academic portfolio 2 I N T E G R AT E D PAT H WAY : [ PA R A ] S I T U AT I O N S A H E M E D A B A D I N D I A
IONA HOGGARTH S1450039 MASTER OF ARCHITECTURE 2019-2021
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MODULE /COURSE
Orientation
MODULE /COURSE MODULE /COURSE
Portfolio Chapters are organised chronologically,
Under the Architects Act 1997, the Architects
• GC6 Understanding of the profession of architecture and
the bar below allows the reader to orientate work
Registration Board (ARB) has the responsibility
the role of the architect in society, in particular in preparing
within the context of the course; The course year,
for prescribing the qualifications and practical
briefs that take account of social factors.
any additional information, fellow contributing
experience required for entry onto the UK Register
• GC7 Understanding of the methods of investigation and
students and ARB General Critera & Graduate
of Architects. The General Criteria at Part 1 and Part
preparation of the brief for a design project.
Attributes. The bar above
2 levels are now explicitly linked to the 11 points
GC8 Understanding of the structural design, constructional
that form a part of Article 46 of the Professional
and engineering problems associated with building design.
I H - Iona Hoggarth
Qualifications Directive.
C M - Caitlin MacLeod
• GC9 Adequate knowledge of physical problems and
J B - Julia Brookfield
• GC1 Ability to create architectural designs that satisfy
technologies and the function of buildings so as to provide
D S - Desmond Su
both aesthetic and technical requirements.
them with internal conditions of comfort and protection
J P- Jack Parmar
• GC2 Adequate knowledge of the histories and theories of
against the climate.
architecture and the related arts, technologies and human sciences.
• GC10 The necessary design skills to meet building users’
• GC3 Knowledge of the fine arts as an influence on the
requirements within the constraints imposed by cost
quality of architectural design.
factors and building regulations.
• GC4 Adequate knowledge of urban design, planning and GC11
the skills involved in the planning process.
•
Adequate
knowledge
of
the
• GC5 Understanding of the relationship between
organisations, regulations and procedures involved in
people and buildings, and between buildings and their
translating design concepts into buildings and integrating
environment, and the need to relate buildings and the
plans into overall planning.
spaces between them to human needs and scale.
TIME FRAME
MArch MArch
1 2
SEMESTER SEMESTER
RELEVANT
I N D I V I D UA L / C O L L A B O R AT I O N
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
GENERAL
4.1 4.2 4.3
5.1 5.2 5.3
CRITERIA
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
RELEVANT
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
AT T R I B U T E S
2.3
2.4
2.5
2.6
2.7
industries,
STUDIO C
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STUDIO D
Table of contents.
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YEAR 1
SEMESTER 1
SEMESTER 2
01
SEMESTER 2
SEMESTER 1
03
06
08
A H M E DA B A D, I N D I A I N T E R G R AT E D S T U D I O PAT H W AY.
03.1 case study | denby dale house derrie o’sullivan & the green building store
STUDIO C
STUDIO D
02
Denby Dale house was a pioneering and experimental application of the passivhaus methodology to UK construction methods and winner of the 2010 RIBA awards for sustainability, housing, the bronze award and client of the year.6
STUDIO A
04
09
07
METICULOUS CHAOS: A FOOTHOLD IN A FISSURE
Completed in 2010, Denby is known as the first passivhaus to be built using cavity wall construction, with many original junction details developed throughout the project which have subsequently been used in following passivhaus projects.6
STUDIO H
D E TA I L FA C A D E S E C T I O N M O D E L 1:20
The shearing layers model was developed with commercial buildings in mind; this case study provides a starting point for grounding our research within the context of UK housing.
Fig.2
Fig.3
6
Green Building Store, “Denby Dale Passivhaus”, 2019, https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhaus-uk-first-cavity-wallpassive-house/
ARCHITECTURAL TECHNOLOGY REASEARCH
FIELDWORK
Fig.4
8
ARCHITECTURAL M A N AG E M E N T, PRACTICE ND LAW
DESIGN REPORT
05 YEAR 2
STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Design Studio C COURSE SUMMERY Following on from the previous [para]situation, Studios of Mumbia and Calcutta , this course operates within the principles of Ecosophic Urbanism, developed from a selection of Key Philosophical positions that drive theorisation on how architecture is situated in socio-political, environmental contexts. This course is integrated across four studio modules in across both years
PARA-Situation: {Ahmedabad}; Past, Present, and Possible.
of study—a research-by-design study of the city of Ahmedabad, in Gujarat, India. Studio C takes place prior to the field trip to India; the focus is on developing themes of inquiry, with water as a principal theme
CRITICAL REFLECTION Through Studio C, I have developed and demonstrated strength in establishing a productive conceptual framework to be carried throughout the project, a conceptualisation of ecosophic spatial qualities rooted in understanding environmental and social conditions and communicated in varied representation methods. To develop this further, testing through experiential and material language is required and create a more robust dialogue between concept and context.
LE ARNING OUTCOMES LO1 | The ability to develop and act on a productive
LO3
conceptual framework both individually and in
development of skills in using, differing forms of
teams for an architectural project or proposition,
representation (eg. verbal, drawing, modelling,
based on a critical analysis of relevant issues.
photography, film, computer and
LO2 | The ability to develop an architectural, spatial
workshop techniques), especially in relation to
and material language that is carefully considered
individual and group work
at an experiential level and that is in clear dialogue with conceptual and contextual concerns.
B E H I N D : A H M E DA B A D, G U JA R A AT, I N D I A . 1 5 7 3 A K B A R N A M A B O O K BY A B U ’ L - FA Z L I B N M U B A R A T H E M U G A L C O N Q U E R O F G U J A R AT.
|
A
critical
understanding
of,
and
the
Walls, wells, polls and Gates.
T H E R E M A I N I N G F R A G M E N T O F O L D A H M E DA B A D WA L L S , A N D B H A DA R G AT E 2 0 2 0
=
Ahmedabad INTRODUCTION Ahmedabad is the largest city in Guajarat, India and situated on the banks of the Sabarmati river. Ahmedabad was founded over the ancient settlement of Ashaval in 1411 by Ahmed Shah I of Gujarat Sultanate. He built the first citadel, Bhadra Fort, starting from Manek Burj, the first bastion of the city. The Bhadra Fort had eight gates (Darwaja’s) as entrances to the walled city. When the city expanded, Ahmed Shah built the second fort, Mahmud Begada, which later fortified with twelve gates in 1486. After the arrival of railways, the British built two more gates to facilitate the movement. Over time large sections of the ancient city walls have been demolished, leaving the Dawaja’s standing as monuments. WA L L S W E L L S A N D W E L L WA L L S - P R E FA C E At the forefront of the drive for independence from the British Empire, Ahmedabad held a uniting vision of postindustrial India, prospects of a pioneering India ruled by Indians. The emphasis on the mother tongue and native customs has gone some way to contributing to a cultural surge in the post-industrial city of the western bank, deepening national pride and identity. However, as the AMC’s Sabarmati river front development projects demonstrate, assertions of western ideals of modernity endure. Sentiments of a society that recommences its path to modernity along old European routes, prioritising individual industrial prosperity and commercialising attitudes, have filtered down into the practice of placemaking and the public realm. The once shifting and seasonal flow, thriving with a rich biodiversity and over ten thousand families living on the Riverbank, is now channelled. The banks capped in an unyielding 11.5 kilometres of vast baking hot concrete walkways and manicured lawn, emulating year-round navigable basins of the Seine or Thames. The reclaiming of a valuable 200 hectares of real estate, 20 per cent of which now sit with private developers and a further 28 taken up with four wide lane roads, resulted in the most significant displacement of a population in the city’s history, flooding in 2006 and have lead many to question the integrity, both ecological and political,of those leading the project. The concern is now for how a continued division of public space will affect the social cohesion and both cultural and physical landscape of Ahmedabad ASSIGNMENT 1 BRIEF SUMMARY INTERPRETATION: Investigate two situations, one from along the line of the old city walls and one from along the line of the new retaining walls of the sabarmati riverfront project. develop an understanding of each situation, and link them programatically. by doing so address the erasure of the walls in one situation and the socio-cultural mediation that walls may oportune in the other. design a small scaleintervention that begin the rethinking of territory and architecture as reciprocally enzymatic.
T H E N E W A H M E DA B A D WA L L S : S A B A R M AT I R I V E R F R O N T P R O J E C T 2 0 2 0
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A S S I G N M E N T 1 : [ PA R A ] S I T U AT I O N
Wall Wells & Well Walls
Ahmedabad
is
divided
by
the
Sabarmati
into
two
distinct
halves.
The eastern bank of the river houses the old city, which includes the central town of Bhadra. This part of Ahmedabad is characterised by densely packed bazaars, the pol system of closely clustered buildings, and numerous places of worship. The heritage of these Pols, has achieved Ahmedabad UNESCO World Heritage Status. The colonial period saw the city’s expansion to the western side of Sabarmati, facilitated by the construction of Ellis Bridge in 1875 and later Nehru Bridge. The western part of the city houses educational institutions commissioning globally renowned Architects such as BV Doshi, Louis Khan and Le Corbusier, residential areas, shopping malls, theatres and new business districts.
Situation A; Jathanhi ni Pol The Pols are vernacular co housing clusters and self contained sociological units comprised of many families, of a particular caste, religion or trade. The highly dense unplanned evolved nature from a natural defence. The word Pol is derived from the Sanskrit word Pratoli meaning Entrance to an enclosed area. Unique to Gujarat the urban structures date from 1738 during Mugha Maratha rule ( 1738-1753) in Ahmedabad a time of communal riots and violent unrest. Situation B: Ravivari Bazaar Ravivari is a Gujarati word meaning Sunday. The market runs Adjacent to the Sabarmati between Ellisbridge and Sadar Bridge A 32,00msq Concrete seam between old city wall and new River Wall. The oldest market in consistent location in Ahamedabads history
[ PA R A ] S I T U AT I O N S
once stretched to the waters edge but is now curtained by concrete
SITE A: JAHANHI NI POL
retaining walls and a no mans land of 100 meters
MArch MArch
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S I T E B : T H E S A B A R M AT I R AV I VA R I B A Z A A R
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
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A N U N P LOT TA B L E R E F U G E
Gujarat has had a history of successive invasions Ahamedabad has a tragic history of religious and sectarian strife The most recent of which being the 1969 Gujarat Riots which cost over 1,000 lives. As a direct result the purpose of these narrow settlements was to ensure security of each community at times when animosity became dangerous. Each pol has its distinctive architecture and motifs, depending upon its inhabitants and their traditions. These tightly clustered groups of houses have regulated points of entry and gates guarded by their ‘polia’ watchman. Each pol ends either blocked by a dead wall or, through a bari; opening into an adjacent pol usually disguised as a a small Wooden door to a Haveli. To maintain the integrity of the safety precaution the Bari is usualy known only-to the inhabitants that pol. Some of Haveli cellars have air shafts running through the walls, so that they may be used as retreats for men in hiding. Unlike the common conception of community or neighbourhood the pols function more similarly to a co housing intentional community, with communal responsibility and expectation.The property in the pol is to an extent held in common. Formerly individual could sell or mortgage a house to an outsider without first offering it to the people of the pol. When a house is mortgaged or sold, the people of the pol had a right to claim from one-half to two per cent of the money received. At weddings or family occasions, each householder is expected to feast the whole pol, and in some cases all the men of the pol, are expected to attend any funeral that may take place. If the pol rules are slighted, the offender is fined. The money gathered from gifts, fines, and the percentage on house property sales, formed a common fund managed by the leaders, seths, of the pol and spent on repairs.
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S I T UAT I O N A : JAT H A N H I N I P O L The pols are a winding nest of narrow streets and courtyards beneath jettying upper stories. Chabutros, totem-like bird feeders, standing at the entrance unique to each pol act as signpost landmarks within the labyrinth. The Haveli’s of Jathanhi ni pol not only showcase the intricate craftsmanship with rich facades of carved wood ornamentation, Jali stonework and intricate metalwork but embody hundreds of years of understanding of climate and culture. Design principles inherently present engineering their environment through ; Fixed and flexible façades; layers of shutters and screens, overhanging roofs, minimising
solar gain, central chowk courtyards
TANKAS &
providing natural ventilation, thermal properties of underground Rain water cisterns,
TROUBLED WATER
utilisation of thermal mass.
