Year Three by houzealexander

Year Three Alexander HouzĂŠ BA (Hons.) Architecture

Contents Studio Workbook 1. Who, What, Why? 2. Fabrication Drawings 3. Framework 4. Site Model 5. Context 6. Minimalists 7. Field Trip Guide 8. Statement of Intent 9. Photography Study 10. Field Trip Guide 11. Initial Ideas 12. Definite Intent 13. Programme 14. Graphite 15. Mark 16. Site Drawings 17. Precedent Study 18. Construction Intent 19. Building 20. Trenton Bath House 21. Site Location 22. Carl Andre Poems 23. Brâncuși’s Column 24. Moiré Pattern 25. Building Continued 26. Circulation 27. Massing 28. Structure 29. Services 30. Facade Development 31. Interim Critique 32. Vitrines 33. Bay Study 34. The Atrium 35. The Exhibition 36. Final Critique

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Alexander HouzĂŠ

Professional Development Plan (PDP) 1. Studio Presentations 2. Vertical Project 3. Dissertation 4. Year Guide 5. Brief 6. The Site 7. Field Trip Guide 8. Site Model 9. Design Statement & Critique 10. Lecture Review 11. Looking In 12. Looking Out 13. Technical & Regulatory Integration 14. Critique 15. Tutorial One 16. Tutorial Two 17. Unsentimental Context: Community

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Studio Workbook

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Alexander HouzĂŠ

Who, What, Why? Who? My name Is Alexander HouzĂŠ, and i am currently 20 years old studying BA Architecture at Kingston University. I graduated from college achieving A-levels in; Design technology, Biology and English. What? I have chosen to present these two pieces from my end of second year project, as i believe they support my influences as an architect. The top image shown is a 1:20 interior model of my main inhabitable space of my project. The 1:50 inhabited plan below illustrates one of my two dwellings. This dwelling forms a T shape that is rather ordered, which contrasts against the awkward form of the adjacent dwelling that is set at a 45 degree angle on plan. The model image represents the three dimensional and spatial qualities of the space, whilst the plan provides information on construction build-up and finishes, whilst identifying the habitable spaces of the plan. Why? I have chosen these two large scale pieces, as for myself as an architect i am interested in the more detailed moments that make a project successful. I enjoy investigating tectonic details such as window alignments, recesses and framing down to the haptic qualities of furniture and handles. I am interested in creating unique social spaces at a variety of scales and building types. In the following project I have created thematic elements such as the free form spiral staircase merely resting as an object within the room. All these details are relevant within their existence, relating to contextual factors. I appreciate the time spent in research and studying precedents and am determined to influence these prehistoric ideas into my designs in a contemporary manor.

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Alexander HouzĂŠ

Fabrication Drawings A number of minimalist artists that i will proceed to study within the year often came through the American tradition of the liberal arts, rather than a fine art background. Their broad and varied education did not subsequently offer them the skills of a painter or sculptor. A majority of their work was not produced by the artist themselves, but by specialist fabricators with skills well beyond those of the artist. For these fabricators to accurately produce the works of art they required clear instructions. These instructions mostly came in the form of orthographic shop or fabrication drawings. Therefore I proceeded to select the process of forge riveting, tying into our sites history of industrialism and shipbuilding. I chose to draw a pair of tongs, which i used to handle the rivets that i heated up using a blowtorch. I have also decided to survey and draw a set of orthogonal drawings of a metalwork vice, as it appeals to me as a rather overlooked piece of machinery. Its output is rather simple - to secure and hold an object. Yet its form and function remain more complex. The steel cast jaws form to create a curvature shape, thus reducing the weight and quantity of materials without hindering the clamps ability to secure larger objects. The machine is hand driven by a handle which further turns the screw of the slide or bed allowing the sliding jaw to move. The fixed jaw is attached to the base which is screwed down to a surface. The bulk and toughness of materials are juxtaposed with the intricate parts which together perform its particular task. Once i had drilled three holes in two sheets of steel, i heated the rivet up and placed them into the holes to join the two pieces. I used a hammer to bash the rivets creating a mushroom shaped head on either side meaning the two pieces would become connected into one, mimicking the riveting process in shipbuilding and the historic context of our site.

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Alexander Houzé

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Alexander Houzé

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Alexander HouzĂŠ

Framework The site for this years work is located on the Fore River Iron Works. It lies on the bank of the Weymouth Fore River, on the southern boundary of the Massachusetts town of Quincy, on the periphery of Boston. My individual project will revolve around the category of display, as i believe this will contribute most to the lives of the people within the community. This decision will form the first step in the development of my brief for my final project. Once i had chosen my category, i assembled myself into a master planning group containing the remaining categories; production, creation, performance and education. In this group we will collectively generate specific context research as well as developing a master plan for the site. We will collectively establish the relationships between the five buildings that we will individually be designing, as well as the relationship and attitude towards the existing community and the wider city.

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Site Model Our site for this years project is based in Quincy, Massachusetts, USA. The site is located within the periphery of the city of Boston. Within our framework groups, our initial site model allowed us to explore the sense of place, and begin to discover the fabric of the site. Our freedom to chose scale, materials and processes and level of abstraction allowed us to develop our groups attitude towards aspects of the site that we believed to be critical. Every design decision was discussed within the group, and after debating our feelings and views we continued to make conscious decisions and work together successfully as a group. We began looking at minimalist artists such as Carl Andre, Richard Serra and Donald Judd. Once we had chosen the scale and size of the model, we began to think of materials and processes. Because of the industrial nature of Quincy, we began to think of industrial materials such as those used by Andre and Serra. We decided on creating a plaster cast base that would be mixed with iron files to create a rusted appearance. For the piece that would represent the river, we scattered salt over the surface. For the buildings we used stacks of metal steel sheets that were welded together as well as circular steel rods. I particularly enjoy the relationship of the residential and industrial areas. The houses form an ordered gridded structure and were made from aluminum, creating a polished atmosphere. This is juxtaposed against the loosely arranged and rusted steel circular rods that represent the industrial tanks. Upon reflection, i believe we should have maybe stuck to one material, as the plaster has little significance within the context and history of the site. I believe that maybe the rusted iron filling may have been too forced, and allowing the buildings to rust the plaster base may have been more appropriate, that would represent the effect that the industrial structures have on the site. The Image to the left shows the test casts, in which we altered the quantity of vinegar and iron files within our plaster mix.

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Context Before our field trip to Quincy, it is crucial to begin to investigate the role of place, function, type, history and narrative in the creation of my project. With this in mind it is important to establish my initial position on the place and the history surrounding our site. I began to research the following five topics; • Boston • Declaration of Independence • Massachusetts Institute of Technology • Economy • New England Patriots The following topics allowed me to research and analyse the context of our site. This process aided me towards the development of my individual brief and statement of intent. It also allowed me to analyze the community and society that surrounds our site in America.

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Minimalists I am interested in arts ability to create change, especially within a community. After briefly studying a variety of minimalist artists, they often reject the notion that they belonged to the movement ‘Minimalism.’ There was never a manifesto, only differing or opposing points of views. Donal Judd once pointed out “One person’s work isn’t considered sufficiently important historically to be discussed alone” I will begin to research minimalism within art, and i have chosen to study the artist Agnes Martin. By creating a bibliography, and researching four pieces of work by the artist I was able to get an insight in how art was able to offer change. In the case of Agnes Martin, art offered a refuge within her austere way of life. I was able to discover the reasons behind her art which were often linked to religion, nature and the beauty of everyday life. I particularly enjoyed the repetition, ratios and proportions within her work as well as her mute palette choices. In hindsight by researching this minimalist artist, i will be able to incorporate some of her decisions within my design proposal. I also began to study other minimalists artists such as; Richard Serra, Frank Stella, Donald Judd, Carl Andre and Hollis Frampton.

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Field Trip Guide Before embarking on our trip to the USA, i began to prepare by researching some of the buildings we will be visiting. I decided to research; The Museum of Contemporary Arts by Sanna, the MIT Chapel by Eero Saarinen and The Manhattan Church of Christ by Eggers and Higgins. By re-drawing the plans, sections and elevations of these buildings i was able to understand the tectonic and spatial qualities of these precedent studies. I was captured by the atmospheric qualities of these buildings, and I will endeavor to incorporate these qualities into the design of my proposal.

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Statement of Intent Quincy is largest city in Norfolk Country, Massachusetts. More commonly known for its granite industry and the United States’ first railroad, it is also the birthplace of Carl Andre. While best known for his sculptures made from metals, positioned flat on the floor and placed in symmetrical configurations, a rich and significant element of Carl Andre’s practice remains largely unseen and unpublished. Throughout his life, language and poetry have been fundamental to the work of Carl Andre. Andre’s experiments with word and text deserve collation and careful attention, not only because they cast significant light on his work in three-dimensions, but also because they supply a fascinating insight into his sensibility as an artist. I will therefore look at the possibility to propose a museum of minimalist literature that will store Carl Andre’s original poems. The proposal will provide an indispensable resource for poets, artists, scholars, art institutions, and others interested in minimalist poetry. The intention of my proposal therefore would be to restore the cultural heritage of literature in Quincy, in which poetry becomes the means for social interaction.

