ruled by the Arab empire and renamed Bal’harm, which we know today as Palermo. This rule ended in 1072 when the city fell to the Normans and became the most populous city in Europe. After centuries of colonisation, General Garibaldo took over Palermo and in 1861 it became part of Italy.3

Design Report

The Syncretic city defines ‘syncretism’ as bringing distinct functions into relation with one another, whether that be cultural, religious, governmental or geological, to provide for a cultural sustainability and a productive, working cityscape. Over the lifetime of Palermo, from 734 BC to modern day, the spaces in the city have been adapted, manipulated and re-shaped by the time-line of cultural wealth, which has moulded into a syncretic civilisation.

Landscape offers a terrain to sustain the growth and cultivation of the Garden to provide for our working industries. These gardens form part of a network of island sites which drift, much like the pollen, across Il Capo, housing irrigation systems, water harvesting and storage, permaculture gardens, dyeing baths and vats, botanical and agricultural archives and silk weaving. Hindu culture (the ‘Kitchen Religion’) manifests itself in the kitchen typologies that appear from the dye and pigment extraction, to the almost pantry-like archiving of legumes and other vegetation. Moments of Islamic culture re-emerge through the weaving of silk, a fabric which can only be worn by women, and the careful, almost sacred, treatment of water within the programme.

Pal erm o m os q ue

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

Studio B

Colour inhabits this syncretism; in Islam, the prayer mat is woven with images of the Garden of Paradise in greens, reds and golds. In Hinduism colour is symbolic, representing specific feelings and morals. This colour manifests itself in a yellow pollen which drifts across the city, derived from the ancient Arabic Conca d’Oro Basin, and settles on the landscape, forming our Gardens. For both religions the garden is central; plants and vegetables are cultivated to produce dyes for the textiles of Islam, and food and spice for the ceremonials of Hinduism.

The Syncretic city seeks to bring a level of craftsmanship and artisanal working to the community of Il Capo, whilst establishing a practice which no longer forces non-ecclesiastical religions to the periphery.

ARB General criteria

AMPL

Image by Delfino Sisto Legnani

3. French, Christopher. 2018. “City Fragments: Palermo Institutions”. Studio Brief. Edinburgh.

Studio G

Source: https://www.e-flux.com/architecture/ positions/211592/pandora-s-box/

The city is built on many cultures and celebrates multiple religions and histories; Santa Rosalina, the patron saint of Palermo, is common to several faiths, and its namesake feast is a celebration of religious integration. However, Catholicism is the only recognised religion, and it is prohibited to build places of worship if not of ecclesiastical use. As a result of this, mosques and temples occupy shopfronts and garages; spaces are retrofitted to conform with the orthodoxies of their respective faiths. This has led to particular practices and appearances of symbols and iconography in Palermo; shrines appear alongside everyday objects and practices of faith are folded into everyday space. The city has a history of religious migration, and expulsion, from the integration of Islamic and Christian practices under Norman rule, to the expulsion of Jews in 1492 to their recent reintegration in the city (in an old oratory repurposed as a synagogue).

The Syncretic city: gardens of procession, withdrawal and sustenance proposes to develop spaces that will support further migrations. Through a series of proposals for syncretic spaces (spaces that align religious practices and also, programmatically, bring distinct functions into relation) it provides supports for productive practices. It explores spatial typologies of the monastery (the space of withdrawal from the world), the cloister (the space of contemplation of the world) and the garden (the space that sustains the world), the convent and the commune, as means of bringing spaces of Catholicism into new syncretic (urban) use.

MArch 2

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city il capo the market district Seralcadio, the north-western district of historic Palermo, most commonly known as Il Capo due to the Mercato del Capo, a market which runs the length of Via Cappuccinelle, derives its name from the sari-al-qadĂŹ (street of the KadĂŹ) dating back to the Arabic rule in the 7th Century.2 The market itself is accessed through the Porta Carini to the north of the Palermo, one of the oldest gates in the city. Once through, the Mercato del Capo greets you with its shouting, haggling and bustling of a souk-like street market, selling goods from food, to clothes to furniture. Its vibrancy and colour seeps its way south into the centre of Il Capo, where The Syncretic city emerges.