Hidden Depths; The underground water harvesting solution within the pol Haveli’s
S I T UAT I O N O F The situation of wetness in Ahmedabad, once a finely balanced equilibrium between
CHOWK
torrential monsoon season and stepwells to subterranean aquifers is now one of OTL A
crisis. Since 1974 the central and northern Gujarat water table, has dropped at a
OSRI
KHADKI
PA R S A L ORDO
rate close to 20 meters per decade. Overexploitation of groundwater has left the
RESODU
Fatevadi, Gyaspur and Maktampura districts of Ahmedabad queuing in the 45 degree heat for the visiting water tanker for daily drinking water. The dense and intricate housing clusters that make up the urban fabric within the walled city represent an ecophilosophy inherent within an
Indian vernacular typology. It is through the
distillation and application of this paradigm that a fissured threshold between wet and dry in ahmedabad can be re-imagined. Within the Pols sits a buried and once KHADKI
banned solution to the water crisis. This system emerged to tackle water scarcity in this drought prone city. There are about 10 000 Tankas in
CHOWK
OSRI
OSRI
ORDO
PA R S A L
OTL A
the Old RESODU
City and their storage capacity ranges from 25 000 to 50 000 litres. A survey by
UTILITY
the AMC in 2005 discovered the water stored in the maintained Tanaka’s surpass the World Health Organisation standards. The survey tested 11 tankas from 16 pols; the water was clear, non -saline and portable, soft and with negligible chemical content. As sunlight does not penetrate the tankas, unlike rooftop cisterns
CHOWK
OTL A OSRI
found across India, Laboratory testing found the water to be without bacteria
OSRI
PA R S A L
ORDO
KHADKI
and cannot harbour any water bourne disease. Each tanka storing about one
RESODU
lakh gallon of water, which is enough to last a year for a family of 10 members Copper Drainpipe systems, Chanel monsoon water in the wet season into deep wells below Chowks the mouth of which has a copper strainer, the underground
Traditional Spaces within typical Pol house ( Haveli) plans
chamber is lined with a particular type of limestone or coated in lime.
Each with specific hierarchical threshold
The 300 year technology was displaced from use following a British government order for their disuse and closure, fearing freedom fighters may use them as hideouts. Now that households have taps, most tankas have remained unused for 70 years
MArch MArch
1 2
SEMESTER SEMESTER
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CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
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M A P P I N G I N V I S I B E WAT E R S : C H O W K S O F JAT H A N H I N I P O L The motif model of inlaid golden threads and bands into hardwood offers a conceptual method of mapping the pols’ spatial qualities and hierarchy, not evident in the plans of paths alone. Through a process of overlaying aerial images and plans, the model traces the glinting lines of hidden copper gutters and plots the Chowks beneath whitch the calm waters of the tankas sit.
TIME FRAME
MArch MArch
1 2
SEMESTER SEMESTER
RELEVANT
I N D I V I D UA L / C O L L A B O R AT I O N
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
GENERAL
4.1 4.2 4.3
5.1 5.2 5.3
CRITERIA
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
RELEVANT
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
AT T R I B U T E S
2.3
2.4
2.6
2.6
2.7
=
THE RAVIVARI BA ZAAR S I T UAT I O N B : T H E S A B A R M AT I R I V E R F R O N T
‘Sabarmati’ is derived from the word ‘shvabhra’ , meaning ‘fissure’. The sabarmati riverfront development has severed the connection between Bazaar and waterfront. 32,000 sqm of bustling market is contained between tall concrete retaining walls upon which sits four lanes of traffic on the West and the remaining refurbished old city walls and bastions on the East. The site is one of the only remaining stretches of Eastern Sabermati bank where the busy road deviates away from the bank edge, the opportunity is presented in the seam of land between River bank and market currently standing void of all footfall, for the old city to reclaim its connection to the water and occupy the bank. The challenge of the site is to create a navigable links between the two walls and set up appropriate design parameters in a site cleared of immediate spatial constraints to avoid a mirroring of the isolated and excluding plots of modern institutes on the opposite bank. The Ravivari market site, while vibrant and hectic on Sundays has no attraction throughout the remaining days of the week, for six days a vast expanse of concrete is barren and abandoned. One aim of this project is to reclaim the land once engrained in daily routine to the people of Ahmedbad and re-establish the Ravivari river bank as an appreciated public space, restoring the shared sense of ownership, identity and presence to the area. .
Existing Site: View accross project site from Sabarmati bank facing East to the market site. Old city walls visible the far side of the market and level change.
S I T UAT I O N B : T H E R AV I VA R I B A Z A A R ; S A B A R M AT I E A S T B A N K
S I T UAT I O N B : T H E R AV I VA R I B A Z A A R ; S A B A R M AT I E A S T B A N K
STUDIO C
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M E T I C U LO U S C H A O S ; A H A N D I L L I S T R AT I O N C A P T U R I N G T H E PA R R A L L E L I N T E N S I T I E S O F R AV I VA R I
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
STUDIO H
REPORT
& THE POLS
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
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A RECONCEPTION OF GROUND
The invisible waters of Ahmedabad, the subterranean aquifers, and all but forgotten chambers of the Pols Tankas sit in contrast to the water scarcity of the dusty city above, alluding to a Parasituation of wetness above and below ground. The cisterns, hanging below the citadel as a pendulum, counterbalance to the humidity above. The culverted and concreted banks that stretch where once lush wetlands soaked up the Sabarmati can be reimagined as a brittle cap on top of the saturated ground. Brittle and breakable
The opposite sequence of drawing explores the idea of the ‘ground’ within the pols as an assemblage of extrutions; delicate points of connection between wetness above and wetness below ground held in the fissures between the pieces and held together in the compression provided by the old city walls.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
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LENTIC
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AND LOTIC
The term Lentic (from the Latin lentus, meaning slow or motionless),
refers
to
standing
waters
such
as
lakes
and
ponds (lacustrine), or swamps and marshes (paludal). Lotic (from the Latin lotus, meaning washing), refers to running water (fluvial or fluviatile) habitats such as rivers and streams. The conceptual notion of ground and fissure is further explored through the lens of these two parallel conditions of wetness represented above and below Ahmedabad ground. The reciprocity of capture and release within the water cycle highlights the temporary and inconsistant nature of the ground as a threshold. Still waters are captured wetness, whether in a lake or tanka, and running water is released wetness. The aquafissure concept held within the model of the invisible waters can be conceived of as either facilitating the capture of wetness or the release.
The illustrations on the opposite page investigate
the idea
of water standing captured and pooling within the Aqua fissure, creating a lentic situation of wetness, or water being released to etch the fissures deeper into the ground, in a lotic situation of wetness
LOTIC
LENTIC
LOTIC
LENTIC
LOTIC
LENTIC MArch MArch
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SEMESTER SEMESTER
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CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
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INTERVENTION 1:
Wall well: Capture and Release. A rainfall intervention at the Ravivari
The first intervetion of the thesis follows the ideas of capture and release of water through aquafissures as an intervention of ground at the Sabarmati River Bank. A Proposed rainwater harvesting system via a network of canopies utilises the monsoon deluge destined otherwise to be lost into storm drains and the river basin. Instead, it creates a network of filtration pools, releasing the water gradually slowing down the runoff process and irrigating the river bank. the open pavillion like spaces allow the people of ahmedabad to ocupy and overflow the channeling walls of the sabarmati developement to reach the river edge once more.
The proposed can canopies
provide needed shading during the hot seasons and allow the market to continue throughout the rainy seaso
CATCH & RELEASE : PLAN
Proposed Site Plan 1:500 C ATC H
RELEASE
Aquafissures & Cloud Catchers cad-block.com
cad-block.com
Troubled Water
cad-block.com
The Pols cad-block.com
The situation of wetness in Ahmedabad, once a finely balanced equilibrium between torrential monsoon season and subterranean aquifers is now one of crisis. Since 1974 the central and northern Gujarat water table, has dropped at a rate close to 20 meters per decade. Overexploitation of groundwater has left the Fatevadi, Gyaspur and Maktampura districts of Ahmedabad queuing in the 45 degree heat for the visiting water tanker for daily drinking water.
Wall to wall // Catch & Release Long Section 1:200
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
The word 'Pol' is derived from the Sanskrit word 'Pratoli' meaning entrance to an enclosed area. The dense and intricate housing clusters that make up the urban fabric within the walled city represent an ecophilosophy inherent within an Indian vernacular typology. It is through the distillation and application of this paradigm that a fissured threshold between wet and dry in ahmedabad can be re-imagined. Within the Pols sits a buried and once banned solution to the water crisis,
CATCH & RELEASE : SECTION
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
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Wall well: Catch
Well wall: Release
The intervention of a water harvesting network for the Ravivari Market, collects water within the' well' created between old wall and new walls and utilised the centuries old technology of the pol's 'Taankas.' An open pavilion like structure allows the people of Ahmedabad to occupy and overflow the channelling walls, new and old, to reach the river once more. The shifting unformulaic nature of the temporary market now free to spill out protected from the sun above and cooled by the water chambers below.
The concrete capped westernised Sabarmati river front has physically separated the people of Ahmedabad from the River. The act of idol submersion within the river, an important ritual of the Hindu festivals of Durga & Ganesh Puja, have been stopped due to the resulting pollution of the River. The second intervention; a mechanically flowing 'Stepped well' breaks the Sabarmati bank and creates filtering submersion ponds using the water harvested at the Ravivari, and created a more ecosophic threshold between the people and the river
cad-block.com
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SUBMERSION AND FILTRATIONS POOLS
THE SUBMERSION OF IDOLS
Well Wall: Filtering Submersion Ponds 1:50
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IH
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CM
JB
JP
ARB CRITERIA
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torrential monsoon season and subterranean aquifers is now one of crisis. Since 1974 the central and northern Gujarat water table, has dropped at a rate close to STUDIO AT R 20 meters per decade. Overexploitation of groundwater has left the Fatevadi, Gyaspur and Maktampura districts of Ahmedabad queuing in the 45 degree heat for the visiting water tanker for daily drinking water.
STUDIO C
enclosed area. The dense and intricate housing clusters that make up the urban fabric within the walled city represent an ecophilosophy inherent within an Indian vernacular typology. It S isC Athrough the T distillation and application of this paradigm that a fissured threshold between wet and dry in ahmedabad can be re-imagined. Within the Pols sits a buried and once banned solution to the water crisis,
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people of Ahmedabad from the River. The act of idol submersion within the river, an important ritual of the Hindu festivals of Durga & Ganesh Puja, have been stopped dueAto M Pthe L resulting pollution of the River.S T U D I O The second intervention; a mechanically flowing 'Stepped well' breaks the Sabarmati bank and creates filtering submersion ponds using the water harvested at the Ravivari, and created a more ecosophic threshold between the people and the river
water within the' well' created between old wall and new walls and utilised the centuries old technology of the pol's 'Taankas.' An open pavilion like structure allows the people of Ahmedabad to occupy and overflow STUDIO A the channelling walls, new and old, to reach the river once more. The shifting unformulaic nature of the temporary market now free to spill out protected from the sun above and cooled by the water chambers below.
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REPORT
RAVIVARI MARKET CANOPY ; WATER CATCHMENT
Proposed Ravivari Bazaar Section: 1:200
Ravivari MArch MArch
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Architectural Technology & Research COURSE SUMMERY
Generic study: Upcycled brick in sustainable construction
Architectural Technology Research emulates the role of researcher-practitioner, recognising that architectural projects in the context of a Climate Emergency need a level of technological investigation as a prerequisite to successful low carbon design. The course output is two reports; a generic study and a contextual study undertaken collaboratively in pairs, examining architectural environments, materials and processes with a focus on reducing the global impact of the buildings and places we design.
CRITICAL REFLECTION The report strengths are in their coherent, concise, logically expressed rationale. The approach of examining primary principles in construction, such as material choice (Tradition options versus new technologies marketed as sustainable) and systems of connection; resulted in research that engages with the research question and presents robust findings that will benefit my decision-making process while in practice. The general and contextual reports demonstrate a clear and focused understanding of constructional and material problems associated with sustainable building design. A potential improvement on the Contextual analysis would be to include a building type e.g. modular, temporary, etc., that is specifically designed for dismanteling to allow for a deeper analysis.
LE ARNING OUTCOMES LO1 | An ability to appraise the technological and
LO3 | An ability to analyse and synthesise
environmental conditions specific to issues in
technological
contemporary architecture, eg. sustainable design.
pertinent
to
and
environmental
particular
context
information (eg.
users,
environment). LO2 | An ability to organise, assimilate and present
LO3 | An understanding of the potential impact
technological and environmental information in
of technological and environmental decisions of
the broad context of architectural design to peer
architectural design on a broader context.
groups
B E H I N D : L I F E G UA R D S TAT I O N , C A L I F O R N I A C O N S T R U C T E D U S I N G BY B O C K S , BY BY F U S I O N .
Contextual study: Adaptability and deconstruction in a housing context
STUDIO C
AT R
55% [of materials consumption], with buildings (including their operation) contributing 50% of total CO2e (carbon dioxide equivalent) emissions.’¹ In order to adequately perform our duty, we in the construction industry must consider STUDIO A AT new technologiesS Cand processes which mitigate the negative effects of building on the environment.