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Photography Study Thomas Struth spent the spring of 1977 with Axel Hütte for two months in the Tower Hamlets district of East London. Together they collaborated in a research project to photograph the social housing of the 1960s and 1970s within their urban context. Struth concentrated on urban panoramic views and street perspectives, whilst Hütte focused on entrances and hallways. During the autumn, Struth was offered a scholarship from the Kunstakademie to live and work in New York, where he stayed from December 1977 to September 1978. The opportunity presented to Struth allowed him to concentrate and photograph the urban streets of an alternative city. During his time in New York, he collated 200 black and white street photographs, mostly focused on a central perspective. Struth photographed within a variety of districts in Manhattan including; Wall street, Chelsea, Soho, Tribeca, Midtown, Harlem as well as in the area of Brooklyn, Queens and elsewhere. A selection of his work was presented at an exhibition at his studio PS1 titled “Streets of New York: Central Perspective.” The exhibition featured 44 black and white photographs, mounted on unframed museum board measuring 30 x 40 cm. Work was installed in double rows, blocks of different sizes and segregated into districts. Struth recalls “I was interested in the possibility of the photographic image revealing the different character or the ‘sound’ of the place. I learned that certain areas of the city have an emblematic character; they express the city’s structure. How can the atmosphere of one place be so different from another, and why? This question has always been important to me. Who has the responsibility for the way a city is? The urban structure is an accretion of so many decisions.”

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Photograph by Thomas Struth

Alexander Houzé

Photograph by Alexander Houzé

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Alexander HouzĂŠ

Field Trip USA Over the course of 7 days we would visit New York, New Haven and Boston in the United States of America. Starting in Manhattan, we will travel northwards along the Hudson River and across the state line to New Jersey. From then on we will head east along the Connecticut coast through Rhode Island to Boston. During this time we will explore the masterpieces of American Modernism created by the pioneering designers such as; Breuer, Serra, De Maria, Wright, Corbusier, Kahn, Judd, Sejima, Johnson, Rudolf, Aalto, Sert, Saarinen and Andre. In search for American Minimalism we will visit masterpieces within Art and Architecture that share common concerns. Our trip will conclude in Boston and Quincy, the studioâ&#x20AC;&#x2122;s site for the forthcoming year.

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Alexander HouzĂŠ

Initial Ideas After returning from the United States, we were asked to begin to think about designing an interior space for our proposal. I started by beginning to plan where I would place my building within the site, and after establishing a potential site I came to the realization that I would look to create a tower-like structure that resembled the surrounding siloâ&#x20AC;&#x2122;s. However, most importantly the building could be seen from the newly constructed bridge, and therefore the building would become an identity in the regeneration of this new art driven community. The first ideas for my proposal revolve around a 15 meter atrium, similar to that of Phillips Exeter Library by Louis Kahn. I was keen to create a depth of field within this space, to allow the inhabitant to explore different directions from this central core. Another Idea i am keen to include are pitched ceilings that allude the industrial sheds that surround the site. This would therefore create not only a more interesting project spatially, but would help tie the building within the immediate context of the industrial buildings, and therefore the structure would be able to resemble the historic past of the site.

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Definite Intent At times of great social and political change It Is often art that finds a way to express the concerns of those without a voice and In doing so offering a possible route through the chaos. The work of a particular group of New York artists in the 1960’s articulated a significant moment of crisis in American history and Identity. Taking influence from American Minimalism I am Interested In art’s capacity to drive change. Our site located In Quincy Is the birthplace of Carl Andre, and whilst best known for his sculptures an Important part of his work goes largely unknown. Positioned within the corner of the dock, I was Inspired by the way Andre positions his sculptures within spaces. The tower-like forms appear as hollow boxes whilst travelling over the newly constructed bridge whilst mimicking the Industrial silo’s embedded within the context. Throughout his life, language and poetry have been fundamental to the work of Carl Andre. Andre’s experiments with word and text deserve collation and careful attention, not only because they cast significant light on his work in three-dimensions, but also because they supply a fascinating insight into his sensibility as an artist. Currently the Carl Andre and Melissa Kretschmer Foundation along with the TATE are currently working to collect some 1500 poems created from 1957-2000. I am therefore proposing a museum to display, store and conserve these poems, whilst providing an Indispensable resource for poets, artists, scholars, art institutions, schools and others interested in poetry. The programme will exhibit a permanent collection from Andre’s series ‘The seven books of Poetry’ from 1969. The Intent Is therefore to restore the cultural heritage of literature in Quincy, In which poetry becomes the means for social interaction.

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Programme The size of the proposal Is approximately 1,255m2. Accommodation Is Implemented Into each 100m2 module. The ground floor Is open plan allowing the Inhabitants to walk around this type of undercroft In a circular motion. These multi-functional spaces consists of; Conservation, lobbies, cloakroom, store and bookshop, toilets, events rooms, education room, bar, meeting room and temporary exhibition spaces. A basement 10% of the total floor area Is reserved for plant space and services. An atrium between the ground floor and first floor Is a space for congregation and reflection and houses Carl Andre’s desk and typewriter. Contained on the first floor, are the exhibition spaces and a permanent exhibition displaying Carl Andre’s poems from The Seven Books of Poetry series from 1969. The collection will feature texts from; -

PASSPORT ONE HUNDRED SONNETS AMERICA DRILL A THEORY OF POETRY THREE OPERAS SHAPE AND STRUCTURE LYRIC AND ODES

Located on the second floor Is an archive which will store the rare manuscripts. A lift Is accessible straight down to the conservation space located on the ground floor.

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Alexander HouzĂŠ

Graphite For this brief, I decided to produce a hand drawn 1:20 measured drawing of the MET Breuer in New York designed by Marcel Breuer in 1966. I first began to study the composition, texture, detail and construction of this Museum of modern and contemporary art. With this initial visual discipline and cultivate awareness through studying this precedent, my research was further developed by the act of observing, measuring and drawing this facade. By analyzing this existing example it helped me to inform and test my own ideas.

Quincy Graphite I then decided to repeat this exercise with a building that i studied on our site in Quincy. I chose to pick one of the pitched roofed industrial buildings that were surrounding the site, because i look to incorporate this aspect into my design.

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Mark “Like all good travelers, I have seen more than I remember, and remember more than I have seen.” Benjamin Disraeli This brief aimed to forge the cities, country and people of our field trip to the US. As a starting point i began to consider the minimalist artist Carl Andre. As I am proposing a Museum of Minimalist Poetry, it made sense for me to re-create a Carl Andre poem. Further to this, the brief asks that the piece of work responds to the visceral manner of my experience of place. Therefore i have produced one of Carl Andre’s poems from Quincy Index. This poem helps emulate the sense of place through the repetition of singular words and phrases that describe the location of our site. This task helped me to understand the complex nature of producing minimalist poems, whilst also enhancing my knowledge of Quincy.

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Site Drawings Following on from our fabrication drawings, as a group we begun to produce a site plan and 3 site sections. In order to make our proposals it is necessary to understand and to communicate the physical nature of the existing site whether this be size, shape, gradient, orientation or the surrounding context. By undergoing the task of drawing the site drawings i was more informed on the nature and character of the site. It then allowed me to think about where i am to position my proposal within the site. Site Plan - 1:1000 at A0 Site Sections - 1:500 at A0

1:1000 Plan Fore River, Quincy Point, Massachusetts, U.S. 50m

100m

1:500 site section Fore River, Quincy Point, Massachusetts, U.S. 20m 1:500 site section Fore River, Quincy Point, Massachusetts, U.S. 20m

1:500 site section Fore River, Quincy Point, Massachusetts, U.S. 20m

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Precedent Study In a group project, we studied the Phillips Exeter Academy Library in Exeter, New Hampshire in the United States. After visiting the building within our field trip to America, we began underlying the spatial, formal and material qualities of the structure. Furthermore the complex inter-related systems of the building were also to be studied. The study focuses on four key areas; -

Structure Fabric Comfort Sustainability

The following analytical document analyses how and why certain systems are in place and their architectural character of the overall structure.

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Phillips Exeter Academy Library 1:500 @A3 Site Plan 0m

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Ground Floor

Phillips Exeter Academy Library 1:200 @A3 GA Drawings

Main Floor 0m

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Floor Levels 3&5

Phillips Exeter Academy Library 1:200 @A3 GA Drawings

Floor Levels 4&6 0m

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Section AA

Section BB

Phillips Exeter Academy Library 1:200 @A3 GA Drawings 0m

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Facade for all Elevations

Phillips Exeter Academy Library 1:200 @A3 GA Drawings 0m

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Oak framed window 15mm carpeting 25mm slate threshold 90mm cement topping 175mm In-situ cast concrete slab 3 whythe brick arch 50mm rigid insulation Aluminium door frame Sandstone lintel with compressible filler to ensure that the slab does not bear on lintel

First Floor Carrel

Internal Lobby

External Loggia

Archive

Inner oak and outer teak window frame

Load bearing 100mm outer face Exeter brick 100mm inner face Exeter brick. This is non structural serving only to create the cavity

Neoprene flashing

Load bearing 150mm concrete masonry units with headers every fifth course 50 mm rigid insulation fastened to 20mm galvanized furring channels with 50 mm cavity This structure consists of a 450mm deep brick cavity wall. The load bearing outer skin consists of 100mm Exeter Brick and 150mm concrete masonry units (CMU). The cavity in between is made up of 50mm rigid insulation with a 50mm cavity with waterproofing and a vapor barrier traditional of standard cavity walls. The inner skin is a curtain wall made up of 100mm Exeter Brick. The inner brick wall is bonded in a simple running bond, whilst the exterior brick wall is bonded in a pattern resembling common bond.