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

ARB General criteria 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

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

mercato del capo

il capo market

Young man selling textiles along Via Beati Paoli

Seasonal local swordfish for sale

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

ARB General criteria 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

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

il capo market

Squid for supper

Awnings and aubergines

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

MArch 1

Studio C

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city il capo institutions from the popular to the periphery The diversity of the quarter emerges with its housing of significant and somewhat lesser known institutions. The most momentous of these would be the Cattedrale di Palermo, situated south of the district, and the Teatro Massimo, Italyâ&#x20AC;&#x2122;s largest opera house, located north east of the quarter. Hidden amongst, between and inside these ecclesiastical and bourgeois institutions are moments of a fringe society that emerge in the leftover spaces of numerous abandoned buildings scattered across the city and unused Catholic churches.

cattedrale di palermo Norman, Moorish, Gothic and Baroque

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

elso

ei C

d Via Via dei Celso

the syncretic city

Kitchen Dining worship

island sites and drifting programmes

dye baths so Via del Cel

The Syncretic city occupies four island sites across Il Capo; three are situated amongst the Via dei Candelai and the Via del Celso, roads which have been carved out by the Papireto River. The Via Montevergini bridges these sites to the fourth, which is nestled just off the Via Vittorio Emanuele, a street forming one of the two main axis.

filtration water pumping

els

e ad

so Via del Cel

water tower elso

ei C

mordant mixing d Via

Via dei Celso

dry spraying

els

Via

C del

elso

ei C

d Via

Kitchen

The Syncretic city seeks to re-engage Il Capo with the peripheric cultures that inhabit the quarter, creating a social sustainability, or social landscape. It does this through a working industry that shows the culinary and colourful performance of Hinduism, and the celebration of women and water in Islam.

Dining d Via

worship

te on

ei M

so Via del Cel

Via

del

ls Ce

i gin

Across the island sites a series of programmes are housed, including water harvesting and irrigation, permaculture gardens, dyeing baths and vats, botanical and agricultural archives and silk weaving.

so Via del Cel

dye baths

ver

lso

elso

ei C

d Via Via dei Celso

filtration

elso

ei C

d Via

cultivating

v i a d el celso

A crumbling facade

a Vi

i de

Via dei Celso

so Via del Cel

weaving

so Via del Cel

organics sorting o

els

e ad

water harvesting

lso

Via del Ce Via del Celso

a Vi

so Via del Cel

els

Via

a Vi

de del

lso

Via

del

lso

ini

erg

tev

Via

i de

rio

to Vit

ele

a Em

Via iM

de ini

erg

Via de on

iM ni rgi

ini

erg

v nte

e tev

water harvesting

dei

cultivating

Via

lso

e el C

tev on

growing

Via

ni rgi

e tev

to Vit

Via

Via dei erg

v nte

Mo ini

dei i

gin

ver

nte

itto aV

selling/exchanging

Via

ele

rio

to Vit

ele

a Em

Via dei

Vit

uel

ver

Via

io tor

nte

rio

itto aV

rio

uel

archiving

a Em

Vit

io tor

ele

a Em

Kitchen

Via

gin

t Vit

rio

to Vit

uel

m io E

Via

v i a de l cel s o

Via

Existing entrance to the technical college

oE ori

e uel

Via

ele

a Em

ele

io E

r itto aV

dei i

gin

ver

nte

rio

to Vit

Via

ele

a Em

ARB General criteria 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

Via

rio

to Vit

ele

a Em

Via

to Vit

uel

m io E

rio

to Vit

ele

a Em

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

the syncretic city

Studio B

Site o1

gardens of procession, withdrawal and sustenance

Pigment Baths Filtration

This drawing situates itself between the end of summer and the beginning of fall. July/August sees the ripening of the Sumac berries for the production of red dye, and August/September for the blossoming of the Prickly Pear and the Sicilian Lemons.