STUDIO D
the circular economy ASSIGNMENT1: GENERIC STUDY OCTOBER 2019
UPCYCLED BRICK IN SUSTAINABLE CONSTRUCTION:
IONA HOGGARTH | s1450039
upcycled brick in sustainable construction assessing the value of upcycled building materials in the age of climate breakdown
CAITLIN MACLEOD | s1440163
ASSESSING THE VALUE OF UPCYCLED BUILDING MATERIALS IN THE
“
01 introduction |
01 introduction
We are in a climate emergency, and the construction industry - as significant contributors to climate breakdown - has an ethical duty to address it. According to NBS and BREEAM Mat 6, ‘the construction industry accounts for approximately 55% [of materials consumption], with buildings (including their operation) contributing 50% of total CO2e (carbon dioxide equivalent) emissions.’¹ In order to adequately perform our duty, we in the construction industry must consider new technologies and processes which mitigate the negative effects of building on the environment.
upcycling vs downcycling
The climate emergency is the biggest challenge facing our planet and our profession. But to have a significant impact we need to do more than make symbolic statements - we need to turn warm words into impactful actions.
down-cycling
up-cycling
BUILDING MATERIAL
RECYCLING PROCESS
• •
SIGN FOR SERVICE 3. DE FOR LONG ESIGN EVIT 4. D Y
LESS VALUABLE MATERIAL
(e.g. filling material in road construction)
June 2019
BUILDING MATERIAL
RECYCLING PROCESS
LESS VALUABLE MATERIAL
(e.g. filling material in road construction)
BUILDING MATERIAL
RECYCLING PROCESS
EQUALLY/MORE VALUABLE MATERIAL (e.g. WasteBasedBricks)
Fig.1
Fig.2
Jess Sharman, ““Construction Waste And Materials Efficiency,” NBS, 2018, https://www.thenbs.com/knowledge/construction-waste-and-materials-efficiency. E-CSR, “Circular Economy – Definition, Principles, Benefits & Barriers,” Accessed October 1, 2019. https://e-csr.net/definitions/circular-economy-meaning-definition-benefits-barriers/. Felix Heisel, Martha H Wisniewska and Dirk E. Hebel, Building From Waste (Berlin: Birkhauser, 2014), 98.
AGE OF CLIMATE BREAKDOWN
RECYCLING PROCESS
EQUALLY/MORE VALUABLE MATERIAL (e.g. WasteBasedBricks)
3
INTRODUCTION:
This study examines and compares the processes of making and using
04 quality/output
Various up-cycled materials with those of raw materials, as well as comparing the quality of each. In doing this, we will critically evaluate the effectiveness of specifying up-cycled materials over raw materials through the lense of
In addition to the production process, it is also important to analyse the quality of the final material product - the life of the product after its intial production is highly relevant if the product is to abide by the principles of the circular economy and be able to call itself ‘sustainable.’ We measure this quality through a number of criteria.
emergency.
METHODOLOGY: The report directly compares various factors of each of the material products with regards to both the production process and quality of the final product.
This study aims to examine and compare the processes of making and using various upcycled materials with those of raw materials, as well as comparing the quality of each. In doing this, we will critically evaluate the effectiveness of specifying upcycled materials over raw materials as a means of adressing the current climate emergency.
material when a variety of relevant factors are taken into consideration. The report looks specifically at bricks: as a modular unit it can be examined in isolation from a fully realised built form, and will be useful in terms of comparing different upcycled and raw material products. The upcycled material products we anlysed include:
The processes involved in manufacturing the case study material products will be outlined, following which they will be directly compared according to a number of factors. These factors have been chosen on the basis that they demonstrate how ‘sustainable’ each product is, such as energy and water usage, type and extraction of source material, transport, cost and human (social) factors such as employment provision.
traditional clay-fired brick process
All recycling of building materials embodies the principles of the circular economy, by taking waste from construction and demolition processes (and sometimes elsewhere) and reusing them, and avoiding the consumption of raw materials as far as possible. However, the form of recycling known as upcycling is even more effective, as the process allows a retained or improved value of product to be made from the waste material, thus becoming metabolic in nature. • •
upgradeable fixtures adaptable space
•
convertible building
• •
low maintenance non toxic/allergen-free
•
promote occupant wellbeing
• •
durable components systems approach
•
The standard process for the manufacturing of clay-fired extruded brick in the UK according to the Brick Development Association. 6
methodology
The report will directly compare various factors of each of the material products with regards to both the production process and quality of the final product. This direct comparison will allow us to evaluate the ‘sustainability’ of each material when a variety of relevant factors are taken into consideration.
climate resilience
SOURCE MATERIAL: CLAY
FORMING: AIR REMOVAL, EXTRUSION, WIRE CUTTING
5 The Brick Development Association, “The UK Brick Making Process,” 2019, https://www.brick.org.uk/ admin/resources/g-the-uk-clay-brickmaking-process.
Fig.3
SOURCE MATERIAL: CONSUMER WASTE PLASTIC Does NOT require sorting prior to production process
PREPARATION: SHREDDING, WASHING, DRYING
SHAPING: COMPRESSION IN A BATCH MOLD
FUSION: HEAT + PRESSURE APPLIED IN A CHAMBER
FINISHING: COOLING, DE-LIDDING AND MOULD RECOVERY
FINAL PRODUCT: BYFUSION BRICK
Fig.4
8
7
RECYCLING PROCESS
LESS VALUABLE MATERIAL
(e.g. filling material in road construction)
up-cycling
performance It is important to analyse the thermal performance of a product when used in an inhabited building as this speaks to the lifelong effectiveness of the product in reducing energy demands. It is also relevant to consider how the product contributes to user wellbeing, in order that it adheres to the circular economy principle ‘Design for Service’ (see: Fig. 2), and this encompasses other properties outwith thermal, such as the acoustic performance.
EQUALLY/MORE VALUABLE MATERIAL (e.g. WasteBasedBricks)
Fig.1
Fig.14
²
1. WasteBasedBrick by Stonecycling
FINAL PRODUCT: CLAY-FIRED BRICK
FINISHING: DRYING, KILN-FIRING
Byfusion’s process for the production of their Byfusion Brick. 7
These will be analysed alongside a traditional clay-fired extruded brick (made with 100% raw material) as typically produced in the UK according to standard EN771 - 1. 5
Stephanie Palmer, “A Circular Economy For the Built Enivronment,” Wienerberger, 2019, https:// www.wienerberger.co.uk/tips-and-advice/sustainable-building/a-circular-economy-for-the-builtenvironment.html.
PREPARATION: CRUSHING + MILLING, WATER ADDITION, MIXING
The clay is triple-milled to ensure the material is finely granulated
byfusion block process
1. WasteBasedBrick by Stonecycling 2. Byfusion Block by Byfusion 3. K-briq by Kenoteq
4
EXTRACTION + STOCKPILING: WITH HYDRAULIC EXCAVATOR (MOST COMMON)
Sourced from clay quarries
The report looks specifically at bricks in this study: as a modular unit it can be examined in isolation from a fully realised built form, and will be useful in terms of comparing different upcycled and raw material products. The upcycled material products which will be anlysed include:
deconstructability According to leading experts Zero Waste Scotland the ‘deconstructability’ of a building is key to determining its level of sustainability and adherance to circualr Kenoteq’s K-briq is a particularly successful product in this regard. Though a fairly economy principles. They promote the adoption of ‘deconstruction methods of recently developed product with little information widely available on the upcycling defines ‘Designing working to maintain materialMATERIAL value.’29 Similarly the BRE GroupRECYCLING MATERIAL RECYCLING PROCESS production process, the productMATERIAL has been praised for itsBUILDING performance in building. BUILDING PROCESSfor LESS VALUABLE materialElizabeth in road construction) Deconstruction’ (DFE) as ‘one of the key parts of the jigsaw to assist the construction According to(e.g. thefilling Queen Prize for Engineering, the brick is ‘specially industry in achieving higher levels of resource efficiency and embedding circular designed to reduce a building’s running costs. With a high ‘thermal mass’...this economy thinking,’ and that this can be achieved by ‘ensuring that components that means they are perfect for keeping buildings cool and cutting air conditioning bills are specified are fit for purpose and can preferably be reused rather than recycled at in summer, and vice versa in winter.’ Additionally, the bricks regulate humidity and Sharman,their ““Construction Waste And Materials Efficiency,” NBS,condensation 2018, https://www.thenbs.com/knowledge/construction-waste-and-materials-efficiency. the end of their¹life,Jess maintain[ing] value.’30 prevent due to their ‘breathability.’32
This direct comparison allows us to evaluate the ‘sustainability’ of each
outline per product
The key to shifting from a liner to a circular economy begins with the supply chain, manufacturers of building components the control the implementation of the circular economy principles at the top of the chain. Sustainable manufacturing must therefore consider ensuring the full potential of the material is realised without compromising its next cycle, in addition to the energy, water and waste impacts within the process.
aim of study
reuse of components recycling of materials
BUILDING MATERIAL
down-cycling
the circular economy concept as a means of addressing the current climate
• •
6
5
BUILDING MATERIAL
material traceability plan for deconstruction
The Sustainability team at the Brick Development Association have developed a circular economy guide for the built industry specifically, basing their ‘four fundamentals of design’ on the Ellen McArthur Foundation’s Circular Economy Principles 2 and 3.4
- Ben Derbyshire, RIBA President
¹ ² ³
03 production process |
02 aim + methodology
REUSE + REFURB ISHM N FOR ESIG EN T 2. D
With downcycling, the quality of the new product is reduced, as in the example of using construction waste to use as fill under roadbeds (Fig. 1). This means that the material becomes less and less valuable and is ‘downgraded’ with each life cycle. Upcycling, however, retains or improves upon the quality of the product.³ All recycling of building materials embodies the principles of the circular economy, by taking waste from construction and demolition processes (and sometimes elsewhere) and reusing them, and avoiding the consumption of raw materials as far as possible. However, the form of recycling known as upcycling is even more effective, as the process allows a retained or improved value of product to be made from the waste material, thus becoming metabolic in nature.
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FOR MATERIAL RECOV ERY ESIGN 1. D
Upcycling and downcycling are both examples of recycling, a process which, it can be fairly assumed, we all understand to be a cornerstone of sustainable practice.
The Ellen MacArthur Foundation, a charity which promotes ‘the transition to a circular economy,’ defines this phenomenon as ‘gradually decoupling economic activity from the consumption of finite resources, and designing waste out of the system. Underpinned by a transition to renewable energy sources, the circular model builds economic, natural, and social capital.’² (see Fig. 2 overleaf)
STUDIO H PORT With downcycling, the quality of the new product is reduced, as inR Ethe example of using construction waste to use as fill under roadbeds (Fig. 1). This means that the material becomes less and less valuable and is ‘downgraded’ with each life cycle. Upcycling, however, retains or improves upon the quality of the product.³
the circular economy
The Ellen MacArthur Foundation, a charity which promotes ‘the transition to a circular economy,’ defines this phenomenon as ‘gradually decoupling economic activity from the consumption of finite resources, and designing waste out of the system. Underpinned by a transition to renewable energy sources, the circular model builds economic, natural, and social capital.’² (see Fig. 2 overleaf) the circular economy
it can be fairly assumed, we all understand to be a cornerstone of sustainable practice.
“Circular M A T E R I A L PE-CSR, RODU C T S Economy F O R A N–ADefinition, L Y S I S Principles, Benefits & Barriers,” Accessed October 1, 2019. https://e-csr.net/definitions/circular-economy-meaning-definition-benefits-barriers/. Using this focus the Heisel, importance of deconstructability whole Byfusion repordedly excel in2014), the performance department. They are ³ onFelix Martha H Wisniewska inand Dirkbuildings, E. Hebel,weBuilding Frombricks Wastealso (Berlin: Birkhauser, 98. can assess the quality of our case study material products in terms of how they lighter than traditional bricks, but have five times the insulating properties.33 They might facilitate this process. For example, the Byfusion Brick utilises a lego-like also have high acoustic insulation values, and can ‘withstand high lateral forces of ‘interlocking system’ which removes the need for mortar or glue in joining the blocks the kind that occur in earthquakes.’34 The drawback of the product is that, due to 31 together, and making it subsequently easier to pull apart the blocks and reuse the plastic being unable to withstand the compression of heavy loads, they must be material. In contrast, both upcycled case study bricks - the WasteBasedBrick and used as wall fillers e.g. in framed buildings and retaining walls, and cannot be used K-Briq - and our control, the traditional clay-fired extruded brick, require, at best, to bear loads as with a traditional clay-fired extruded brick. some form of recycling, where the material is pulverised and remade into a new BUILDING MATERIAL RECYCLING PROCESS EQUALLY/MORE VALUABLE MATERIAL product (if not sent to landfill). In eliminating this step in the process, the Byfusion (e.g. WasteBasedBricks) Brick can be seen to be more successful in this regard.