Plant Phillips Exeter Academy Library 1:20 Fabric Drawing @ A0

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Constructing Intent For this brief I intended to develop and start to establish the ambitions of my proposal. For this task I set out to design and build a 1:20 interior space to create an architectural image of the direction of my initial proposal. Whilst the model begins to establish character, I aimed to keep the model flexible in order to absorb new ideas. The space is naturally lit and ventilated whilst connecting to spaces beyond both internally and externally. The model was aimed to condense all of the research carried out within semester one. Whilst I feel the model contains physical qualities of construction that contribute to making the place and the building as a whole. I began by modelling an atrium consisting of a 6 meter wide stair case that was sandwiched between two large square columns. I believe this was a successful move, and proved to be a powerful space, however I then began to focus on the exhibition spaces. From this I created a long rectangular room, featuring a concrete coffered ceiling that would rest on the gable end. This is represented within the model, in which the beam rests within the recess on the top of the wall. Playing with the tectonics of the building I was able to control the atmospheric qualities of the space, in which the inhabitant feels insignificant in contrast to the heaviness of the structure. After realising this was a strong move, I noticed that using secondary light from the space beyond was a weak idea. This then led me to create my final model of semester one. I effectively combined the previous two models. I kept the tectonic element of resting the beams on the gable ends, however I then decided to create a tall and narrow room that featured the 6 metre long staircase that I had used in my initial model. The thesis of the project, was to showcase the variation in reduced lighting within each room. With a series of 8 rooms connected by a 2x2 meter dark room, the inhabitant will walk from one room to another travelling from light to very dark to darker, with the idea that inhabitant will be unable to recognize this subtle change within the spaces.

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Building After completing a number of pieces of work that began to explore our individual and groupâ&#x20AC;&#x2122;s attitude towards; community, society, our evolving brief, the site, the immediate context, Quincy, Massachusetts, America and a particular group of minimalist artists, I began to interrogate my work with a fresh set of eyes. I began by asking myself; - Why were we asked to do it? - What were the anticipated outcomes? - What were the outcomes? - How might these discoveries affect my work going forward? At a scale of 1:200, I began to work on the mapping out of my building, in particular the massing and site location. During the first week of semester two, I looked back at Trenton Bath House by Louis Kahn and his very ordered plan I believed this was a strong precedents that epitomized minimalism. The building is stripped back to only what is necessary and required for the inhabitants. I begun by massing the building with the view of order vs disorder. The idea was to keep the exhibition spaces located above the ground floor in a clear and ordered grid, however teasing with the ground floor by responding to the edge of the pier and the angle of the bridge. Whilst I thought this could be a good initial move, letting the ground floor take up the slack of the site, did not work so successfully to create an ordered and minimalist building that I set out to achieve.

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Trenton Bath House I began by looking at Louis Khan’s Trenton Bath House with a fresh set of eyes. Built in 1952 for the Trenton Jewish Community, Kahn worked with Anne Tyng in forming this geometric cruciform plan, set out on a 22x8ft tartan grid based on Andrea Palladio’s Villa Rotunda. Each space is conceived as an independent pavilion surrounding a central atrium which is open to the sky. Above the pavilions , four timber pyramidal roofs with an oculus at the apex appear to float. Thus allowing natural light around the perimeter of the changing rooms and the interiors to naturally ventilate. The roofs are supported by steel posts at the centre of the hollow ‘columns’ which form a screened entrance to the doorless changing rooms, as well as provide for storage areas, the pool control room, manager’s office and toilets. The Trenton Bath House demonstrates Khan’s perception on ‘Served vs Servant Spaces’ or ‘Service vs Space.’ In Khan’s interpretation of this concept, servant spaces generally contain the spaces in which habitation would be brief or impossible, or the spaces that contain mechanical or purely functional aspects. At Trenton Bath House, Khan noticed that the structural vertical columns were simple wasted space, so he decided to maximise the functions of all his spaces. By hollowing out the columns, allowing the edges to provide support he was able to allow a variety of function within these columns.

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Alexander Houzé Kingston University k1508203

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Site Location I began by looking at Carl Andre’s pieces, and was fascinated by his placement of objects within his exhibitions spaces. A reoccurring theme of his, is to place his sculptures in the corner of the room, which led me to question the position of my building within the site. The site is made up of hard edges that are manmade. I wanted to place the building close to the bridge, in order to make the towers visible as one travels over the main route into Quincy, whilst having a relationship with the circular gas cylinders that lie towards the north of the site. I decided upon placing my building on the corner of the pier, similarly to Andre’s placement of sculptures. This would also mean that my building would have a relationship with the water, that was once an integral part of Quincy’s successful shipbuilding industry.

Â° 60

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Carl Andre Poems Towards the beginning of the week I began researching into Carl Andre’s poems. It is interesting to note the relationship between his sculptures and his poems as Andre’s poetry was no less radical. The words within his poetry become concrete modules similar to the bricks or sheets of metal used within his three dimensional pieces of work. He uses words sequentially and they do not always incorporate complete sentences or phrases, and these shaped texts form patterns and compositions in order to create a minimalist visual art piece. In the same way that Andre’s sculptures seize the space they are exhibited in, the same is present within the white 8 1/2 x 11 inch sheets of standardized paper he used for his texts. Words are mostly punched out by a manual typewriter, or hand-written with a felt tip pen, mostly in black or occasionally in red. The placement of words and how they sit on the page helps Andre to conceive a variety of shapes and patterns, creating a text-landscape and a composition. These poems are not meant to be read in a book but seen like art on display. The resulting patterns often resemble grids or checker-boards which I am aiming to implement into the design of my proposal. Just as the way Andre stripped the notion of his sculptures down to the brick, he strips poetry down to the simplest elements words. To Andre, they; “Have palpable tactile qualities that we feel when we speak them, when we write them, or when we hear them, and that is the real subject of my poetry.” Words are laid end to end, or stacked in vertical columns. Arrangements also incorporate; lists, grids, fields, maps, stacks.

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Brâncuși’s Column A lot of Andre’s earlier work was influenced by the Romanian sculptor, painter and photographer Constantin Brâncuși. His poem Essay on Sculpture for E.C. Goossen 1964 and Conquest Display October1965 are a similar form to his sculpture in 1963, Cock. In Conquest Display the poem has tall stacks of words, closely centred on the page. One column sits flush to the left and the other flush to the right. The number of letters in each consecutive word increases by one, so that the final serrated shape of the stacks, or more specifically, the space between them resembles Brâncuși’s radical column. Therefore is Lever, 1965 was Andre’s first solution to putting the Endless Column on the floor instead of in the air, then this poem was the equivalent on the page.

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Moiré Pattern In mathematics, physics, and art, a moiré pattern, or moiré fringes are large-scale interference patterns that can be produced when an opaque ruled pattern with transparent gaps is overlaid on another similar pattern. In Shape and Structure, 1963, Andre relieved punctuation and avoided words all together. In this series of poems, periods, dashes, and asterisks become the tools for designing pure poetry. Line and space are created by the removal of punctuation, creating poems that resemble delicate drawings. Dashes are typed in a triangular formation, or in vertical strips broken by irregular sequences. Periods are arranged in two large grids, one slightly overlapping the other causing a moiré. I was particularly interested in this moiré pattern which is a technique that dates back to the 17th century. The pattern is created by superimposing two grids two grids, a similar theme of Andre’s minimalist art. I will begin to further research this technique, and may look to impose it into my facade design. I began to look at Caruso St John’s Nottingham Contemporary that includes a pre-cast concrete facade with a beautiful lace pattern.

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Building Continued After researching Carl Andreâ&#x20AC;&#x2122;s sculptures and poems, I began to focus on creating a composition within my plan. I looked at the likes of Raphael Zuber and Louis Kahn in order to create a plan that contained different spatial qualities that included larger and smaller rooms, however this diverted from the original square plan that involved the repetition of the same spaces which in hindsight was more fruitful. After producing plans, sections and elevations I then was able to come to the realisation that this proposed plan did not compliment the studio brief, and was not at all minimalist. It failed to maintain fluid repetitive spaces, and lost the grid and checkerboard plan I had originally proposed. I then began producing quick planometric volumes, to work out the massing of my building, and was able to see the success that the tartan grid plan had on the overall appearance of my building, and worked well with what I had originally planned.

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Circulation During the following week, I began to focus on the circulation around my building, especially within the exhibition spaces contained on the upper floor. The first objective was to separate the service vs served spaces, therefore I needed to place the circulation routes within the narrow slots of the tartan grid which would leave the 10x10m exhibition spaces clear. I begun to test whether I could enter each room from the four 2.5x2.5 metre boxes that surround the atrium, which would reduce the circulation space to a minimum, however I had to remember that I needed to create an anti-room between each exhibition space that would be limited to around 50 lux of light. After continuous testing and sketching of numerous circulation routes, I thought the best way was to make the whole of the gap the circulation space between each room. The inhabitant will therefore enter through two curtain like walls into a long narrow dark space in which a 100mm wall blocks the view from one room to another. The inhabitant will then either travel left or right around this tall structure and loop around into the next exhibition space in the centre of the room. I felt that this forced yet open mined circulation route was a good move, and was successful in allowing a good circulation route around the exhibition space and the pieces that will be placed in them. I added a staircase that lead up to the archive above exhibition space number 7 which will be the room that will naturally lit. Looking back, I felt that the sense of repetition within the plan was lost towards the start and finish point of the exhibition route. Therefore I will look to continue to replicate the dark anti-rooms to all 8 slithers of the tartan grid. I began to think about whether I could add display cases into the spaces that surround the atrium. I then began to think about the circulation and programme of the ground floor, again I divided the grid into service vs served spaces before adding the circulation routes and services such as toilets into the grid. However to not much success. I also felt that by hiding the staircase leading up into the atrium was not a good strategy for those who werenâ&#x20AC;&#x2122;t familiar with the building.