Pigment Baths Filtration

[ DPW - OS ]

[ DPW - SD ]

[ DPW - MM ]

[ WT ]

[ DPW - SG ]

[ DPW - F ]

[ DPW - PB ]

[ DPW - SS ]

Site o1

Silo Storage

Mordant Mixing Spray Drying Slurry Gantry

Site o1

[ PD ]

[A]

[ PD ]

[K]

Water tower Accomodation

[K]

[ PD ]

Public Dining Hindu Worship

[K] Public Dining [ PB ] Muslim Worship [W] Water Harvesting [ W ] Kitchen

Rinse & Filtrate Pear Cultivation Organics Sorting

Site o3

[ DPW - O ]

[ OA ]

[ PG ]

Accomodation

Kitchen Public Dining Hindu Worship Water tower Accomodation

[K] [ PB ] [W] [ WT ] [A]

Organics Sorting

Weaving Studios Dye Production Workshops Silk Weaving Studio [ WS - SWS] Cutting Studio [ WS - CS] Sumac Cultivation [ DPW - SC] Sewing Studio [ WS - ss ]

Organics Sorting

Weaving Studios Silk Weaving Studio Cutting Studio [ WS - C Sewing Studio [ WS - s

[ DPW - RF] [ DPW - RF] [ DPW - OS]

[K] [ PB ] Muslim Worship [W] Water Harvesting [ W ] Kitchen Public Dining

Dye Production W Sumac Cultivation

[K] Public Dining [ PB ] Muslim Worship [W] Water Harvesting [ W ] Kitchen

Site o4

Dye Production Workshops Sumac Cultivation

[ DPW - SC]

Organics Cultivation [ OC] Water Harvesting

[W] @

Dye Production Wo

Pigment Packaging [ D [D 1:500Offices

Site o4 Organics Cultivation [ OC] Water Harvesting

[W]

Dye Production Workshops Pigment Packaging [ DPW - PP] [ DPW - O] Offices

Organics Archive [ OA ] Public Garden [ PG ]

[ WH ]

[ Oc ]

[ DPW - SC ]

ARB Graduate attributes Site o3

[

Weaving Studios Silk Weaving Studio [ WS - SWS] Cutting Studio [ WS - CS] Sewing Studio [ WS - ss ]

Site o3 [ DPW - OS] [ DPW - RF] [ DPW - RF] [ DPW - OS]

[ [ [

Rinse & Filtrate Pear Cultivation

Site o3

Dye Production Workshops Organics Sorting [ DPW - OS] Rinse & Filtrate Pear Cultivation

Dye Production Wor Organics Sorting [

[ DPW - OS ]

[ DPW- OS ]

[ MW ]

[ WS - cS ]

[ WS - SWS ]

Silk Weaving Studio [ WS - SWS] Cutting Studio [ WS - CS] Sewing Studio [ WS - ss ]

ARB General criteria 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

[ DPW - SS] [ DPW - PB] [ DPW - F] [ DPW - MM] [ DPW - SD] [ DPW - Sg]

Dye Production Workshops Organics Sorting

Hindu Worship Water tower

[K] [ PB ] [W] [ WT ] [A]

Weaving Studios [ WS - SS ]

Spray Drying Slurry Gantry

Water tower Accomodation

[ DPW - SD ]

[ DPW - PC ]

Site o2

Filtration Mordant Mixing

[ DPW - SS] [ DPW - PB] [ DPW - F] [ DPW - MM] [ DPW - SD] [ DPW - Sg]

Public Dining Hindu Worship

[K] [ PB ] [W] [ WT ] [A]

[ DPW - RF ]

[ DPW - SS] [ DPW - PB] [ DPW - F] Site o2 Mixing [ DPW - MM] Mordant Spray Drying Workshops [ DPW - SD] Dye Production Slurry Gantry Organics Sorting [[DPW DPW--Sg OS]] [ DPW - RF] Rinse & Filtrate Pear Cultivation [ DPW - RF] Organics Sorting [ DPW - OS] Silo Storage Pigment Baths Filtration