2. Byfusion Block by Byfusion 3. K-briq by Kenoteq
CIRCULAR ECONOMY & UP-CYCLE VS. DOWN-CYCLE The Ellen MacArthur Foundation, a charity which promotes ‘the transition to a circular economy,’ defines this phenomenon as ‘gradually decoupling economic activity from the consumption of finite resources, and designing waste out of the system. Underpinned by a transition to renewable energy sources, the circular model builds economic, natural, and social capital. Upcycling and downcycling are both examples of recycling, a process which, it can be fairly assumed, we all understand to be a cornerstone of sustainable
29
Nick Ribbons . “Circular Economy In Construction”. (Lecture, University of Edinburgh October, 21, 2019). 30 BRE Group, “Design for Deconstruction – Helping Construction Unlock the Benefits of The circular economy”, 2019, https://www.bregroup.com/buzz/design-for-deconstruction-helping-constructionunlock-the-benefits-of-the-circular-economy/ 31 WHeisel, A S TWisniewska E B A S Eand D Hebel, B R IBuilding C K BFrom Y SWaste, T O 114 NECYCLING
practice. With downcycling, the quality of the new product is reduced, as in the example of using construction waste to use as fill under roadbeds. This means that the material becomes less and less valuable and is ‘downgraded
32
The Queen Engineering prize, “KENOTEQ: Breathing Life Into New Buildings - Create The Future,” 2019, https://qeprize.org/createthefuture/kenoteq-breathing-life-new-buildings/. Expert Skip Hire, “ Bricks Made from Used Plastic Water Bottles,” 2019, https://www. expertskiphire.co.uk/plastic-bricks 34 Heisel, Wisniewska and Hebel, Building From Waste, 114 33
K-BRIQ BY KENOTEQ
Fig.15
BYFUSION BLOCKS BY BYFUSION
13
with each cycle.
MArch MArch
1 2
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CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
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03 production process |
03 production process |
outline per product
ASSIGNMENT1: GENERIC STUDY
StoneCycling’s process for the production of their WasteBasedBrick.
SOURCE MATERIAL: DEMOLITION WASTE Materials (including ‘glass, concrete, bricks’ and ‘ceramic washbasins’) are collected and seperated at the demolition site
PREPARATION: GRINDING + CRUSHING INTO POWDER
SHAPING: MIXING, FORMING BRICKS IN A MOULD Stonecycling are rather secretive about their process, thus little is known about the composition of mixed materials, or the mixing + forming process
FINISHING: BAKING AT HIGH TEMPERATURES
FINAL PRODUCT: WASTEBASEDBRICK
In comparison the principle (and only) material of Byfusion bricks is recycled plastic waste material, all types of plastic individually or mixed, clean or contaminated with the exception of 100% polystyrene or other ‘foam-based’ plastics.11 As no binding agents or chemicals are required there is no raw material used. Each block containing approximately 20 Plastic bottles.12
Fig.5
k-briq process
Kenoteq’s process for the production of their K-Briq. NB: As a very recently developed material product (2017/18) there is very little information on this.9
CONCLUSION:
SOURCE MATERIAL: DEMOLITION WASTE
The reduction and reuse of waste is a vital step in adressing the climate
PREPARATION: GRINDING INTO POWDER
SHAPING: COMPRESSION
FINISHING: AIR-DRYING
The K-Briqs no heat from fossil fuels or cement to be formed unlike other bricks
K-Briqs do not require kiln drying, reducing emissions considerably
Stonecycling wastebasedbrick products are made on an individual basis using an adjusted ceramic process, with currently 60%+ recycled source material replacing the processed raw clay mineral content. This primary material of wastebasedbricks varies with 65 construction demolition waste types currently being used including ceramic sinks, glass, bricks and concrete which are pulverised, blended, moulded (often by hand) and baked.13 Their material is sourced within a 150km radius of their production facility, a working partnership is required between the demolition companies in order
FINAL PRODUCT: K-BRIQ
to obtain correctly separated materials, it is this sourcing of material that presents the biggest challenge.14 Kenoteq ‘s ‘ K-briq’ is made without raw material and boasts 90% recycled material content of demolition material otherwise destined for landfill, the highest of any product in the UK.15 Most significantly the K-briq does not require any cement as a binding agent - a primary ingredient used in concrete.16 The cement industry being one of the primary producers of Carbon dioxide. 17 transport impacts As most clay brick-works are traditionally located close to their open-pit extraction site transportation impacts during production stages are minimal. There is however, an increasing upward trend to import clays and other raw materials -off site into brickworks which, in the past would have relied entirely on raw materials from the ‘captive’ on site pit. This is a trend likely to continue as specification becomes tighter, however these volumes involved are small and haulage distances short.18 The impacts on sustainability through transport mainly occur through the distribution stages to construction sites, which are almost always by road. Ibstock is a leading and largest brick production capacity in the UK with 22 manufacturing plants, and 23 quarries distributed through the nature of the naturally occurring clay seams across the UK from Southampton to Glasgow. 19
energy use UK clay brick manufacturing is an highly energy intensive process, the most demanding stage of the process being the firing in a kiln of temperatures between1000-1300 degrees centigrade. This up 85-90% of the whole processes energy use. Estimated figures within the 2016 Brick sustainability report suggest a usage of 727 KWh/ Tonne of brick. Natural gas and primary electricity from the grid being the most common source of this energy see, ( Fig.. Insert every use diagram.) Emissions from the combustion of these fuels and gaseous emissions driven off as the clay is fired, including sulphur dioxide, hydrogen fluoride and hydrogen chloride.23 Stoncycling’s wastebasedbrick improves on this technique with the ability to bake their wastebasedbricks at a lower temperature within their similar ceramic process ceramic with preliminary calculations showing an energy saving of 25% throughout the process.24
Fig.7 Fig.8
Fig.7
The Brick development Association, “BRICK sustainability Report,” 2016, https://www.brick.org.uk/ admin/resources/brick-sustainability-report-2016-1.pdf. Byfusion Global Inc., “About,” 2019, https://www.byfusion.com/about/. Heisel, Wisniewska and Hebel, Building From Waste, 114-115 Material Lab, “In Conversation with Stone Cyclcing,”2019,https://www.material-lab.co.uk/journal/ stone-cycling/. 14 “In Conversation with StoneCycling” 15 Zero Waste Scotland, “ Manufacturing For The Future: Scotlands’s Innovation Renaissance”, 2019, 11 12 13
The concept of the Byfusion brick is to create a localised solution, allowing local communities to recapture the value within their own waste. Byfusion create the processing machinery to be installed at existing local recycling centres with existing material collection methods. 20
The blocker machinery of Byfusion bricks is also less energy intensive than traditional clay bricks using super heated water and compression within its fusion process rather
“The UK Brick Making Process” Heisel, Wisniewska and Hebel, Building From Waste, 114-115 Heisel, Wisniewska and Hebel, Building From Waste, 98-100 Project Scotland, “House Brick Can Become Circular Economy Champ,” 2019, https://projectscot.com/2019/03/house-brick-can-become-circular-economy-champ/.
9
emergency; upcycling waste materials (rather than extracting raw material)
https://www.zerowastescotland.org.uk/blog/manufacturing-future-scotland’s-innovation-renaissance. Design Building Wiki, “K-Briq”,2019,https://www.designingbuildings.co.uk/wiki/K-Briq. The Queen Engineering prize, “KENOTEQ: Breathing Life Into New Buildings - Create The Future,” 2019, https://qeprize.org/createthefuture/kenoteq-breathing-life-new-buildings/. 18 Greenspec, “The Environmental Impacts Of Concrete,” 2019, http://www.greenspec.co.uk/ building-design/environmental-impacts-of-concrete 19 Ibstock Brick, ”Our people,” 2019, https://ibstockbrick.co.uk/our-people/ 20 Byfusion Global Inc., “About,”2019, https://www.byfusion.com/about/. 16 17
21 22 23 24
“BRICK Sustainability Report” Byfusion, “About” “The Environmental Impacts Of Concrete” Smithsonian, “This Dutch Startup Is Making Bricks From Industrial Waste,” 2019, https://www. smithsonianmag.com/innovation/this-dutch-startup-making-bricks-from-industrialwaste-180959893/.
Fig.9
10
03 production process |
comparison
water use As a limited sensitive natural resource water supply is under increasing pressure due to climate change and population growth. Water is essential to the to contemporary clay brick manufacturing processes 120l of mains water is used in the production of 1 tonne of clay fired brick.21 Comparably the steam-based process for fusion and water-cooling system means Byfusion Bbricks require an even more water intensive process. Approximately 2-3 Litres of water are used per byfusion brick, though the water usage varies between each 10kg brick, 200-300 litres per tonne of byfusion bricks. However the impacts of this can be mitigated to a certain extent through 50% of this water can then be recycled in the fusion process again. 22
Fig.6 10
6 7 8 9
03 production process |
comparison
resource use The principle material of conventional clay brick is clay and sand, finite but abundant natural resource requiring mechanical extraction and an extensive milling refinement process. Extraction of raw materials such as clay through open pit-mines has consequential detrimental effects on the natural environment, the mains concerns being destruction of habitats and by extension degradation of biodiversity and damage to fragile ecosystems. Water contamination and increased sedimentation levels in streams due to soil erosion, siltation and smothering of stream beds. However, brick manufacturers have an opportunity to mitigate this through biodiversity through good site management and sympathetic restoration to extraction sites. “There are many sites in the UK, providing valuable natural capital a and benefiting biodiversity. These sites also often work in partnership with conservation and wildlife organisations.” 10
wastebasedbrick process
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STUDIO A
S C AT
than kiln firing. Although Byfusion energy sources currently vary between electricity and a fuel source such as diesel, natural gas or LPG, the increasing potential for use of renewable energy has meant Byfusion predict a current 41% less green house emissions throughout thier production process than traditional clay bricks.25 Unlike these other examples K-briq is the only process to not involve intensive heating of any kind throughout the process, instead air-drying and compression are utilised. Kenoteq claim an energy saving of 90% when compared traditional clay brick and 10% of the carbon emissions. 26
Fig.10
25 26
Byfusion, “About” Konect, “Local Lab: Building A Sustainable Future,” 2019, https://www.konect.scot/post/local-labbuilding-a-sustainable-future. 27 “Our People” 28 Byfusion, “About”
TRANSPORT
ENERGY USE
SOCIAL FACTORS
Water Intensive: 120 litres per tonne of brick produced
Very energy intensive High usage of non renewable 747KWh/ Tonne
Established employment ,training and apprentiship provider. Financial support within community for social and educational programs.
Lack of information
25% Energy saving compared to traditional brick
Employment base outside of UK 1-10 employees.
CLAY-FIRED BRICK
100% Raw material content. Cement based mortar. Resource extraction process detrimental to the environment.
Resources located on site, minimal transport until distribution stage. Natural Localised distribution
WASTEBASEDBRICK
60 %+ Recycled material content. Construction demolition waste . Labour and time intensive resource collection and separation required.
150km radius of material content Sourcing via road Production limited to Netherlands Shipping required.
BYFUSION BRICK
100 % Recycled material content. Mixed unsorted plastic waste. No unknown binding additives , mortars or chemicals
Very highly water Intensive: Production localised and utilising 200-300 litres per tonne of bricks existing local recycling centres and produced. 50% water recycled within organisation networks. process
K-BRIQ
90% Recycled material Content. Construction Demolition waste. 0% Raw material use
Fuel consumption profile of UK Clay brick production in 2015
Lack of information
Lack of information
41% Energy Saving compared to traditional brick. Potential for future shift to renewable.
90% Energy Saving compared to traditional brick.
deconstructability According to leading experts Zero Waste Scotland the ‘deconstructability’ of a building is key to determining its level of sustainability and adherance to circualr economy principles. They promote the adoption of ‘deconstruction methods of working to maintain material value.’29 Similarly the BRE Group defines ‘Designing for Deconstruction’ (DFE) as ‘one of the key parts of the jigsaw to assist the construction industry in achieving higher levels of resource efficiency and embedding circular economy thinking,’ and that this can be achieved by ‘ensuring that components that are specified are fit for purpose and can preferably be reused rather than recycled at the end of their life, maintain[ing] their value.’30
Localised solution, creation of local jobs and retention of material value within community.
New emplyment base within UK
Fig.13
performance It is important to analyse the thermal performance of a product when used in an inhabited building as this speaks to the lifelong effectiveness of the product in reducing energy demands. It is also relevant to consider how the product contributes to user wellbeing, in order that it adheres to the circular economy principle ‘Design for Service’ (see: Fig. 2), and this encompasses other properties outwith thermal, such as the acoustic performance.