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Massing I focused this week towards the massing of my structure. I decided that by pushing the sides of the tartan grid inwards, I was able to give a real sense of mass towards the 9 towers, further emphasising this minimalist grid. I also decided to make the height of the anti-rooms in between the exhibitions spaces lower further emphasising this separation. After tweaking the exhibition floor plan, I had created four cores in the shape of a cross, which would could be used as a riser and for other horizontal and vertical distribution as well as further circulation routes and fire escapes. After realising that the circulation from ground floor up into the atrium was weak, I began to explore different ideas about a staircase. My initial idea was to house two staircases within the tartan grid, that would connect up at atrium level. I had ideas that I could carve through the staircase to create an opening into the rooms either side. However, I soon began to think whether this was minimalist, and therefore resorted to including square staircases that would act as an object within the room on plan. I also added a portico to the exterior however this did not feel successful as it ruined the pure geometric form of the building.

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Structure By focusing the week on the services of my building, I began by thinking about; - What is the structural strategy of the building and how is it founded? - What are the primary and secondary load bearing elements, and what are their depths and spans? - Where are the dead and live loads applied? - How does the structure respond to services? - How is the structure subordinate to the architectural character of the building? - How heat is transferred to the interior spaces The initial thoughts on the structure for my proposal, includes four cross shaped cores that will house risers, ducts and stairwells etc. that surround the central atrium. These cores will help to span the inner floor plates, with the addition of a load-bearing facade that will support the spanning floor plates towards the exterior of the building. The facade will be made up of Quincy Granite blocks which was inspired by Louis Kahn’s Four Freedoms Park. I want to create mass within the 9 towers from the exterior, and had thoughts about shadow gaps that will reveal the true thickness of the elements. The arrangement for the granite blocks on my initial facade are based on a historic photograph, as I aimed to find the largest piece that could have been quarried during Quincy’s infamous granite industry. I first believed that it would be more suitable for tectonic reasons to express the granite facade from the interior, therefore emphasising that the granite was in fact load bearing. However reflecting on this idea, I believed that I did not want the granite to have a dominant effect, especially on the artwork that will be exhibited. Therefore instead of a load bearing layer on the outside, I believe it will be more suitable to have a load bearing layer on the inside, therefore creating a concrete shell with the granite facade becoming self load bearing and tied back to the building. This will also allow me to create a protective layer, insulating layer with a load bearing layer.

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Services By focusing the week on the services of my building, I began by thinking about; - How heat is transferred to the interior spaces? - How is fresh air brought into the building, and damp or stale air exhausted? - Where the plant room is located, and how are services distributed vertically and horizontally? - The ways in which the services contribute to the architectural character of the building? - How spaces are naturally and artificially lit? - How is the building drained? The building is actively heating using an all air system within the exhibition spaces. A VAV system will be used to provide cool and warm air depending on the required environment of the room. This will be automatically controlled and therefore will be an intuitive system. The ground floor accommodation will heated using a LTHW underfloor heating system, with thermostats in each room creating a more flexible system, allowing the inhabitant to easily change the conditions of each room. The proposal will use both active and passive ventilation to provide fresh air and to exhaust stale/damp air. Exhibitions spaces on the first floor will be actively ventilated whilst the ground floor will be passively ventilated. Cross-ventilation is achieved on the lower floor through the centre of the plan due to operable windows. The tall atrium space within the centre provides space for stack ventilation and the exhaustion of stale air. Services are to be discretely hidden wherever possible with the use of shadow gaps and cast in elements. This will help to reduce the visual impact whilst experiencing the artwork.

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Manhole Wet Areasx Vertical Risers Waste Water Electrics

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Recessed windows allow ventilation from warm air gathered within the atrium

Temperature censored skylights allowing natural ventilation

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Atrium provides large amounts of natural light and solar gains.

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Fresh air intake

Stale air removed from exhibition spaces LTHW underďŹ&#x201A;oor heating

Active cooling system (??????)

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Facade Development I decided to shift my attention towards the materiality of my building and started to look at what my façades could potentially look like. I began by looking at Louis Kahn’s Four Freedom’s from our recent field trip to New York. The tectonic mass of the granite blocks create a powerful presence and experience whilst walking around the space. The mass of the granite blocks are most potent within the end space known as the ‘room.’ Granite blocks separated by a 20mm gap resemble an ancient temple precinct. The first facade design is based on the dimensions of a historic image found from Quincy’s historic Swingle Quarry. I began by taking the dimension of this block and placing it on the facade of my building. I soon realised the implication of cost and difficult structural issues relating this type of facade, and trying to tie these blocks back to the structure would prove difficult. The second facade look at the same concept however by using smaller blocks. The third facade looked at using standard granite curbs, which linked to the Minimalist artists who used standard building materials. Whilst I enjoyed the stack bonded quality, I felt that the horizontal nature of the granite blocks did not suit the facade. For the fourth facade I looked at using standard white fire bricks such as those used in Carl Andre’s sculptures, however I felt that the sense of mass was lost slightly.

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Interim Critique Whilst looking at the position of Carl Andreâ&#x20AC;&#x2122;s sculptures and their impact on the room, I decided that the best place to position by building would be on the corner of the dock. Within this position on the site, as visitors approach Quincy Point from East Weymouth they will be greeted by the nine chimney-like towers which allude the gas cylinders currently on site. Whilst I felt that the positioning of my building within the context was successful, I felt that I had added a lot of features within the week to make my building appear more interesting. For example, I decided to add pitched ceilings to the spaces on the ground floor that resembled the industrial sheds on site. However, on reflection I felt that this became unnecessarily fussy and did not fit the minimalist brief, and that it would be better suited to strip the building back to the bare necessity. It was also noted that constant repetition within the plan could become claustrophobic. Therefore upon reflection, I will look to free up the first floor plan, and use the architecture to dictate where and how people enter a space, as this can have a particularly big impact within a space that is so limited in terms of its architecture.

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Glazing beads top and bottom serve as additional mechanical fixings Window element installed beforehand Stepped insulating glass bonded to aluminium frame (prefabrication structural sealant glazing

150mm screed Thermal rigid insulation (50 - 150mm) DPM 500mm concrete slab with construction joints

Porous boards Bitumen paint

Coarse gravel Drainage/perforated porous pipe Strip footing foundation Piled foundation Lean concrete

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Vitrines The Importance of displaying these rare manuscripts within the spaces I am creating for me became a big aspect. And therefore I decided I should start to think about how these poems are to be displayed within the proposal. I believed that the arrangement of the vitrines should be altered in order to suit the type of poems that were to be displayed in them. I decided upon creating a vitrine that was able to hold a maximum of four sheets of poems, this way the proportion of the vitrines would suit the room. I was uncertain whether or not the arrangements of vitrines should remain the same throughout the exhibitions, however I left the option of pushing the vitrines together if needed open. The vitrines are based off a sculpture by Carl Andre In 1981, and enjoy their appearance of a heavy solid block which I image to be repeated to create an overwhelming experience of never ending poems. The vitrines however will be made from 20mm sheets of cold-rolled steel used in the production of typewriters. This contrast in material will help to Isolate the vitrines within the room It Is sitting in. I decided to create a relief at the top surface, so that at eye level the poems cannot be seen. Therefore the inhabitant is forced to come into contact with the poems from a small distance, creating a more personal experience.

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Carl Andre, FERMION, 1981. 100 granite blocks, 18 x 60 x 60 inches (45.7 x 152.4 x 152.4 cm) The Seagram Building, New York.

Wolfgang Laib, Milk Stone, 2010. Milk and marble (6,3 (h) x 30 x 38 cm) Buchmann Galerie, Berlin.

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Bay Study I then began to move to a scale of 1:50, and decided It would be practice to model one of the bays of my building. I was originally going to plaster cast this model, however I decided against this and to use foam-board and card that would allow me to easily change and alter the design as I modelled. Within the original Idea, I decided to create a large narrow opening at 10m tall. However, I decided against this as I believed the compression from 10m to 3m produced a more powerful experience whilst travelling In between spaces. There Is to be no relief’s or reveals between the Interchanging space and the exhibition space therefore creating a more simultaneous transition. The first model I produced consisted of a 5x5 square coffered ceiling. Upon reflection, whilst I felt that the square coffered ceiling offered me more than the rectangular one previously, I decided that it would be better to add more square coffers In order to Improve the proportion and visual aspects within the space. Furthermore, I then decided to add a 7x7 square coffered ceiling which tied In with the approach of the minimalist artists I had studied. Then carried on building the model to Include the ground floor, and realised that the sculpting of space within the ‘service’ zones worked successfully, and helped to emphasise the mass and heaviness of the building further.