[K] [ PB ] [W] [ WT ] [A]

Kitchen

[ DPW - SS] [ DPW - PB] [ DPW - F] [ DPW - MM] [ DPW - SD] [ DPW - Sg]

Kitchen Public Dining

Site o2

Dye Production Workshops

Kitchen

Slurry Gantry

Site o1 Dye Production Workshops

Site o1

Mordant Mixing Spray Drying

Site o4

A series of syncretic city spaces has developed as a consequence of these conditions, that weave together artisan crafts inspired by the emerging cultures of Hinduism and Islam. These spaces seek to stitch back together elements of previously productive landscapes and inform new public and economic spaces that resonate religious traditions, yet are social secular theatres.

[ WS - S/E ]

[ DPW - pp ]

The Syncretic city interprets the city through its invisible landscapes; landscapes of subverted religious activity (withdrawal), seasonal movements of people and cultures (procession), and the informal production of organics that is seen as the landscape of pollen (sustenance).

Dye Production Workshops

Site o2

Dye Production Workshops Silo Storage

Silo Storage Pigment Baths

Design Report

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city procession of il capo Il Capo is inhabited by a multitude of institutions, both religious and secular, which sets the urban context. These syncretic spaces weave into the city fabric and add vibrancy through seasonal changes. This drawing explores how the seasonal blooms of the Sicilian Sumac and the Prickly Pear permeate colour back into what was previously a rich Landscape of Colour. A procession of pigment production meanders through The Syncretic city island sites of Il Capo, informing the layout of the drawing itself.

The SYNCRETIC City

01, 02, 03 + 04 Site /

[DPW] [ WS ] [ K ] [ D ] [ WE ]

Gardens of procession, withdrawal and sustenance

[ A ]

[ AA ] [ATC] [ AE ]



[ Summer ] June 1 - August 31

15:00

‘The School Run’

This drawing situations itself at the beginning of June; the Prickly Pear is ripening, Sicilian Sumac is ready to be harvested and the Lemon

Orchards

are

maturing

ready to Yellow after 12 months of

[ DPW - SS ]

[ DPW - DB ]

[ DPW - f ]

year

[ DPW - SG ] Processions of Il Capo Axis Mundi @ 1:100

flowering. is

kitchen

Act [ 2 ]

ending,

The

academic

activating

programmes

the

which

engages with local communities on a domestic and social scale.

Il Capo is inhabited by a multitude of institutions, both religious and secular, which set the urban context. These syncretic spaces weave into the city fabric

Site 04

and add vibrancy through seasonal changes. This drawing explores how the

Site 03

seasonal blossoms of the Sicilian Sumac and Prickly Pear permeate colour

Site 02

Site 01

back into what was previously a vibrant Landscape of Colour. A procession of pigment production meanders through The Syncretic City island sites [ 01, 02, 03, 04 ] of Il Capo, informing the layout of the drawing itself.

MH 0m

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city a programme emerging draw, model, draw Allen goes on to state, “Notations are “abstract machines” capable of producing new configurations out of given materials…”4. These ‘new configurations’ begin to be realised when our working methodology comes into life. The Atlas of Programme became the ‘abstract machine’ whereby its notational language was utilised and manipulated through drawing, modelling and drawing again, resulting in new configurations and the beginnings of a design. Filming the working method was a way of understanding and recording the process in which an idea was drawn and progressed. Drawing together simultaneously was critical to align with the syncretic nature of the thesis as well as to exchange ideas as it was carried out. Drawing with soft pastel dust proved useful as it became apparent where the colour of the project was occurring at a smaller scale, and enabled the development of finer details such as facade tiles, screens and cladding. 4. Allen, Stan. “Mapping the Unmappable: On Notation”. Practice: Architecture, Technique and Representation.