As ecologically beneficial as upcycled material products undoubtedly are, there are hurdles in place that perhaps prevent these materials from being more widely specified by architects and construction industry professionals in their projects. The following criteria speak to the practicalities of specifying such products. aesthetics If an upcycled material product has the potential to enhance the aethetic quality of the project, this will, naturally, improve the chances of architects/construction industry professionals specifying the product.
Kenoteq’s K-briq is a particularly successful product in this regard. Though a fairly recently developed product with little information widely available on the upcycling production process, the product has been praised for its performance in building. According to the Queen Elizabeth Prize for Engineering, the brick is ‘specially designed to reduce a building’s running costs. With a high ‘thermal mass’...this means they are perfect for keeping buildings cool and cutting air conditioning bills in summer, and vice versa in winter.’ Additionally, the bricks regulate humidity and prevent condensation due to their ‘breathability.’32
Using this focus on the importance of deconstructability in whole buildings, we can assess the quality of our case study material products in terms of how they might facilitate this process. For example, the Byfusion Brick utilises a lego-like ‘interlocking system’ which removes the need for mortar or glue in joining the blocks together,31 and making it subsequently easier to pull apart the blocks and reuse the material. In contrast, both upcycled case study bricks - the WasteBasedBrick and K-Briq - and our control, the traditional clay-fired extruded brick, require, at best, some form of recycling, where the material is pulverised and remade into a new product (if not sent to landfill). In eliminating this step in the process, the Byfusion Brick can be seen to be more successful in this regard.
Byfusion bricks also repordedly excel in the performance department. They are lighter than traditional bricks, but have five times the insulating properties.33 They also have high acoustic insulation values, and can ‘withstand high lateral forces of the kind that occur in earthquakes.’34 The drawback of the product is that, due to plastic being unable to withstand the compression of heavy loads, they must be used as wall fillers e.g. in framed buildings and retaining walls, and cannot be used to bear loads as with a traditional clay-fired extruded brick.
29
32 The Queen Engineering prize, “KENOTEQ: Breathing Life Into New Buildings - Create The Future,” 2019, https://qeprize.org/createthefuture/kenoteq-breathing-life-new-buildings/. 33 Expert Skip Hire, “ Bricks Made from Used Plastic Water Bottles,” 2019, https://www. expertskiphire.co.uk/plastic-bricks 34 Heisel, Wisniewska and Hebel, Building From Waste, 114
Nick Ribbons . “Circular Economy In Construction”. (Lecture, University of Edinburgh October, 21, 2019). 30 BRE Group, “Design for Deconstruction – Helping Construction Unlock the Benefits of The circular economy”, 2019, https://www.bregroup.com/buzz/design-for-deconstruction-helping-constructionunlock-the-benefits-of-the-circular-economy/ 31 Heisel, Wisniewska and Hebel, Building From Waste, 114
Fig.12
11
04 quality/output
In addition to the production process, it is also important to analyse the quality of the final material product - the life of the product after its intial production is highly relevant if the product is to abide by the principles of the circular economy and be able to call itself ‘sustainable.’ We measure this quality through a number of criteria.
WATER USE
Fig.11
Byfusion’s aim is to create the processing machinery to be installed at existing local recycling centres, in addition to producing and selling the byfusion bricks themselves as a product.28 This has the potential to create local jobs allowing local communities to recapture the value within their own waste. Each ‘Community blocker’ can be operated by two workers and foreman with a background in basic mechanical systems. Byfusion service engineers train and certify local operators during installation.
REPORT
04 quality/output
comparison
RESOURCE USE
Social impacts he localised and established nature of the UK clay brick manufacturing industry means companies such as Ibstock Brick who provide over 2,500 jobs are very much embedded in the local community surrounding each of their 22 locations across the UK supporting community projects and organisations such as, local Infant, primary and junior schools, community colleges, university lecture series (UWE, Bristol), scout groups, community centres, town cricket and social clubs and even brass bands. Ibstock Brick provide opportunity for 34 4 year apprenticeship schemes providing engineering and mechanical qualifications and an average of 3.25 days training per employee. 27
STUDIO H
Stonecycling’s WasteBasedBrick range features a variety of ‘beautiful and surprising forms, textures and colours’35 , with some impressive, aethetically successful projects in their portfolio as a result. One such project - the Colourful Condo in Amsterdam (Fig 16 + 17) - demonstrates five of WasteBasedBricks colour outputs and two finishes ‘raw’ and ‘sliced.’36 With the option of using the bricks internally or externally and the aforementioned wealth of choice in both colour and finishing options, the product offers designers a good deal of customisability and flexibility to suit their specific needs.
Fig.14
Byfusion Bricks can be cut as needed,37 and can be moulded to various shapes and sizes,38 allowing a degree of customisation (as with WasteBasedBricks). However, the bricks require painting or covering in plaster and cannot be used as facing - the product itself is rather unsightly in its raw state. (Fig 18) cost (to purchase) Unfortunately, it seems that generally, the costs associated with the specification of upcycled material products (in place of traditional, raw material-based products) are significant. Exact figures are difficult to obtain: Stonecycling state on their website that ‘we are not cheap. Our products are mainly used in projects with a strong focus 35 36
Stonecycling, “The Beauty of Waste,” https://www.stonecycling.com/beauty-of-waste Stonecycling, “Colourful Condo in Amsterdam,” https://www.stonecycling.com/projects/2018/5/28/ colourful-condo-in-amsterdam 37 Byfusion, “About” 38 Heisel, Wisniewska and Hebel, Building From Waste, 115 39 Stonecycling, “FAQ” https://www.stonecycling.com/faq 40 Otago Daily Times, “Global Interest in plastics recycling machine,” 2010, https://www.odt.co.nz/
Fig.15
13
12
on design and sustainability + a budget that matches this.’39 Byfusion bricks have featured in a very small number of realised built projects and there is almost no information on how much it costs to specify the product. In 2010, creator Peter Lewis was looking to create a production version of his brick-producing prototype to sell to investors - which he claimed would cost around 350,000 USD (around 273, 000GBP) - with the hope that this would eventually be mass-produced and sold to recycling centres and local authorities worldwide, however this has yet to be achieved.40 While maintaining that their K-briq reduces the costs associated with waste disposal and the gas costs/carbon taxes usually involved in the production process, there is no information from Kenoteq on the cost of specifcying their material in practice.41 industry standards Even if the aethetic quality is of a high standard and the costs associated with specification are manageable, a material product may not sufficiently comply with industry standards, or have desired certifications, accreditations and ratings to allow for its specification in a project. This is a significant problem: the Ellen McArthur Foundation lists ‘lack of industry standards for recycled materials’ as one of the ‘key barriers to scaling up the looping of building materials.’42
Fig.16
Fig.17
For example, in their FAQ page, Stonecycling answer the question ‘Do your products have any sustainability certification such as Cradle2Cradle?’ with ‘No, not at the moment. In general we use this thing called common sense.’43 Moreover, in terms of warranty, the material product is delivered to standards set by the KNB in the Netherlands - there is no information on the standards set by countries outwith. Dirk E. Hebel and co’s write up of Byfusion Bricks in Building From Waste discloses that with regards to the material product’s fire rating, there is ‘no information:’44 such a lack of vital information would seemingly make the product rather hard for a designer to specify. For a full list of accreditations and certifications of products, please see the table (Fig 19) overleaf. news/dunedin/global-interest-plastics-recycling-machine?fbclid=IwAR0zsR8x59Ma9OLXRtG74Efy7if kx61l5GRIWzUTz6NLPf_Sger4cSIfj_o 41 “KENOTEQ: Breahting life into new buildings,” https://qeprize.org/createthefuture/kenoteqbreathing-life-new-buildings/ 42 “Circular Economy – Definition, Principles, Benefits & Barriers 43 Stonecycling, “FAQ” https://www.stonecycling.com/faq 44 Heisel, Wisniewska and Hebel, Building From Waste, 115
Fig.18
14
to create material products provides a means for the construction industry specifically to significantly reduce its impact on the environment. Using our method of comparing production processes and quality/output of upcycled
03 production process |
03 quality/output |
comparison
comparison
material products alongside a raw-material-sourced product (traditional clay-fired extruded brick), we have been able to evaluate, using a defined set
RESOURCE USE
of criteria, the specific sustainability benefits of specifying these materials in future projects.
limitations exist which must be overcome if upcycled material products are to be more widely used by designers in practice. These include financial limitations, wherein the cost of specifying a new, innovative material which is not yet widely used or available are too great; lack of precedent i.e. not enough realised projects which use upcycled materials; lack of industry standards (largely due to lack of precedent) with regards to official accreditation, certification and ratings, which make the specification of such materials risky for construction industry professionals; inaccessibility, i.e.
COST (TO PURCHASE)
CLAY-FIRED BRICK
Recquires breaking down before recycling waste material
Reliable, time-tested performance in built environment (high thermal mass, known strength etc.)
Variety of options (colour, texture, size etc)
BS EN 771 - Specification for masonry units (all UK accredited clay-fired extruded bricks)
Industry standard
WASTEBASEDBRICK
Can be dissasembled and re-used in its existing form
Wide range of applications (interior and exterior, walls, roofs and floors) Lack of information on performance
Variety of options (colour, texture, interior/exterior use), customisable by client Attractive finish
DIN EN 13501 (Fireproof, noncombustible) Delivered under T&Cs of KNB Netherlands
‘Not cheap’ (see previous page)
Localised solution, creation of local jobs and retention of material value within community.
BYFUSION BRICK
Recquires breaking down before recycling waste material
5x Insulating properties of traditional brick Lighter than traditional brick High acoustic insulation value Can’t bear loads
Cannot be used as facing, requires finishing/plastering over Customisable in size
No fire rating No known certifications or accreditations
Lack of information
New emplyment base within UK
K-BRIQ
Recquires breaking down before recycling waste material
High thermal mass Regulate humidity/prevent condensation buildup
Recent product with no realised project applications as yet
Recent product awaiting testing/ certification by third-parties
Lack of information
Very energy intensive High usage of non renewable 747KWh/ Tonne
Established employment ,training and apprentiship provider. Financial support within community for social and educational programs.
Lack of information
25% Energy saving compared to traditional brick
Employment base outside of UK 1-10 employees.
41% Energy Saving compared to traditional brick. Potential for future shift to renewable.
60 %+ Recycled material content. Construction demolition waste . Labour and time intensive resource collection and separation required.
150km radius of material content Sourcing via road Production limited to Netherlands Shipping required.
BYFUSION BRICK
100 % Recycled material content. Mixed unsorted plastic waste. No unknown binding additives , mortars or chemicals
Very highly water Intensive: Production localised and utilising 200-300 litres per tonne of bricks existing local recycling centres and produced. 50% water recycled within organisation networks. process
03 production process |
INDUSTRY STANDARDS
Water Intensive: 120 litres per tonne of brick produced
WASTEBASEDBRICK
However, there is a question of viability to be considered; a number of
AESTHETICS
SOCIAL FACTORS
Resources located on site, minimal transport until distribution stage. Natural Localised distribution
overall.
PERFORMANCE
ENERGY USE
100% Raw material content. Cement based mortar. Resource extraction process detrimental to the environment.
material products adheres to principles of the circular economy, which is
DECONSTRUCTABILITY
WATER USE
CLAY-FIRED BRICK
Furthermore, we have demonstrated the ways in which the use of upcycled
understood to be key in making the construction industry more sustainable
TRANSPORT
outline per product
90% Recycled material Content. Construction Demolition waste. K-BRIQ Raw material The key to shifting from a liner to a circular0%economy beginsuse with the supply
chain, manufacturers of building components the control the implementation of the circular economy principles at the top of the chain. Sustainable manufacturing must therefore consider ensuring the full potential of the material is realised without compromising its next cycle, in addition to the energy, water and waste impacts within the process.
Lack of information
Lack of information
The processes involved in manufacturing the case study material products will be outlined, following which they will be directly compared according to a number of factors. These factors have been chosen on the basis that they demonstrate how ‘sustainable’ each product is, such as energy and water usage, type and extraction of source material, transport, cost and human (social) factors such as employment provision.
90% Energy Saving compared to traditional brick.
Fig.13
03 production process |
12
StoneCycling’s process for the production of their WasteBasedBrick.