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Carl Andre, Untitled, 1963. Open grid formed by 5 horizontal and four vertical lines, Typewriter ink on paper. (27.9 x 21.6 cm)

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Carl Andre, 80 Point Fore Hodgkinson Dick Ted, 1963. Xerox copy from SHAPE AND STRUCTURE, (27.9 x 21.6 cm)

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The Atrium After solving a bay of my building, I began to look at the atrium space. This is the only space within the whole building which Is not repeated, and for me this plays an Important role within the proposal. The space offers a space for social Interaction and reflection. This large 15m tall space Is the only space to feature four relief’s, that are punctured on each side of the room. Within two relief’s are the two flights of 6m wide stairs that leads from the ground floor entrance Into the atrium and up Into the exhibition spaces located on the first floor. I was firstly Inspired by the atrium space at Louis Khan’s Phillips Exeter Library, In which to get to the main atrium space the Inhabitant has to climb a set of stairs In order to reach the raised floor level. Within the other two relief’s I have decided to sculpture out two benches which reveal the thickness of the walls and help to aid the tectonic mass of the structure. A key aspect to the space Is a large oculus skylight that is lowered by 2.2m In order to create a datum and helps to improve the proportion of the space. Inspiration for this feature was taken by Louis Khan’s Trenton Bath house, and Carl Andre’s poem “80 Point Fore Hodgkinson Dick Ted, 1963”

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The Exhibition Moving down a scale again Into 1:20, allowed and helped me to design my main exhibition spaces. Once I had tested the proportion of my rooms and gridded coffer ceiling, I was able to produce a 1:20 Interior model which helps to describe materiality and the different lighting strategy within each space. The model helps to describe the key characteristics of the room. Firstly the materials, such as the darkened and polished concrete floor with local Quincy granite aggregate. The In-situ cast seamless concrete walls, as well as the square concrete coffered grid that resembles a lid within this container of art. This feature Is heightened by the introduction of a shadow gap that also serves as a way of actively ventilating the space, and makes the services subordinate to the architectural character of the room. The series of seven photoâ&#x20AC;&#x2122;s aim to capture the experience of entering each exhibition space, and the repeated experience of the roof being pulled over your head as you move through the building. The purpose of the dark Interchanging spaces aim to segregate each space so that the inhabitant does not notice the spaces are gradually getting darker.

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Final Critique Our site - The Fore River Shipyard Is located on the periphery of Boston, and is the birthplace of the minimalist artist Carl Andre who also worked as a conductor on the site. The building is placed on the site within this confined corner, In which I was Inspired by the way Andre positions his sculptures within the corners of a room. The position within the site also Interacts with the adjacent bridge and the experience of driving over and looming Into these nine hollow boxes, was a key Idea from the start. In contrast, the bridge that had destroyed this thriving industrial town could potentially be a new gateway for revival. The nine chimney-like structures also resemble the gas silo’s currently on site which help to ingrain the building into its context. Currently, the Carl Andre and Melissa Kretschmer Foundation along with the TATE are currently working together to collate a catalogue of some 1500 poems created by the artist from 19572000 and will be the first comprehensive collection of Carl Andre’s poetry. The proposal will house Carl Andre’s series Seven Books of Poetry from 1969 and the museum will therefore become an Indispensable resource for artists, poets, scholars, art institutions and those interested in literature. The intention of my proposal is therefore to restore the cultural heritage of literature in Quincy, in which poetry becomes the means for social interaction with art driving this change. My approach to minimalism Is the overwhelming repetition of similar objects with subtle differences. Therefore I began by looking at Louis Kahn’s Trenton Bath House, and how this gridded plan is separated into services vs served spaces. The proposal aims to stimulate an experience through the repetition of spaces with subtle differences coming from lighting conditions, thresholds and ceiling heights. For materials, I started by looking at the minimal palette within the sculptures of Carl Andre’s work. Predominantly made from exposed In-situ fair-faced concrete, with joints grinded and

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polished In order to create a seamless finish. Floors are made from concrete with local Quincy granite aggregate and polished producing a slightly darker finish. Ironmongery and vitrines are made from blackened cold-rolled steel formerly used in the production of typewriters and allude the shipbuilding industry which once thrived on this historic site. Spaces are sculptured and carved out of this concrete shell In order to create a sense of mass and heaviness as the Inhabitant moves through these spaces. From the ground floor, the user must climb one set of stairs Into a 15 metre tall atrium Inspired by Louis Khanâ&#x20AC;&#x2122;s Phillips Exeter Library. A second flight of stairs leads from the atrium onto the first floor which contains the exhibition spaces. An archive housed on the second floor creates one larger tower as seen from the exterior. The Introduction of compression and expansion and the change In lux levels between the seven exhibition spaces creates a subtle shift in atmosphere, as the roof Is constantly being pulled over the inhabitant. The subtle change in lighting between each space almost becomes unnoticeable, and allows flexibility In which different poems can be displayed for different lengths of time depending on the lighting conditions of each room.

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2 degree angled cold-rolled steel coping DPC Parapet wall providing shade from indirect sunlight 200mm in-situ concrete inner skin 100mm Kingspan Kooltherm rigid insulation 300mm in-situ concrete outer skin

Metal roofing system with 3 degree pitch facing north Automatic black out blinds Double glazed, low iron glass skylight Rainwater gutter DPM Light loft Automatic fire sprinkler system Light reduction layer Light spreader LED lighting system CCTV system 1200mm exposed pre-cast concrete coffered beam 100mm grey plywood packer and shadow gap Temperature and humidity sensor

300mm in-situ cast exposed inner skin 200mm Kingspan Kooltherm rigid insulation 300mm exposed concrete outer skin. In-situ cast and structurally independent 100mm concrete and Quincy granite aggregate floor slab, with powerfloat finish 50mm sound insulation 500mm bubble deck ceiling slab in exposed concrete

In-situ cast recess for artificial lighting

Glazing beads top and bottom serve as additional mechanical fixings Stepped insulating glass bonded to aluminium frame (prefabrication structural sealant glazing Window element installed beforehand

100 x 75mm paving blocks 150mm screed Thermal rigid insulation (50 - 150mm) DPM Geotextile matt 600mm concrete slab with construction joints Porous board with bitumen paint Backfiling soil Drainage/perforated porous pipe Concrete strip footing with piles foundation

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Studio Presentations Studio 3.4: Unsentimental Contextualism: Community The studio focuses on arts capacity to affect change. At times of social and political change it is often art that finds a way of expressing the concerns of those without a voice. My architectural experience and interests in art and American Minimalism were key in my decision to pick studio 3.4. Our task to define and design a new art driven community on the harbor’s edge, is relevant to my belief that as architects we have the responsibility of creating socially positive communities. The studios philosophy of extensive research in order to create a self-led brief that responds to the physical and social context was a defining factor for choosing the studio as my first choice. Studio 3.6: The Deep City Firstly, I rather enjoy the studio’s approach to combine studio culture with the working methods and techniques of the practice. Having worked at 31/44 with Will and Kate, I’m interested in the practice’s approach to create modernist architecture which is unique to its setting and program whilst closely woven into the history, pattern, texture and character of the context. As an architect i understand the importance of creating a responsible piece of the city, which the studios aims to achieve through the themes; city depth, the urban block, threshold, facade, detail. Studio 3.1: House of the Visiting Professor I believe the studio’s aspirations of designing university buildings relevant to my architectural experience as a student. I enjoy the studio’s approach of creating atmosphere and architecture that is woven into the fabric of society. I feel exploring the formal, spatial, and social aspects of architecture and dwelling through literature and film important. Reflecting on last year i now understand the importance of research and identifying relationships in historical sources relevant to the brief. After producing detailed line drawings from my second year project I am comfortable with CAD, however i would like to explore rendering techniques which was lacking in my end of year portfolio. This year i aim to create a proposal that is detailed, researched, tested and resolved whilst responding to site, context and community.

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Vertical Project The vertical project is an individual, group and school endeavor, and this year the project focused on the relationship between private buildings and public spaces. This required us to understand what spaces require to be well urbanized and how architectural forms and material choices can best deliver a city environment that feels believable, comfortable, exciting and distinctive. As a group we chose to use Seething Wells Halls of Residence as our site for improvement. We firstly immersed ourselves within this context identifying the relationships between public and private. After a slow start and a lack of communication between group members, we eventually began to plan how we could improve the social qualities of the public spaces. We identified the re-occurring theme of arches within the adjacent industrial site, and chose to translate this into our design for improvement. We decided to implement arches to the entrances of each block, creating a more inviting and sheltered space for social activity. Another idea was to create a walkway around the blocks to increase the sense of community, as the current layout feels very disjointed. We successfully as a group produced a variety of good quality of work, playing to the strength in skills of each group member. We separated the group into a photography and drawing group. Those who excelled in photography were asked to go back to site and gather more specific images such as arches and walkways and began to produce photo-montages. Whilst the drawing group produced site plans, sketches and axonometrics. I believe as a group we answered the brief by improving the public space, making it a more happy space to live. However, in future group work I would like to improve the management of the group. I understand the responsibility of organization in order to improve productivity.