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Workmanâ&#x20AC;&#x2122;s Hut

Studio D

Garden of Sustenance

Bicycle Delivery Depot

SCAT

Studio G

MArch 2

Organics Sorting & Washing

AMPL

Raw Silk Drying

Garden of Sustenance

Site 03

Site 02

Despite the intention to form a new public space this existing piazza had become neglected and an unpleasant place to congregate. The Syncretic City has adopted this piece of Palermo to form a working Landscape that will accrue the yield of Prickly Pears for the pigment making process.

The growth and harvest of the Prickly Pear holds together the programmatic functions of the silk dyeing and weaving. A purple pear life-cycle emerges from cultivation to cloth, and offers a sustainable approach in water harvesting and irrigation. The weaving studios lend themselves to a small group of women to hone their artisanal skills and add to the ever growing syncretic city.

ARB General criteria 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

Studio B

Dye Baths

Silk Steaming

Design Report

Dyed Fabric Rinsing

Waste Dye Water Filtration

Garden of Sustenance

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

the syncretic city woman’s work a working ground floor plan

SCAT

MArch 2

Studio G

the syncretic city

Truck delivery entrance

Kitchen

Bicycle delivery entrance

Public courtyard

12 Islamic prayer space

woman’s work

Organics cleaning

Garden’s of Sustenance

13 External prayer

a working first floor plan

Worker’s entrance

Silk dyeing baths

14 Imam’s entrance

Street vendor

10 Cutting and sewing space

sorting

and

Tapestry loom studio

AMPL

Studio B

Design Report

Herb garden

Loom studio

Delivery administration

Tapestry loom viewing balcony

Overseeing deck

Imam’s study

Fabric and yarn hanging

13 11 14

7 5

8 8 9 2 3 3

1 7

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city a prickly pear facade

from landscape to loom

purple ogee tiles

a cycle of purple

The Syncretic city seeks to hold and resonate the colour of what was once a vibrant, cultivated landscape , and re-pollinate Il Capo with its yield. The use of a prickly pear purple ogee tile, which has Islamic references due to its Moorish characteristics, emerges throughout the building either in the form of a pre-cast concrete facade tile, or within the pigment process itself as a perforated screen.

A moment highlighting the pears ripening in the gardens, to the dyed raw silks hanging above, and finally the fabric being woven onto the looms. This one corner of the site frames the three transitional moments of the prickly pear and its cycle of growth to cloth.

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city drawing through pollen soft pastel carvings A constant collaging approach has been adopted where a model turns into a plan, which turns into section and is then explored further through different media. Drawing plans, elevations and sections with soft pastel begins to inform an architectural language that expresses the programme through colour, which is then translated into the final design. The section has been stripped back of its line-work and reveals the blossom of the Prickly Pear. The purple emerges in places where colour would be held; the dye workshops, the kitchens, the organics sorting.

elevat i o n

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

sect i o n

plan

ARB General criteria

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

the syncretic city water filtration a sustainable approach to water In both Site 01 and Site o2, the waste dye water is drained through natural filtration vats which is then passed through a drip irrigation system to water the Gardens. The subterranean drip irrigation ensures that as little water as possible is lost to evaporation in the hot climate of Palermo. Along with the ogee tile, another motif emerges, that of the pigmented concrete gutter. It catches the water off the wings of the filtration space and the weaving studios and drains it into the Garden pools to be recycled as irrigation water.

water network to sustain the gardens

Gravel

Charcoal

Filter Paper Filtered Water

ARB General criteria 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

nat ural fi lt rat ion

Fine Sand

Dye water filtered through natural stones

Sand

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

the syncretic city ventilation strategy cross and stack ventilation Woman’s Work looks to the ancient wind-catchers of Iran in its environmental approach to ventilation. The tall capped tower has open sides which face the prevailing wind, in this instance the wind-catcher above the dyeing room faces the north-westerly wind of Palermo. The tower ‘catches’ the wind, pulling it down into the building and cooling the interior. The tower additionally acts as a solar chimney by creating a pressure gradient, in which the less dense hot steam from the dye vats travels upwards and escapes through the opening at the top, steaming the dyed fabrics hanging above on its way. The kitchen utilises a different method with regards to ventilation. Four crescent shaped roof lights, the form of which makes reference to the curvature of the wind-catcher, utilise a cross ventilation approach. Openable glazing to the courtyard facade of the kitchen acts as an inlet to the cooler air entering the building, whilst the rooflights above pull the warmer air outside.