The standard process for the manufacturing of clay-fired extruded brick in the UK according to the Brick Development Association. 6
processes, recipes and methods of production being protected by private SOURCE MATERIAL: CLAY
We therefore posit that, in order for upcycling to hold greater value in the
EXTRACTION + STOCKPILING: WITH HYDRAULIC EXCAVATOR (MOST COMMON)
Sourced from clay quarries
context of the construction industry adressing the climate emergency, the UK must embrace these new technologies, processes and products on an industry-wide scale, thus allowing these limiatations and barriers to success
byfusion block process
SOURCE MATERIAL: CONSUMER WASTE PLASTIC Does NOT require sorting prior to production process
PREPARATION: CRUSHING + MILLING, WATER ADDITION, MIXING
FORMING: AIR REMOVAL, EXTRUSION, WIRE CUTTING
The clay is triple-milled to ensure the material is finely granulated
SOURCE MATERIAL: DEMOLITION WASTE
FINAL PRODUCT: CLAY-FIRED BRICK
FINISHING: DRYING, KILN-FIRING
Materials (including ‘glass, concrete, bricks’ and ‘ceramic washbasins’) are collected and seperated at the demolition site
Fig.3
MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
SHAPING: MIXING, FORMING BRICKS IN A MOULD
FINISHING: BAKING AT HIGH TEMPERATURES
Stonecycling are rather secretive about their process, thus little is known about the composition of mixed materials, or the mixing + forming process
FINAL PRODUCT: WASTEBASEDBRICK
k-briq process
7
PREPARATION: SHREDDING, WASHING, DRYING
Kenoteq’s process for the production of their K-Briq. NB: As a very recently developed material product (2017/18) there is very little information on this.9
SHAPING: COMPRESSION IN A BATCH MOLD
FUSION: HEAT + PRESSURE APPLIED IN A CHAMBER
FINISHING: COOLING, DE-LIDDING AND MOULD RECOVERY
FINAL PRODUCT: BYFUSION BRICK
SOURCE MATERIAL: DEMOLITION WASTE
Fig.4
8
6 7 8 9
MArch
PREPARATION: GRINDING + CRUSHING INTO POWDER
Fig.5
Byfusion’s process for the production of their Byfusion Brick.
to be overcome.
15
wastebasedbrick process
traditional clay-fired brick process
companies so that reproduction at a local level becomes more difficult.
Fig.19
outline per product
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
PREPARATION: GRINDING INTO POWDER
SHAPING: COMPRESSION
FINISHING: AIR-DRYING
The K-Briqs no heat from fossil fuels or cement to be formed unlike other bricks
K-Briqs do not require kiln drying, reducing emissions considerably
FINAL PRODUCT: K-BRIQ Fig.6
“The UK Brick Making Process” Heisel, Wisniewska and Hebel, Building From Waste, 114-115 Heisel, Wisniewska and Hebel, Building From Waste, 98-100 Project Scotland, “House Brick Can Become Circular Economy Champ,” 2019, https://projectscot.com/2019/03/house-brick-can-become-circular-economy-champ/.
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
9
2.1
2.2
2.3
2.4
2.5
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
images 03 quality/output |
ASSIGNMENT1: GENERIC STUDY
04 quality/output |
comparison
DECONSTRUCTABILITY
CLAY-FIRED BRICK
Reliable, time-tested performance in built environment (high thermal mass, known strength etc.)
INDUSTRY STANDARDS
AESTHETICS
Variety of options (colour, texture, size etc)
Variety of options (colour, texture, interior/exterior use), customisable by client Attractive finish
COST (TO PURCHASE)
BS EN 771 - Specification for masonry units (all UK accredited clay-fired extruded bricks)
Can be dissasembled and re-used in its existing form
Wide range of applications (interior and exterior, walls, roofs and floors) Lack of information on performance
BYFUSION BRICK
Recquires breaking down before recycling waste material
5x Insulating properties of traditional brick Lighter than traditional brick High acoustic insulation value Can’t bear loads
Cannot be used as facing, requires finishing/plastering over Customisable in size
No fire rating No known certifications or accreditations
K-BRIQ
Recquires breaking down before recycling waste material
High thermal mass Regulate humidity/prevent condensation buildup
Recent product with no realised project applications as yet
Recent product awaiting testing/ certification by third-parties
WASTEBASEDBRICK
SELECT BIBLIOGRAPHY:
Recquires breaking down before recycling waste material
PERFORMANCE
DIN EN 13501 (Fireproof, noncombustible) Delivered under T&Cs of KNB Netherlands
1. MATERIAL RECOVERY
Industry standard
CLAY-FIRED BRICK
05 conclusion
circular economy criteria
2. REUSE + REFURBISHMENT
Suitable for BIM & Brick buildings can be component recovery. adaptable & adjusted in Many uses of recycled material lifetime. Bricks can be widely Traceable material. reclaimed and reused.
3. SERVICE
Provides thermal comfort , fire resistance for occupant. Maintenance free. Non toxic & allergen free.
Durable, stable system component which can withstand hundreds of years. Climatically resilient
‘Not cheap’ (see previous page)
WASTEBASEDBRICK
Lack of information
BYFUSION BRICK
Lack of information
K-BRIQ
Difficult to trace material. Recoverability of product material at end of life unknown.
System allows for buildings to be adaptable and adjusted,designed for disassembly and reassembly.
Provides superior thermal and acoustic comfort enhancement. Maintenance free.
Suitable for BIM & Brick buildings can be Provides thermal comfort and component recovery. adaptable & adjusted. Bricks prevents condensation. Material suitable to be recycled can be reclaimed and reused. Maintenance free. again. Traceable material.. Non toxic & allergen free.
Fig.19
Durable facade system component. Climatically resilient Longevity Untested
“About | Byfusion Global Inc.”. 2019. Byfusion.Com. https://www.byfusion.com/ about/.
The reduction and reuse of waste is a vital step in adressing the climate emergency; upcycling waste materials (rather than extracting raw material) to create material products provides a means for the construction industry specifically to significantly reduce its impact on the environment. Using our method of comparing production processes and quality/output of upcycled material products alongside a rawmaterial-sourced product (traditional clay-fired extruded brick), we have been able to evaluate, using a defined set of criteria, the specific sustainability benefits of specifying these materials in future projects.
4. LONGEVITY
FOR MATERIAL RECOV ERY ESIGN 1. D N FOR ESIG 2. D
Suitable for BIM& component Component product can be Aesthetic benefit to occupant Recovery. adaptable & adjusted in well-being occupant. Can be recycled and reformed lifetime, may be reclaimed and Fire resistance. once more. reused in another building. Maintenance free. Traceable material. Non toxic & allergen free.
bibliography
REUSE + REFURB ISHM EN T
“Bricks Are Durable And Ecologically Responsible”. 2019. Vandersandengroup. Co.Uk. https://www.vandersandengroup.co.uk/group/en-gb/bricks-are-durableand-ecologically-responsible. Buddulph, Jim. 2019. “In Conversation With Stone Cycling | Material Lab”. MaterialLab.Co.Uk. https://www.material-lab.co.uk/journal/stone-cycling/. “Circular Economy – Definition, Principles, Benefits & Barriers”. 2019. E-CSR.Net. Accessed October 1, 2019. https://e-csr.net/definitions/circular-economy-meaningdefinition-benefits-barriers/.
Furthermore, we have demonstrated the ways in which the use of upcycled material products adheres to principles of the circular economy, which is understood to be key in making the construction industry more sustainable overall.
SIGN FOR SERVICE 3. DE
“FAQ”. Byfusion.Com, 2019, https://www.byfusion.com/faq/. Accessed 26 Oct 2019.
However, there is a question of viability to be considered; a number of limitations exist which must be overcome if upcycled material products are to be more widely used by designers in practice. These include financial limitations, wherein the cost of specifying a new, innovative material which is not yet widely used or available are too great; lack of precedent i.e. not enough realised projects which use upcycled materials; lack of industry standards (largely due to lack of precedent) with regards to official accreditation, certification and ratings, which make the specification of such materials risky for construction industry professionals; inaccessibility, i.e. processes, recipes and methods of production being protected by private companies so that reproduction at a local level becomes more difficult.
FOR LONG ESIGN EVIT 4. D Y
Resilient in earthquake zones as construction allows for flexibility. Longevity & Untested
“FAQ”. Stonecycling.Com, https://www.stonecycling.com/faq. Accessed 25 Oct 2019. Frost, Maisha. 2019. “Green Brick Developer KENOTEQ Wins £500,000 Scottish Enterprise Grant”. Express.Co.Uk. https://www.express.co.uk/finance/city/868420/ low-carbon-brick-developer-green-eco-friendly-Kentoq-Scottish-Enterprise. Gambino, Megan. 2019. “This Dutch Startup Is Making Bricks From Industrial Waste”. Smithsonian. https://www.smithsonianmag.com/innovation/this-dutchstartup-making-bricks-from-industrial-waste-180959893/.
We therefore posit that, in order for upcycling to hold greater value in the context of the construction industry adressing the climate emergency, the UK must embrace these new technologies, processes and products on an industry-wide scale, thus allowing these limiatations and barriers to success to be overcome.
Climatically resilient Longevity Untested
Gould, Hannah. “The Rotterdam Couple That Will Live In A House Made From Waste”. The Guardian, 2016, https://www.theguardian.com/sustainablebusiness/2016/may/21/rotterdam-couple-house-made-from-waste-stonecyclingbricks-netherlands. Accessed 14 Oct 2019.
Fig.20
15
Gulland, Iain. 2019. “Manufacturing For The Future: Scotland’S Innovation Renaissance”. Zero Waste Scotland. https://www.zerowastescotland.org.uk/blog/
17
16
manufacturing-future-scotland’s-innovation-renaissance. Gumpert, Jennifer. 2019. “Material Insight: Wastebasedbricks By Stonecycling”. Material Connexion. https://www.materialconnexion.com/material-insightwastebasedbricks-by-stonecycling/?fbclid=IwAR2EbXVNSZrMUgzi7mm2O09uupy kEle-9rJU9zMUia3uJEy5z68-1imavU8. Hebel, Dirk, and Felix Heisel. 2017. Cultivated Building Materials. 1st ed. Berlin: Birkhäuser. Heisel, Felix, Marta H Wisniewska, and Dirk E Hebel. 2014. Building From Waste. Berlin: Birkhäuser. Hire, Expert. 2019. “Plastic Bricks Made From Used Plastic Water Bottles”. Expertskiphire.Co.Uk. https://www.expertskiphire.co.uk/plastic-bricks. “House Brick Can Become Circular Economy Champ | Project Scotland”. 2019. Project Scotland. https://projectscot.com/2019/03/house-brick-can-becomecircular-economy-champ/. “K-Briq”. 2019. Designingbuildings.Co.Uk. https://www.designingbuildings.co.uk/ wiki/K-Briq.
Fig. 1
Author’s own
Fig. 15
Engineering for Change, “Replast,” https://www.engineeringforchange.org/solutions/product/replast/
Fig. 2
Author’s own (abstracted from “A Circular Economy for the Built Environment,” https://www.wienerberger. co.uk/tips-and-advice/sustainable-building/a-circular-economy-for-the-built-environment.html.
Fig. 16
Stonecycling, “Colourful Condo in Amsterdam,” https://www.stonecycling.com/projects/2018/5/28/ colourful-condo-in-amsterdam
Fig. 3
Author’s own (see citation for information source)
Fig. 4
Author’s own (see citation for information source)
Fig. 17
Stonecycling, “Colourful Condo in Amsterdam,” https://www.stonecycling.com/projects/2018/5/28/ colourful-condo-in-amsterdam
Fig. 5
Author’s own (see citation for information source)
Fig. 18
Fig. 6
Author’s own (see citation for information source)
“ByFusion turns all types of ocean plastic into eco-friendly construction blocks,” https://inhabitat.com/ byfusion-turns-all-types-of-ocean-plastic-into-eco-friendly-construction-blocks/
Sharman, Jess. 2018. “Construction Waste And Materials Efficiency”. NBS. https:// www.thenbs.com/knowledge/construction-waste-and-materials-efficiency.
Fig. 7
“Clay Extraction Near Bournmouth Could be Approved”, https://www.bournemouthecho.co.uk/ news/17276700.clay-extraction-near-wareham-could-be-approved
Fig. 19
Author’s own (see pg 13-14 for citations for information included in table)
Fig. 20
Author’s own (see pg 10-11 and 13-14 for citations of information included in table)
The Brick Development Association. 2019. “The UK Brick Making Process”. London: The Brick Development Association. https://www.brick.org.uk/admin/resources/gthe-uk-clay-brickmaking-process.
Fig. 8
Stonecycling, “This Dutch startup are making bricks from Industrial Waste,” https://www.smithsonianmag. com/innovation/this-dutch-startup-making-bricks-from-industrial-waste-180959893/
“The Environmental Impacts Of Concrete”. 2019. Greenspec. http://www. greenspec.co.uk/building-design/environmental-impacts-of-concrete.
Fig. 9
Stonecycling,”The Beauty of Waste”, https://www.stonecycling.com/beauty-of-waste.