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Left: 1:10 hand drawn fireplace detail. Right: Image of Ahto Virtanens gravestone.

http://mairea.alvaraalto.fi/en/44.htm

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Dissertation My dissertation is written on Villa Mairea by Alvar Aalto. The building was designed as a holiday home for the bourgeois Gullischen family. Harry and Maire Gullischen shared the same progressive social views as Aalto, and the project was to become an experiment in developing a social utopia for the newly independent state. It was intended that with the advancement of technology and production methods of the late 1930s, flexible standardization would aid a new individualism to become available to all of society. The reason for adjacent image, is that my essay seeks to explore the fine moments and details within the building that make it such a special home. The fireplace is a fundamental aspect of the Finnish home, comparable to the Finnish farmhouse or tupa. It underlines the feeling of security and homeliness, however this unique detail is mostly identified by its amoeba-shaped molding often referred to as ‘Aalto’s ear’ that marks the junction between solid masonry and window. The relief resembles influence from the artist Hans Arp, and mirrors the gravestone of Aalto’s brother-in-law Ahto Virtanen, in which he designed. Aalto sought to evoke Finnish culture and identity through these details, which was vital in creating a new architectural narrative in Finnish architecture and modernism. My essay aims to interrogate these beautiful detailed moments that epitomize Finnish modernism, however arguing whether this luxurious dwelling lives up to the reality of becoming available for the small man that it was intended for.

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Year Guide I have created a year planner that indicates my upcoming deadlines throughout the year. It have subdivided them into modules and key coded them into formative and summative submissions. By planning ahead, this guide will remind me when to start my work for upcoming submissions.

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AR6001 Dissertation primary research Dissertation draft Site drawings Dissertation AR6002 Workbook (PDP) Planning context Regulatory context Cost & project management AR6004 Precedant study Sustainability design statement (SDS) Strategy Studio Semester 1 design portfolio Final drawings Semester 2 design portfolio & Model submission Portfolio interview

References:

Key: Formative Summative

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Unsentimental Contextualism: Community The objective of our studio brief is to define and design a new art driven community within our master-planning groups on the harbourâ&#x20AC;&#x2122;s edge of the historic Fore River Shipyard, Quincy, Massachusetts - the birthplace of Carl Andre. The themes in order to create this change are to be based on; creation, production, display, performance or education. The intent is to define and design a critical aspect of this new community in which minimalist art provides the capacity for change during a time of great social and political change. My intent will focus on the theme of display, in which I will aim to restore the heritage of literature through social interaction within the local community of Quincy. Located on the periphery of Boston and with good transport links, it is intended that this new community will attract visitors from the main city similarly to the relationship between New York and Dia Beacon. Issues include the scale of the 94,276m2 site that is laden with remnants of shipbuilding activity which once took place. The site is currently polluted by oil, shrapnel, steel, iron, building material, salt, and rubble. Materials will be chosen to increase the lifespan and slow the degradation of the sea salt air and marine environment. Other issues include the risk of flooding, the site is currently located in the flood zone 2 area with a tidal range of 13 feet as well as the risk of snow. The chaotic nature of the site contrasts with the minimal buildings we intend to develop.

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Brief Unsentimental Contextualism: Community The objective of our studio brief is to define and design a new art driven community within our master-planning groups on the harbourâ&#x20AC;&#x2122;s edge of the historic Fore River Shipyard, Quincy, Massachusetts - the birthplace of Carl Andre. The themes in order to create this change are to be based on; creation, production, display, performance or education. The intent is to define and design a critical aspect of this new community in which minimalist art provides the capacity for change during a time of great social and political change. My intent will focus on the theme of display, in which I will aim to restore the heritage of literature through social interaction within the local community of Quincy. Located on the periphery of Boston and with good transport links, it is intended that this new community will attract visitors from the main city similarly to the relationship between New York and Dia Beacon. Issues include the scale of the 94,276m2 site that is laden with remnants of shipbuilding activity which once took place. The site is currently polluted by oil, shrapnel, steel, iron, building material, salt, and rubble. Materials will be chosen to increase the lifespan and slow the degradation of the sea salt air and marine environment. The chaotic nature of the site contrasts with the minimal buildings we intend to develop.

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Site The geology of the site is predominantly man-made infill of gravel, sand deposits and bedrock. The site is prone to flooding and is located in the flood zone 2 area with a tidal range of 13 feet. The chances of snow during winter months remains very high. Located on the Fore River Shipyard, our site was previously a large-scale shipbuilding dock in use from 1901 to 1986. Opened by Graham Bell, it was sold to Bethlem Steel (Americaâ&#x20AC;&#x2122;s largest shipbuilding company) in 1913. The dock produced ships for military and commercial clients and employed 32,000 people during the peak of World War Two. It was bought by General Dynamics in 1963. The industrial character of our site is heavy laden with remnants of a large-scale ship building industry that gives the site a character that resembles the flourishing steel industry of America. Our site contains predominately industrial buildings made from steel and brick. A railroad cuts through our site, which was once used in the transportation of materials from dock to dock. I will look to use the railroad in the transportation of materials during the construction of my proposal, as well as a possible future link for public transport. Cold-rolled steel will be used for ironmongery resembling the once flourishing shipyard. The current site is predominately industrial, commercial and medium density housing with very little leisure or public land. My proposal will aim to increase leisure activities and provide public spaces for congregation and recreation through the introduction of a courtyard, atrium space, restaurant and cafe. The community benefits from a handful of events over the calendar year such as; Quincy Symphony Orchestra Classical Concert, 20th Annual Arts Festival, Paint Nights at Milton Art Centre and the River Film Forum. Unemployment in Quincy remains high and whilst its education and manufacturing services appears high over the US average, its arts, entertainment and recreational sector remains low. My proposal aims create jobs for local people within the arts sector, and provides an educational center which will promote literature

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within the community of Quincy. Quincy is notorious for its thriving granite industry during the late 19th and early 20th century and boasts the United Statesâ&#x20AC;&#x2122; first railroad In which Quincy granite was drawn by horse and cart from Quincy to the Neponset River in Milton for the construction of Bunker Hill Monument. I am proposing to use the local granite to the aggregate of my concrete building in order to ingrain my proposal within its context. Granite blocks will be used as plinths to display pieces of poetry. For site drawings see pages; 54-63, 208-215 For site model see pages; 16-21

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NEW YORK: - United Nations Headquarters - Le Corbusier, Oscar Niemeyer & Wallace Harrison - Seagram Building - Mies van der Rohe - One Chase Manhattan Plaza / 28 Liberty Street - Gordon Bunshaft - The High Line - James Corner and Piet Oudolf - NYU Silver Towers - I.M. Pei - Central Park - Frederick Law Olstead - Whitney Museum of American Art / Met Breuer - Marcel Breuer - 500 Park Avenue - Gordon Bunschaft - Lincoln Centre - Wallace Harrison - Rockefeller Guest House - Philip Johnson - Whitney Museum of Art - Renzo Piano - Metropolitan Museum of Art - Richard Morris Hunt - New Museum of Contemporary Art - SANAA - Manhattan Church of Christ - Eggers and Higgins - Dia Beacon - Rice & Lipka / Open Office - Guggenheim Gallery - Frank Lloyd Wright - Franklin D. Roosevelt Four Freedoms Park - Louis Kahn - Met Life Building - Emery Roth and Walter Gropius - Spring Street Home and Studio - Donald Judd - O’Toole Medical Services Building - Albert Ledner - Lever House - Gordon Bunschaft - Asphalt Green - Kahn and Jacobs - Ford Foundation - Kevin Roche and John Dinkeloo - PS1 - Frederick Fisher - 33 Thomas Street - John Carl Warnecke - Fashion Institute of Technology - Young, Moscowitz and Rosenberg - Museum of Modern Art - Yoshio Tanaguchi YALE & NEW HAVEN - Yale Architecture School - Paul Rudolf - Yale University Press - Carleton Granbery - Yale University Gallery - Louis Kahn - Centre for British Art - Louis Kahn - Beinecke Rare Books Library - Gordon Bunshaft - Knights of Columbus Building - Kevin Roche and John Dinkeloo\ - David S. Ingalis Rink - Eero Saarinen - Ezra Stiles College - Eero Saarinen - Temple Street Garage - Paul Rudolf - The Glass House - Philip Johnson - Grace Farm - SANAA - Crawford Manor - Paul Rudolph BOSTON & CAMBRIDGE - Boston Government Service Building - Paul Rudolf - The Emerald Necklace - Frederick Law Olmstead - ICA - Diller Scofidio and Renfro - Harvard Student Centre - Josep Lluís Sert - Carpenter Centre - Le Corbusier - MIT Chapel - Eero Saarinen - Baker House - Alvar Aalto - Kresge Auditorium - Eero Saarinen - Boston City Hall - Gerhard Kallman & Michael McKinell - Gund Hall / Graduate School of Design - John Andrews - Simmons Hall - Stephen Holl - Harkness Commons - Walter Gropius - Exeter Dining Hall - Louis Kahn - Exeter Library - Louis Kahn

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Field Trip Our field trip to the US started from New York, and over the course of nine days took us along the Hudson River across the stateline to New Jersey before heading East along the Connecticut coast through Rhode Island to Boston. Whilst in Massachusetts we visited our site located within the town of Quincy. Along the way we saw the likes of; Kahn, Corbusier, Rudolf, Brueur, Johnson, Sejima, Aalto, Wright, Saarinen, Andre, Judd, de Maria and Serra. Whilst In New York, we visited the New Museum of Contemporary Art by SANAA completed in 2007. This steel structure clad in seamless anodized aluminum mesh rises to eight storeys high and creates a stack of six rectangular boxes that are shifted In order to allow natural light into the building. I believe this method of using natural light in order to create different atmosphere’s could apply towards my thesis design. Whilst I enjoyed the concept of the shifted boxes, and the off centered core that allows the structure to become free of columns, I did not feel the building responded to the need for open, bright and flexible spaces that a modern museum requires. Our visit to Dia Beacon was particularly inspiring. The former converted biscuit factory provides flexible spaces due to its largespanning roof structure. The spaces provides a powerful and discrete context for displaying art due to its excellent naturallylit spaces. This art centre located on the periphery of New York, resembles similar undertones to our site’s current relationship between Quincy and Boston. Similarly, this art institution provides a special art community within its context that helps to regenerate this relatively quiet area. The site circulation, parking and landscape of museum’s exterior surrounds looks a suitable precedents to use for any landscaping design. Whilst visiting the Da Monsta gallery at Phillips Johnson’s Glass House I was inspired by Robert Morris’ “Nine fiberglass sleeves” which has Influenced and Informed the massing of by proposal.