structural strategy concrete and clt The spine walls of the building emerge from the concrete slab and hold a network of water pipes which aid the thermal cooling of the building. In addition to this, the concrete spine walls support the winged timber roofs and gutters. Within this, a CLT superstructure supports the span of the pitched roofs of the weaving studio, and the wind-catcher in the dye baths.

k it che n ve ntilation

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

dye bath ve nti lati on

Irani an w ind-c at ch er

ARB General criteria

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Studio C

MArch 1

ATR

Studio D

the syncretic city theatrum mundi model landscape of programmes The tectonics of the model mimic those used in the island site institutions. The concrete plinths hold up the city as they would hold up a building. This manifests itself in the heaving concrete casts of the 1:50 models and their respective plaster bases. The heavy base is sculpted to fit and hold the programme of the Weaving Studios, Dye Production Workshops, Kitchens and Archive. The acrylic of the model becomes the city itself, with the ash context representing the landscape of Palermo. It also suggests something of a super structure in which the more bespoke metal details of the model are slotted into. This concrete plinth, timber structure and bespoke metal work becomes the hierarchy of tectonics for The Syncretic City.

SCAT

MArch 2

Studio G

AMPL

Studio B

Design Report

curation of the syncretic city studio 5 summer submission The curation of The Syncretic City situates itself around the working table, operating as part of the syncretic nature of the thesis. Sitting next to each other allowed working to be more collaborative by drawing together or working on the live model. A north/south orientation is maintained, so that the Theatrum Mundi model is true to its orientation. To align with this, the majority of drawings are held in or on frames to allow a movability within the space to accommodate the orientation. Colour is present throughout the exhibition, most notable in the Atlas of Landscape and Atlas of Programme. The 1:50 models hold a more refined and specific form of colour, by which the colour of the thesis becomes a colour of architecture; the wash of purple in the Atlas of Programme manifests itself now in the purple of the tiles, the gutters and the screens.

axi s mu nd i

hortu s mu nd i w orki ng tab l e

the atru m mu nd i

ARB General criteria 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

ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

design report module overview [taken from handbook] Produce a comprehensive design report that documents in detail one of the projects that the student has completed during the Programme. The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the studentâ&#x20AC;&#x2122;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 outcomes [Taken from handbook]

The TZODSFUJD!CITY:

Construct a Design Report as a designed object that effectively, efficiently and eloquently introduces and architectural design project or design thesis.

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

Gardens of procession, Withdrawal and sustenance

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.

Design Report

LO 1

GC 2.1, 2.3, 3.3

ARCH11069 LO 2

LO 3

GC 2.2, 2.3, 8.1, 8.2, 9.3

GC 1.1, 3.2, 3.3

Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architectureâ&#x20AC;&#x2122;s professional and economic context. The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.

Harriet Garbutt s1320559

& Miles Heath s1773132

University Of Edinburgh City Fragments -Palermo Institutions : [ Act 01 ] [Act 02 ]

Studio C

MArch 1

ATR

Studio D

SCAT

Studio G

MArch 2

AMPL

Studio B

Design Report

colour

R - 255 G - 255 B - 255

Religions of Colour

design report

colour of fire, saffron

red symbolises bold

emotions

knowledge

symbolic

the

bold

colour,

such

because

The colour green is

characteristics of the

one

deities

whose

skin

and calmness, due to

that

colour:

its association with

passion,

sensuality,

it is a colour often

power and strength

depicted in the clothes

bravery,

worn

burning

and

comes

from

R - 101 G - 128 B - 109

Blue represents the

that

goodness,

nature.

tranquillity

It is also

of wise Hindu deities,

determination,

representative of the

equated

Hindu monks wear

used most frequently

such

protectiveness.