Fig. 10
The Brick Development Assosiation, “The UK Clay Brick Making Processs”, page 14, https://www.brick.org.uk/admin/resources/g-the-uk-clay-brickmaking-process. pdf?fbclid=IwAR0cvTg3rM7JyeR37Fc3choicHKUi6alJV1VrMF_8rouazdH7c8paR3xf1I
Palmer, Stephanie. “A Circular Economy For The Built Environment”. Wienerberger, 2019, https://www.wienerberger.co.uk/tips-and-advice/sustainable-building/acircular-economy-for-the-built-environment.html. Accessed 26 Oct 2019. “Plastic Bricks Made From Used Water Bottles”. Expertskiphire.Co.Uk, 2018, https://www.expertskiphire.co.uk/plastic-bricks?fbclid=IwAR0rvlbeWukbyx_ CuXPKArrbhx0HtNk5mF69kdLzvqYxxY3I9xYMwamfAAY. Accessed 22 Oct 2019. Ribbons, Nick. “Circular Economy In Construction”. 2019.
“KENOTEQ: Breathing Life Into New Buildings - Create The Future”. 2019. Create The Future. https://qeprize.org/createthefuture/kenoteq-breathing-life-new-buildings/. Lewis, John. “Global Interest In Plastics Recycling Machine”. Otago Daily Times, 2010, https://www.odt.co.nz/news/dunedin/global-interest-plastics-recyclingmachine?fbclid=IwAR0zsR8x59Ma9OLXRtG74Efy7ifkx61l5GRIWzUTz6NL Pf_Sger4cSIfj_o. Accessed 26 Oct 2019. “Local Lab: Building A Sustainable Future”. 2019. Konect.Scot. https://www.konect. scot/post/local-lab-building-a-sustainable-future. “Our People | Ibstock Brick”. 2019. Ibstock Brick. https://ibstockbrick.co.uk/ourpeople/.
18
Fig. 11
Byfusion, Screenshot from video, https://www.byfusion.com/byblock/
Fig. 12
The Brick Development Assosiation,” BRICK Sustainability Report”, Page 8, https://www.brick.org.uk/ admin/resources/brick-sustainability-report-2016-1.pdf.
Fig. 13
Author’s own (see pg 10-11 for citations for information included in table)
Fig. 14
Wardell Armstrong, “Planning Permission Secured by Wardell Armstrong for the Proposed Kenoteq Demonstration Building,” https://www.wardell-armstrong.com/news/planning-permission-secured-bywardell-armstrong-for-the-proposed-kenoteq-demonstration-building/
19
Buddulph, Jim. 2019. “In Conversation With Stone Cycling | Material Lab”. MaterialLab.Co.Uk. https://www.material-lab.co.uk/journal/stone-cycling/.
“Circular Economy – Definition, Principles, Benefits & Barriers”. 2019.
04 quality/output |
circular economy criteria
01 introduction |
E-CSR.Net. Accessed October 1, 2019. https://e-csr.net/definitions/circulareconomy-meaningdefinition-benefits-barriers/.
1. MATERIAL RECOVERY Frost, Maisha. 2019. “Green Brick Developer KENOTEQ Wins £500,000 Scottish Enterprise
Grant”.
Express.Co.Uk.
https://www.express.co.uk/finance/
city/868420/
CLAY-FIRED BRICK
low-carbon-brick-developer-green-eco-friendly-Kentoq-Scottish-Enterprise. Gambino, Megan. 2019. “This Dutch Startup Is Making Bricks From Industrial Waste”.
Smithsonian.
https://www.smithsonianmag.com/innovation/this-
dutchstartup-making-bricks-from-industrial-waste-180959893/.
WASTEBASEDBRICK
Gould, Hannah. “The Rotterdam Couple That Will Live In A House Made From Waste”.
The
Guardian,
2016,
2. REUSE + REFURBISHMENT
Brick buildings can be Suitable for BIM & adaptable & adjusted in component recovery. Many uses of recycled material lifetime. Bricks can be widely reclaimed and reused. Traceable material.
3. SERVICE
the circular economy
4. LONGEVITY
Provides thermal comfort , fire resistance for occupant. Maintenance free. Non toxic & allergen free.
Suitable for BIM& component Component product can be Aesthetic benefit to occupant adaptable & adjusted in well-being occupant. Recovery. Fire resistance. Can be recycled and reformed lifetime, may be reclaimed and reused in another building. Maintenance free. once more. Non toxic & allergen free. Traceable material.
FOR MATERIAL RECOV ERY ESIGN 1. D
Durable, stable system component which can withstand hundreds of years. Climatically resilient
R REUSE + REFURBIS HM EN T
FOR MATERIAL RECOIVGN FO ESIGN S ERY 1. D . DE
2
REUSE + REFURB ISHM N FOR ESIG E SIGN FOR SERVICE D . 3.NDT E 2
Durable facade system component. Climatically resilient Longevity Untested
SIGN FOR SERVICE 3. DE
FOR LONG ESIGN EVIT 4. D Y
FOR LONG ESIGN EVIT 4. D Y
BYFUSION BRICK
waste-stonecyclingbricks-netherlands. Accessed 14 Oct 2019
Difficult to trace material. Recoverability of product material at end of life unknown.
System allows for buildings to be adaptable and adjusted,designed for disassembly and reassembly.
Provides superior thermal and acoustic comfort enhancement. Maintenance free.
Resilient in earthquake zones as construction allows for flexibility. Longevity & Untested
Waste. Berlin: Birkhäuser
K-BRIQ Palmer, Stephanie. “A Circular Economy For The Built Environment”. Wienerberger,2019,https://www.wienerberger.co.uk/tips-and-advice/
Suitable for BIM & Brick buildings can be Provides thermal comfort and component recovery. adaptable & adjusted. Bricks prevents condensation. Maintenance free. Material suitable to be recycled can be reclaimed and reused. Non toxic & allergen free. again. Traceable material..
MArch
2
SEMESTER
reuse of components recycling of materials
• •
upgradeable fixtures adaptable space
•
convertible building
• •
low maintenance non toxic/allergen-free
•
promote occupant wellbeing
• •
durable components systems approach
•
climate resilience
2
CONTRIBUTORS
4
2.1
2.2
Stephanie Palmer, “A Circular Economy For the Built Enivronment,” Wienerberger, 2019, https:// www.wienerberger.co.uk/tips-and-advice/sustainable-building/a-circular-economy-for-the-builtenvironment.html.
Fig.20
16
Accessed 26 Oct 2019
1
Fig.2
Climatically resilient Longevity Untested
sustainable-building/acircular-economy-for-the-built-environment.html.
SEMESTER
• •
The Sustainability team at the Brick Development Association have developed a circular economy guide for the built industry specifically, basing their ‘four fundamentals of design’ on the Ellen McArthur Foundation’s Circular Economy Principles 2 and 3.4
Heisel, Felix, Marta H Wisniewska, and Dirk E Hebel. 2014. Building From
1
material traceability plan for deconstruction
https://www.theguardian.com/
sustainablebusiness/2016/may/21/rotterdam-couple-house-made-from-
MArch
• •
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.3
2.4
2.5
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
01 introduction
ASSIGNMENT2: CONTEXTUAL STUDY
ADAPTABILITY AND DECONSTRUCTION IN A HOUSING CONTEXT: EVALUATING CONNECTIONS IN CONTEMPORARY HOUSING WITH
“
A building, which is currently a static entity defined by endstates, has to be considered as being part of a dynamic environment. Consequently, it has to accommodate the evolving trends by being adaptable. This adaptability includes space reorganization, renovation, rehabilitation, and deconstruction. [Design for Adaptability and Deconstruction] meets these requirements.
02 aim + methodology | NOVEMBER 2019
IONA HOGGARTH | s1450039
adaptability and deconstruction in a housing context evaluating connections in contemporary housing with regards to concept of DfAD
CAITLIN MACLEOD | s1440163
Our Generic Study demonstrated the importance of adopting circular economy principles in construction as a means of mitigating the effects of climate breakdown. A key factor in the optimisation of this process is the notion of ‘deconstructability and adaptability’ i.e. the ease with which a building can be dissasembled and components re-used, effectively skipping over the recycling process undertaken during demolition. A paper from the ESTP defines the goal of Designing for Adaptability and Deconstruction (DfAD) as ‘creating sustainable buildings by maximizing both their flexibility toward space configuration and their environmental efficiency considering their whole life-cycle.’ ¹
The housing crisis we are facing in the UK is as urgent and pertinent today as the climate emergency. Shelter released findings last year that revealed a 9% increase in homeless individuals in the UK from two years prior, citing ‘a lack of supply of decent affordable housing,’ among other factors, as the cause.³ We must build more quality housing, but it is of paramount importance that we do so with the attention to sustainable practices and consideration of life cycle principles which the state of climate emergency demands: improving the quality of connections in housing construction would be one such way to address this dual concern.
This study aims to examine and compare connections in contemporary housing, assessing their value in terms of how easily they facilitate the processes of adaptability and deconstructability, as well as reflecting upon questions of longevity and lifespan. This will link into wider concerns regarding the role of housing construction in addressing and mitigating the twofold emergencies of both climate breakdown and lack of quality housing in the UK.
stuff
The quality and robustness of connections, and furthermore how well a structure is assembled, also impacts the lifespan of a building: a key concern for construction industry professionals concerned with tackling the climate emergency. According to the LGA (Local Government Association), we should be upping our current expectations of new-build housing having a life expectancy of 60 to 2,000 years.4 Serving as inherent reflections of how we live in a given time period, we must simultanaeously consider how to extend the lifespan of our homes whilst allowing for appropriate degrees of flexibility in such that they can adapt to our ever-changing ways of life. By designing connections with DfAD in mind, we can do just this.
methodology
space plan
A number of housing case studies will be examined in cross section, with Stewart Brand’s ‘Shearing Layers of Change’ diagram (see Fig. 1 overleaf) used as an evaluation mechanism for each. In using this diagram, the lifespan of elements can be assessed (what is replaceable, and what is permanent?), and the role of connections in the construction can be identified (structure, skin etc). From this, we can consider the potential for adaptability and deconstruction of the build based on the type (screw, bolt, mortar, resin etc), quality and accessibility of connections (in order to adapt, replace etc).
services
4
Liam Reynolds, “Homelessness in Great Britain - The numbers behind the story,” (Shelter, November 2018). Sabrina Mouilek, “Design for Adaptability and Deconstruction (DfAD),” (Diplome d’lngenieur, Ecole Speciale des Travaux Publics, Paris, 2009), 30. Mouilek, “(DfAD),” 20. Steve Mansour, “How long should new build homes last?”, 2017, https://www.buildingconstructiondesign.co.uk/news/how-long-should-new-build-homes-last/
3
INTRODUCTION:
“
skin
03.1 case study | denby dale house
housing, assessing their value in terms of how easily they facilitate the
derrie o’sullivan & the green building store
processes of adaptability and deconstruct-ability, as well as reflecting upon
Completed in 2010, Denby is known as the first passivhaus to be built using cavity wall construction, with many original junction details developed throughout the project which have subsequently been used in following passivhaus projects.6
regarding the role of housing construction in addressing and mitigating the two fold emergencies of both climate breakdown and lack of quality housing
The shearing layers model was developed with commercial buildings in mind; this case study provides a starting point for grounding our research within the context of UK housing.
in the UK
stuff
SHEARING LAYERS OF CHANGE:
short-term
space plan
Stewart Brands diagram explains the concept of a hierarchy that governs
services
the evolution of a building over time, buildings are never in a fixed state of
Fig.2
Fig.3
6
Green Building Store, “Denby Dale Passivhaus”, 2019, https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhaus-uk-first-cavity-wallpassive-house/
skin
‘as built’ or ‘demolished’ but a system made up of several layers of differing Longevity. Only once this is understood can the idea of sustainability through
site
S H E A R I N G L AY E R S C O N C E P T D I A G R A M
Fig.1
‘deconstructability and adaptability’ i.e. the ease with which a building can be dissasembled and components re-used, effectively skipping over the recycling process undertaken during demolition. A paper from the ESTP
Stewart Brand, How Buildings Learn (New York, 1994).
Fig.2
Fig.3
6
Green Building Store, “Denby Dale Passivhaus”, 2019, https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhaus-uk-first-cavity-wallpassive-house/
7
6
Fig.4
8
03.2 case study | clay field housing, suffolk
Held as an exemplar for affordable sustainable housing developments, the 26 homes of Clay Field Housing project were designed with the aim of achieving low levels of embodied energy and low emissions.10
-Frank Duffy, Architect
How Buildings Learn 1994
Commissioned in 2006 following an RIBA design competition, the project was pioneering in that it sees the first application of hempcrete; a mixture of hemp and lime which captures carbon from the atmosphere, making it less than zero carbon material.11
This case study represents medium scale residential projects at the forefront of implementing innovative constructions materials and methods, demonstrating how these stand up when examined through the lens of the shearing diagram.