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Site Model Whilst selecting the area to model, as a group we particularly enjoyed the juxtaposition between the residential and industrial buildings. The relationship of the river that was key to this once thriving community was an important aspect of the model. We began by looking at the materials used by the minimalist artists such as; Andre, Serra and Judd. Made from Industrial materials such as; steel, lead, aluminium and plaster I believe the model begins to develop a sense of place that begins to discover the fabric of the site. The level of abstraction and our groups attitude towards this aspect of the site was critical. Whilst the Industrial building were much larger In scale, they became more spread out and formed a much looser arrangement within their context due to the expansive nature and activity of the shipyard. Within the model we let these steel pieces rust Into the plaster base highlighting their degrading effect on the land. A potential weakness within the model was by adding Iron files to the plaster, and perhaps It would of been more potent to let the buildings rust the base instead. On the other hand, the residential vernacular houses formed a more ordered and gridded form, typical of the minimalist style. We chose to use aluminium that wouldnâ&#x20AC;&#x2122;t rust and would keep a clean and polished surface to contrast with the grit of the Industrial buildings. The narrow lanes within the residential creates a more Intimate atmosphere which contrasts the expansive and largescale Industrial landscape of the shipyard. I particularly enjoy the scale between these two typologies that is apparent within the model. The use and variety of industrial materials enhanced our knowledge in working with these materials and developed our workshop skills whilst developing a relationship with the required staff. Every design decision was discussed within the group, and after debating our feelings and views we continued to make conscious decisions and work together successfully as a group. Working in a group has developed my negotiation, organization, leadership and evaluation skills that will benefit me post-university. A collaboration of creative Ideas, communication, time-management and participation made for a successful group dynamic.

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Design Statement & Critique Quincy Is the largest town city In Norfolk Country, Massachusetts. More commonly known for It’s granite and Illustrious shipbuilding Industries of the past, It Is also the birthplace of Carl Andre. While best known for his sculptures, a rich and significant element of Carl Andre’s practice remains largely unseen and unpublished. Throughout his life, language and poetry have been fundamental to the work of Carl Andre. Andre’s experiment’s with word and text deserve collation and careful attention, not only because they cast significant light on his work in three-dimensions, but also because they supply a fascinating insight into his sensibility as an artist. I will therefore look to propose a museum of minimalist poetry that will store Carl Andre’s concrete poetry. The proposal will provide an indispensable resource for poets, artists, scholars, art institutions, schools and others interested in poetry. The intention of my proposal is therefore to restore the cultural heritage of literature in Quincy, in which poetry becomes the means for social interaction. The discussion arisen from the critique was that the adding of Ideas In order to make the building more interesting became a weakness and unnecessary for an art gallery. Therefore I will decide to remove some of these features such as the vaulted ceiling and the lead cast floor. Another key point arisen was that to end the sequence of naturally lit spaces In a room of artificial light weakened the project. Therefore I will look to carefully control natural light in order to complete the sequence and preserve the pieces on display and continue the curatorial strategy. The main point raised was the relentless symmetry within the building and the fear it could potentially become claustrophobic. Therefore I will look to loosen up the floor plans and play with asymmetry and a way to create more joy within the expression of the building.

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Lecture Review Alongside a single, titled and credited image, review one of the guest lecture series. You may refer to the accompanying ‘Register’ podcast. After attending one of the evening Register lectures, I was particularly Inspired by the work of Ryan Kennihan and his talk on Type and Resonance. Kennihan’s architecture responds meticulously to a close reading of its local context, culture and history creating a valuable architecture that avoids the contemporary trend of form. I particularly enjoyed the project Leagaun House. This new farmhouse echoes the vernacular Irish farm house typology that Is nestled within the surrounding landscape. The design consists of simple volumes and a tranquil courtyard based on Its typology, whilst creating a primary object of permanence. The courtyard contains a colonnade connecting the inside and out, In which deep thresholds deal with solar gain. The traditional ringbeam is exposed Internally and externally In board-marked concrete, In which other functions such as water collection and lateral thrust resistance allow for an open and unbraced timber roof structure, exposed within the Interior. The choice of modern materials of slate tiles, white lime-washed walls and rough cast concrete reflect the rural character of the house.

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Looking In Studio Presentation Contents: 1) Fabrication Drawings - Industrial drawings 2) Framework - Masterplanning within groups 3) Site Model 4) Context - Research Into the US 5) Minimalists - Research into minimalist 6) Field Trip Guide 7) Graphite - 1:20 measured drawings 8) Mark - Minimalist art piece 9) Construction Intent - 1:20 Interior models The main focus on the discussion and feedback given to us at the school assembly was revolved around minimal art and the community. Whilst at this early stage we envisaged with the help of our masterplanning groups to regenerate a lost community through minimalist art, the main set of questions asked how we were going to tackle this. I believe that through the careful placement of buildings and the introduction of public space that is not currently present on the site, we are already tackling this issue. However as a group we will look to create a series of public spaces that deal with the transition between buildings and spaces as well as the recreation and open spaces that will be used for longer periods of time. Therefore we will be able to revert back to the existing nature of the place. We want to make spaces that people can come to time and time again In order to see different pieces of minimalist art, whilst benefiting the local community’s Interest in providing jobs, education and recreational activities. An Important piece of feedback asked “what isn’t happening, what has happened, and what can happen” and I believe within our masterplanning groups we must create spaces of necessity In order to create a successful piece of social architecture.

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Looking Out Reviewing the alumni presentations allowed me to gain a better Insight and knowledge Into the Industry and what to expect for after graduation. From the presentations I was able to learn about the personal management required within dealing with time management and deadlines for projects throughout their process In the RIBA work of plan. I gained an understanding from learning about competition entries within the various practices and from that I was able to gain a better insight into planning, self-direction, subject engagement and commitment. Whilst listening to the presentations, I was Interested In discovering the varied response to working with other colleagues, and how many had worked In a variety of offices to eventually find their feet. I learnt from some of the scenarios of working In diverse teams and In unpredictable contexts, and that professional behaviour and accountability whether working In teams or Individually will always be Identified.

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Technical & Regulatory Integration Structural The proposal is made up of a repetition of 9 tower-like structures. The homogeneity of each tower is achieved by the constructional method of separation. The structure of my proposal Is an exposed concrete shell Internally and externally made from 500mm thick walls that create a tectonic expression of mass and heaviness. By using concrete I am able to create spaces which act like they are almost carved out of this shell, which is most noticeable between the landlocked spaces In-between gallery spaces. The 100mm concrete outer skin of the structure is self-supporting and structurally independent and tied back to the 300mm primary load-bearing inner skin separated by a layer of 100mm rigid insulation. By placing the load-bearing layer inside, a protective insulating layer will prevent cold-bridging. Due to loads, settlement, earth pressure and moisture the structure is founded on strip footing with piles around the perimeter of each 10 by 10 metre tower. All surfaces will be left exposed and construction joints removed and polished In order to create a joint-less facade of ground fairfaced concrete. Concrete floor slabs will be topped by polished concrete with local Quincy Granite aggregate with pigment in order to produce a slightly darker and fine-textured surface. The choice in using concrete allows the building to have single and uniform surfaces that adheres to the minimalist theme.

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Technical For tectonic reasons the openings will finish flush with the external facade therefore emphasising the coherence of the envelope. This will result in deep reveals that will furthermore Increase the sense of mass. Ironmongery and window frame’s will be made from cold-rolled steel formerly used in the production of typewriters that will allude the typewritten poems on display. The steel will be galvanised and powder coated black to protect the material from the marine conditions. This choice of this material Is widely used In the American context and also recognises the Infamous shipbuilding industry which once thrived on the site. The choice of materials are deeply rooted within the local context. The scheme consists of two mechanical heating, ventilation and air conditions (HVAC) systems. Within the ground floor a water system is used providing heat through a LTHW underfloor heating and cooling system, which saves on running costs and reduces energy consumption and carbon emissions. Within the exhibition spaces a Variable Air Volume (VAV) system will be used to provide more controlled and precise heating, ventilation and air-conditioning. This system will create the suitable environment required to preserve rare Items on display. The success of this system will be; less noise, dehumidification, lower energy consumption, reduced compressor wear The location of this system at high level within the shadow gap between the wall and waffle slab which acts a ‘lid’ to this container of art, as well as integrating servicing. The reason for these two systems is resultant of running cost and installation. The separation between an intuitive and flexible system is suited to the requirement of the spaces.