It is

fertility, life and re-

peacefulness,

saffron-coloured

for

Krishna and Ganesha.

also a colour that is

birth of the natural

innocence and purity,

robes

marriages,

births,

As the colour of the

found in nature in

world.6

while the cleanliness of

their

mission

festivals.

sun, yellow represents

the sky and water,

the colour symbolises

cleanse and eliminate

It is also the colour

light,

and therefore possess

new beginnings and

impurities

of Shakti (prowess).

happiness, and new

rebirth.

However,

from the world, whilst

Deities

beginnings

with

white is also symbolic

also representing a

charitable,

of death in Hinduism;

lightness and wisdom6

and

by are

deities

objects.

represent

and

to evil

the

colour

occasions

who

are brave

protective

are

clothed in a red dress,

while

mourning

something which is

because

its

also replicated when

properties,

a woman dies; her

manifesting itself in

body is wrapped in

Hinduism and Colour

the need to reflect

a red cloth for the

A symbolic meaning

upon life in a time of

cremation, suggesting

For the Hindu, colours have a

grieving.6

reflective

which

and

cleansing and purity

widows wear white

significance

symbolic

many things. It is

with

deep

learning

white can symbolise

who

very

Yellow

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real

Vishnu,

warmth due

seasonal connotations. 6

and its

spring

peaceful

being of

quality,

dark

blue

representative calmness

intuition.

and

celebration

the female as

matriarch.6

transcends a purely decorative role. Reminiscent of such natural

colour

elements as the earth, the sky and the sun, many colours have appropriated

and

symbolise

the characteristics which these elements possess. From the saffron robes of holy men, to the blue skin of the deities to the white clothing colours are used specifically for their symbolic meaning.

This Design Report is divided into four main chapters: introduction, Syncretism, Colour, sustenance.

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The Syncretic City

colour

The Quran also associates the

Religions of Colour

colour green with textiles and fabric. Reclining on green Cushions and

The Syncretism chapter lays out the working methodology of collage, montage, draw, model, draw.

rich Carpets of beauty Sura 55, verse 76 Upon them will be green garments gardens of procession, withdrawal and sustenance

of fine silks and heavy brocade... Sura 76, verse 21

The Colour chapter discusses how the project is to bring back the colour of the landscape, to what was a vibrant city. The Sustenance chapter explains the numerous sustainable, environmental and technological strategies of the project, through a focus on water and gardens.

religions of colour

im age title

of mourning windows, certain

The first chapter introduces the city of Palermo and the district of Il Capo, where the project is situated.

gardens of procession, withdrawal and sustenance

Religion is the main factor for this migration, and became a starting point in recognising a need for syncretisation within the city; Catholic architecture is merged with Islam and Hindu ideals to formulate a working city which syncretises not only religions, but programmes and productivity; practices of faith are folded into everyday space.

Reminiscent

colours,

the

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composition

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As a result of its multiple

The Syncretic city: gardens of procession, withdrawal and sustenance explores and establishes the emerging and reemerging cultures, religions and programmes; botanicals and minerals and ancient and new landscapes of Palermo to formulate an understanding of the migration happening throughout the city: ancient and contemporary.

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The Syncretic City

the syncretic city

Islam and colour Green as significant

The colour green in Islam is hugely significant and holds a number of

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

It became

a dynastic colour in the 12th Century after the Shiite Muslims adopted it as their chosen colour. It also references the Prophet Muhammad;

the

Ottoman

Empire, the wearing of a green turban was a privilege afforded to the descendants of Muhammad, religions of colour

ARB General criteria

that of Paradise.

colour

It is not a chronological narrative of our working, but instead weaves our partnered and individual projects from landscape, to city, to site, to building - to formulate an understanding of Harriet’s building scale woman’’s work and Miles’s pilgrimage of culinary performance both in context with each other and more importantly the wider syncretic context of Palermo, specifically the region of Il Capo.

traditional associations, mainly

whose tomb itself is topped with a green dome at the Mosque of the Prophet in Medina.

im ag e t it le image caption/explanation

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ARB Graduate attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7