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Metal roofing system Automatic black out blinds Skylight glazing with 3 degree pitch facing north Rainwater gutter DPM Light loft Automatic fire sprinkler system Light reduction layer Light spreader LED lighting system CCTV system 1200mm exposed pre-cast concrete coffered beam 20mm grey plywood packer and shadow gap Temperature and humidity sensor

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Alexander HouzĂŠ Kingston University 1:200 First Floor Plan

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Regulatory Within my proposal two fire escapes towards the north facade, allow for an escape route from the first floor exhibition spaces in the event of a fire. The concrete fire lobby will In most cases not require any additional fire-protection due to the non-combustible nature of the material, however a fire resistance of at least 120 minutes will be required within this area. Doors will also need to achieve a resistance of 30 minutes. The space within the service zones Is suitable for the width of a fire escape route, and has enough space for a refuge point, allowing for continuous refuge. Fire extinguishers will be located within each service space allowing meaning the access to the prevention of fire will always be limited to 10 metres. Held within the waffle slab, the light-spreader houses space for a sprinkler system. This system will provide an automatic source for fire prevention only within the space that Is required, therefore reducing the risk of damaging the whole collection that Is on display. The water network will run through the service void of the waffle slab and connect to a charged water tank located on the roof of the archive. This may not seem suitable at first, however this Is only section of room that Isnâ&#x20AC;&#x2122;t glazed. The roof will have to be further waterproofed In the risk of leaking.

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Sustainability The scheme as part of a group of buildings within a masterplan aims to regenerate the community through community engagement and learning opportunities. Within the proposal an education centre will hold workshops for families and local schools, and the archive will provide an indispensable resource for poets, artists, scholars, art institutions, schools and others interested In literature. The suitability of this falls Into line with Quincyâ&#x20AC;&#x2122;s low percentage of employment In the Arts, entertainment and recreation sector. Because our site Is at risk of regular flooding, a SUDS system and long-term water storage system within the masterplan will Improve the ecological sustainability and contribute to the future-proofing of the site. The location of the SUDS system must be located in a suitable area and within clean soil. This system will need to be lined and designed to attenuate water near the surface due to contaminated soils on the site. The orientation of my building Is suitably located to absorb as much north light as possible, and therefore reducing the risk of excessive solar gains. A deep parapet within the design of the proposal provides shade from direct sunlight. Concrete within certain areas will be mixed with local aggregates, and vitrines will be made from local Quincy granite stone. Using these local materials will reduce the length of transport that contributes to CO2, whilst benefiting the local economy. By using a durable material the life-cycle of the building is increased. Due to the thickness of external concrete walls, thermal mass will store thermal energy and provide a stable temperature suitable for a gallery space. The use of thermal mass and slow release of energy is suitable for the context of Quincy that often has cold winters and warm humid summer months.

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Critique Our site located In Quincy Is the birthplace of Carl Andre, and whilst best known for his sculptures an Important part of his work goes largely unknown. Positioned within the corner of the dock, I was Inspired by the way Andre positions his sculptures within spaces. The tower-like forms appear as hollow boxes whilst travelling over the newly constructed bridge whilst mimicking the Industrial silo’s embedded within the context. Currently the Carl Andre and Melissa Kretschmer Foundation along with the TATE are currently working to collect some 1500 poems created from 1957-2000. I am therefore proposing a museum to store and conserve these poems, whilst providing an Indispensable resource for poets, artists, scholars, art institutions, schools and others interested in poetry. The programme will exhibit a permanent collection from Andre’s series ‘The seven books of Poetry’ from 1969. The Intent is therefore to restore the cultural heritage of literature in Quincy, in which poetry becomes the means for social interaction. Minimalism for me is repetition with subtle differences, It Is visceral and Is stripped back to the bare necessity. Therefore I begun by looking at Louis Kahn’s Trenton Bath House based on the grid of the served and service spaces. The building has a tactile and minimal palette and Is made mostly from In-situ fair-faced concrete that helps to create a sense of mass and heaviness In which spaces are sculptured out. All joints will be grinded and polished In order to create a seamless and uniform surface. Floors are made from concrete with local Quincy granite aggregate and polished creating a slightly darker texture. Ironmongery, doors and windows will be made from cold-rolled steel used In the production of typewriters and alluding the historic shipbuilding industry that once thrived. Steel will be galvanised and powder coated black. Spaces are sculptured out of the concrete volume creating

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compression and expansion between the service and served spaces. Thresholds are widened to furthermore enhance this tectonic atmosphere. The ground floor will accommodate the primary public spaces such as tickets, cloakrooms, toilets, education and office spaces. The first floor Is an Inversion of the ground floor and will contain the exhibition spaces. These large rooms contrast to the small pieces of paper that are on display. All the spaces are naturally lit and louvres allow flexibility In blocking out natural light within the galleries, In order to display work at different lux levels. The landlocked spaces In-between exhibition spaces are compressed therefore creating dark spaces In order to diminish the recognition of changing light levels between each room. An archive located on the second floor will house the archive, far away from any risk of flooding and forms the largest tower.

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The main comments during the crit were the fear that the project could become more of a monument than an art gallery. Another comment was made In which the rigour of the building could remain on the first floor and be inverted within the ground floor which I believe to be an intriguing Idea. I will look at developing a ground floor that will be an inversion of the first floor, therefore the Inhabitant will become totally unaware of what Is about to happen above creating two different experiences. Another comment was made about the location of the tower. The first suggestion was that It could be used to mark the entrance of the building and line of approach. Therefore I will look to place my axonometric drawing within the context and test this idea. The lighting and seriality of Images worked well, however It was noted that testing different methods of lighting could provide for a more playful and joyful experience within the building. I will test different light strategies and use the poems as references for my decisions on my 1:50 model. The vitrines within the model looked to be basic and therefore I will look to simplify the vitrine. By doing this I will change the vitrine Into a plinth to display one poem instead of four which will allow flexibility and become more minimal. The position of the windows towards the corners of the building appeared to create a thinness to the facade and was noted within the site collage render. Therefore I will look to position my windows slightly more centrally In order to continue with the theme of mass and heaviness. It was also noted a material piece would be of benefit.

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Tutorial I carefully began collating the work I was to present to my tutors during my tutorial following on from the comments I had received during the final crit. I spent time during the week to test a series of different lighting options that could be used within the exhibition spaces. The work was received well and successful however It was mentioned that care should be taken In photographing these Images. For example, photographs should be at eye level, and the position of the door should be In the same position throughout. After describing the design of my vitrine Inspired by a piece of art by Wolfgang Laib, It was well received. Therefore I am now looking to produce some orthogonal and detail drawings of this piece. I then showed a sketch of a possible site perspective view. My tutors thought this was a good composition, and enjoyed the realistic experience. From this, I will now convert the sketch Into a line drawing In which I will place a render of my proposal Into. Lastly I presented a sketch of a possible ground floor plan that was more open. Whilst this needs more work, It was a start It was commented on that the ground floor could be an under-croft In which the structure falls through Into the ground floor with the crypt being located within the middle underneath the atrium. I will look to CAD up this type of floor plan, and use 3D models to quickly test this Idea.

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Carl Andre Poetry Museum 1:50 Atrium Habitation Plan

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Tutorial I firstly presented the site perspective that I had produced during the week which was Informed by the site sketch I had shown the previous week. The feedback I received was good and the composition and nature of the Image was commented on. It was however questioned whether the drawing would benefit without the Introduction of the crane. I also presented a 1:50 habitation of the atrium space within my proposal which aimed to give a real life representation of how the spaces may work In reality. The comments were complimentary and I was asked to reproduce this drawing In other rooms within the proposal. The questions raised, were the position of the cut through the handrail on the staircases and whether use could be made within the large section of wall towards the right of the drawing. Therefore I will look to incorporate more space for services that will link to the conservation space below, which will require a lot of space for mechanical equipment. I was then asked whether I could reproduce some of the Interior model Images produced from my crit, this time describing different lighting conditions, materiality and a more real life Image.

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Unsentimental Contextualism: Community At times of great social and political change It Is often art that finds a way to express the concerns of those without a voice and In doing so offering a possible route through the chaos. The work of a particular group of New York artists in the 1960’s articulated a significant moment of crisis in American history and Identity. Taking influence from American Minimalism I am Interested In art’s capacity to drive change. Our site Is based In the Massachusetts town of Quincy, the birthplace of Carl Andre. Within our masterplanning groups we are to define and design a new art driven community on the harbour’s edge. Whilst best known for his sculptures, a rich and significant element of Carl Andre’s practice remains largely unseen and unpublished. Throughout his life, language and poetry have been fundamental to the work of Carl Andre. Andre’s experiments with word and text deserve collation and careful attention, not only because they cast significant light on his work in three-dimensions, but also because they supply a fascinating insight into his sensibility as an artist. I will therefore be proposing a museum for Carl Andre’s original concrete poetry. The proposal will provide an indispensable resource for poets, artists, scholars, art institutions, schools and others interested in minimalist poetry. The intention of my proposal is therefore to restore the cultural heritage of literature in Quincy, in which poetry becomes the means for social interaction. Tutors: David Owen (Tony Fretton Architects) Michael Lee (Michael Lee Architects)