Stewarts Brands diagram explains the concept of a heirarchy that governs the evolution of a building over time, buildings are never in a fixed state of ‘as built’ or ‘demolished’ but a Fig.6 system made up of several layers of differeing Fig.7 longevity.5 10 11
5
Graham Bizley, “Architecture in Detail II,” (July 3, 2019), https://issuu.com/sebastiannunez09/docs/architecture_in_detail_ii Matylda Krzykowski, “Clay Fields by Riches Hawley Mikhail”, (Dezeen, 2008), https://www.dezeen.com/2008/11/18/clay-fields-by-riches-hawley-mikhail/
Fig.8
10
Stewart Brand, Howstudy Buildings (New York, 1994). 03.4 case | Learn ty pren, wales
long-term
Amin Taha & Groupwork
A key factor in the optimisation of this process is the notion of
5
long-term Fig.1
Fig.4 8 Only once this is understood can the idea of stustainability through adaption CASE STUDY 2 in construction be tested.
03.3 case study site | barretts grove
DESIGNING FOR ADAPTABILITY AND DECONSTRUCTION
The shearing layers model was developed with commercial buildings in mind; this case study provides a starting point for grounding our research within the context of UK housing.
CASE STUDY 1
structure
adaption in construction be tested
Completed in 2010, Denby is known as the first passivhaus to be built using cavity wall construction, with many original junction details developed throughout the project which have subsequently been used in following passivhaus projects.6
Stewarts Brands diagram explains the concept of a heirarchy that governs the evolution of a building over time, buildings are never in a fixed state of ‘as built’ or ‘demolished’ but a system made up of several layers of differeing longevity.5
Our basic argument is that there isn’t such a thing as a Riches Hawley Mikhail & Buro Happold building . A building properly conceived is several layers of longevity of built components”
Denby Dale house was a pioneering and experimental application of the passivhaus methodology to UK construction methods and winner of the 2010 RIBA awards for sustainability, housing, the bronze award and client of the year.6
questions of longevity and lifespan. This will link into wider concerns
Denby Dale house was a pioneering and experimental application of the passivhaus methodology to UK construction methods and winner of the 2010 RIBA awards for sustainability, housing, the bronze award and client of the year.6
How Buildings Learn 1994
Only once this is understood can the idea of stustainability through adaption in construction be tested.
structure
The case studies will be selected based on their approach to connection design and examined in accordance to DfAD practices. The reasoning for this is to create a case for the need to consider structural design in addition to more widely understood methods of sustainable construction, such as material selection and passive heating/cooling mechanisms, in order to improve upon their existing sustainability credentials.
This study examines and compares connections in contemporary
derrie o’sullivan & the green building store
-Frank Duffy, Architect
short-term
5
REGARDS TO CONCEPT OF DfAD
“
aim of study
REPORT
03.1 case study | denby dale house
Our basic argument is that there isn’t such a thing as a building . A building properly conceived is several layers of longevity of built components”
the housing crisis and building longevity
¹ ² ³
Paris, 2009
shearing layers of change
designing for adaptability and deconstruction (DfAD)
the importance of connections
shearing layers of change
02 aim + methodology |
02 aim + methodology
Connections are extremely important aspects of construction to consider in DfAD, yet are often overlooked in sustainability modelling. The simplicity, quality and accessibility of connections determine whether components are able to be easily dissasembled and re-used, or whether they must be demolished for potential future recycling. Mouilek’s paper notes that ‘the design objectives of connections are to allow the removal of the elements without damaging them to minimize the need for specific equipment, and to make this process as simple as possible for the workers.’ ²
-Sabrina Mouilek, Ecole Sp6ciale des Travaux Publics
STUDIO H
fielden fowels architects
Design by Groupwork (formerly Amin Taha Architects), the six story apartment block situated in the London Borough of Hackney was shortlisted for the Stirling prize in 2014. The scheme has been highly praised for its considered use of material and detailing.
Ty Pren is a passive house and modern take on the local vernacular long house in the Brecon Beacons national park.16 A combination of traditional form and connections and modern techniques, the build was completed in 2009 by Fielden Fowles Architects.
A departure from the conventional cost plan templates of structure finishes, the architect notably took greater responsibility in coordinating structure and services than traditionally lies with the architect , even taking on the role of quantity surveyor and claiming the build was completed at a cost that housing associations could afford.13
The use of structurally insulated panels within this project provides the opportunity to test the shearing layers model against non-traditional construction and therefore connection methods, where structure, skin and space plan are not so distinguishable, and all services are embedded into a single wall.17
7
defines the goal of Designing for Adaptability and Deconstruction (DfAD) as ‘creating sustainable buildings by maximizing both their flexibility toward
CASE STUDIES:
space configuration and their environmental efficiency considering their whole life-cycle.’
1. Denby Dale House- Derrie O’Sullian & The green Building Store 2. Clay Field Housing - Riches Hawley Mikhail & Buro Happold
Fig.10 13
3. Barretts Grove- Amin Taha & Groupwork
MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
Catherine Warrman, “Ty Pren by Fielden Fowles” (Dezeen, February 2011), https://www.dezeen.com/2011/02/14/ty-pren-by-feilden-fowles/ 17 Archdaily, “Ty Pren / Feilden Fowles,” June 2012, https://www.archdaily.com/255206/ty-pren-feilden-fowles
Fig.13
12
CASE STUDY 3
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
Fig.16
16
4. ty pren, wales - Fielden Fowles Architects
MArch
Fig.15
Fig.12
Fig.11
Amin Taha, “Barrett’s Grove,” Architecture Today, Accessed January 2020. http://www.architecturetoday.co.uk/barretts-grove/
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
Fig.17
14
CASE STUDY 4
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
03.1 case study | denby dale house Derrie O’Sullivan & the green building store
nails
The original details - adapting British vernacular and German engineering - for the project are claimed to provide a potential new template for the Uk construction industry.7
ASSIGNMENT 2: CONTEXTUAL STUDY
Structure:: Concrete block-work with cement mortar, closed cell insulation and basalt and resin wall tiles, and Yorkshire stone and lime plaster make up the load-bearing walls .8 Skin: To improve airtightness around the window opening, adhesive-backed
airtightness tape was attached to the plywood box with a fleece wrapped into the wet plaster, making the junction between the plywood and plaster airtight. 6
METHODOLOGY:
03.2 case study | clay field housing,suffolk
03.3 case study | barretts grove
Riches Hawley Mikhail & Buro Happold
Riches Hawley Mikhail & Buro Happold
Amin Taha & Groupwork
Amin Taha & Groupwork
Design by Groupwork (formerly Amin Taha Architects), the six story apartment block situated in the London Borough of Hackney was shortlisted for the Stirling prize in 2014. The scheme has been highly praised for its considered use of material and detailing.
CLT sheets and panels are used for all wall, floor and roof superstructure which sits on a sunken cast concrete and brick basement box. Consisting of perpendicular planks (lamellas) of sawn, glued, and layered wood, the integrity of the material (and longevity of the shearing layer itself)is dependent on the quality of connections maintaining water tightness. Floor and wall panels are screwed together.
Commissioned in 2006 following an RIBA design competition, the project was pioneering in that it sees the first application of hempcrete; a mixture of hemp and lime which captures carbon from the atmosphere, making it less than zero carbon material.11
mortar
Skin: The gable walls are finished with lime render and lime mortar. Strong, flexible and permeable lime render is breathable the absorbent, wicking away moisture minimising damage to the structural layers underneath. The requirement for expansion joins are removed due to the flexible nature. Lime mortar only lasts 3-7 years, however unlike cement based mortars it can be removed without damaging the structure underneath, and recycled. The roof and north and south walls are clad with ship lapped red Cedar boarding and shingles fixed to treated wooden sheathing batons with steel nails. The structural integrity of the timber frame is reliant on the quality of single use staple and bond connections maintaining water tightness.12
This case study represents medium scale residential projects at the forefront of implementing innovative constructions materials and methods, demonstrating how these stand up when examined through the lens of the shearing diagram.
Space Plan: The timber plates of the first floor are bolted to the wall with washers and epoxy resin. Chipboard flooring is glued and nailed to I-beams and the plasterboard of ceiling underneath is nailed into the beams.9
nails, mortar
While the sustainability credentials of Denby Dale House are considerable due to its compliance with Passivhaus standard, many of the features which ensure this compliance (for example, airtightness tape) are incompatible with DfAD practice, making the affected areas less easy to perform repairs on and elements less likely to be reused in the event of demolition.
Services + Space Plan: Tongue and groove wooden particle board joints, timber frame and internal stud walls allow for a degree of reconfiguration and adaptability. However, the nature of the hempcrete insulation filled frames restrict the accessibility between the shearing layers, creating inflexible services layout or additional waste in deconstruction and adaptation. The skin of Clay Field seems to be the shearing layer most compliant with DfAD practices due to the use of lime mortar and more easily removable connections e.g. nails. However, with sprayed-on hempcrete’s inability to be removed intact, the structure’s DfAD complaincy is significantly impeded.
bolts Fig.6
Fig.5
‘Shearing Layers of Change’ diagram used as an evaluation mechanism for
brick and lime mortar plinth and concrete blinding. A damp proof membrane is bonded to the blockwork with double sided tape. A breather membrane had been stapled between timber joists following the line of insulation between skin and structural layers. The Hempcrete insulation is sprayed directly into the timber frame onsite drying rigid within the interior stud wall and timber batons of the exterior wall in order to achieve passive airtightness.12 Hempcrete cannot be removed intact, and degree of damage to the structure in doing so is as yet unknown.
Held as an exemplar for affordable sustainable housing developments, the 26 homes of Clay Field Housing project were designed with the aim of achieving low levels of embodied energy and low emissions.10
The roof detail sees plywood board and timber battens nailed to the trusses.
The case studies are examined in cross section, with Stewart Brand’s
03.2 case study | clay field housing, suffolk
Structure: Partially prefabricated timber frames and steel screwed stud walls are fixed to a 5 course
nails
7 Green Building Store, “Denby Dale” 8 Green Spec, “Denby Dale Passivhaus: Derrie O’Sullivan,” 2019, http://www.greenspec.co.uk/building-design/denby-dale-passivhaus/ 9
Michael Corran, “Can Passivhaus standards be met in the UK using traditional cavity wall construction?” (BSc (Hons) Construction Management, Leeds Metropolitan University, May 2012), 40.
10 11
Fig.7
12
Fig.8
9
Skin: Insulation, a vapour barrier, a protective sheeting and self-supporting double
stacked open ‘Half Flemish’ bond brick rain-screen using a raked mortar connection make up the exterior envelope. Within the brick façade, steel metal shims are bolted through to the CLT and wall ties, and lintels connect the skin to the structural layer. This is taped and sealed where it punctures the membrane to maintain water tightness.14
Services + Space Plan: The loadbearing CLT panels span up to 6.0m with
various precisely cut voids for the stair and services. Acoustic layers and boards, insulation and a floating timber floor are built up above the floor superstructure and accommodate underfloor heating, power, data and water services. This use of CLT panels as opposed to a frame limits adaptability of the space plan: not only are there loadbearing internal walls, meaning the free plan is lost, but moving a staircase or creating new voids in the CLT floors would be very difficult. The CLT serves as the internal finish and is left exposed with clear, fire-retardant varnish, removing the need for plaster boarded walls, suspended ceilings, cornices, skirtings and finishes such as paints etc. This eliminates the waste accrued with the changing of décor and increases accessibility to services and structural layers. 15
tape
staples
Bizley, “Architecture in Detail”
13
10
Fig.9
Fig.11
03.4 case study | ty pren, wales fielden fowels architects
Structure:
A departure from the conventional cost plan templates of structure finishes, the architect notably took greater responsibility in coordinating structure and services than traditionally lies with the architect , even taking on the role of quantity surveyor and claiming the build was completed at a cost that housing associations could afford.13
nails
Fig.10
Graham Bizley, “Architecture in Detail II,” (July 3, 2019), https://issuu.com/sebastiannunez09/docs/architecture_in_detail_ii Matylda Krzykowski, “Clay Fields by Riches Hawley Mikhail”, (Dezeen, 2008), https://www.dezeen.com/2008/11/18/clay-fields-by-riches-hawley-mikhail/
nails
mortar
03.3 case study | barretts grove
By removing the need for plasterboarding/other internal finishes, the project not only reduces waste and resource use, but makes adaptability + deconstruction far more feasible. Use of non-DfAD compliant (e.g. glue, resin) connections is minimal.
Fig.12
Ty Pren is a passive house and modern take on the local vernacular long house in the Brecon Beacons national park.16 A combination of traditional form and connections and modern techniques, the build was completed in 2009 by Fielden Fowles Architects.
bolts, tape
The use of structurally insulated panels within this project provides the opportunity to test the shearing layers model against non-traditional construction and therefore connection methods, where structure, skin and space plan are not so distinguishable, and all services are embedded into a single wall.17
mortar
tape
screws Fig.15
Amin Taha, “Barrett’s Grove,” Architecture Today, Accessed January 2020. http://www.architecturetoday.co.uk/barretts-grove/
16
Fig.13
11
12
14 Wood For Good, “Barrett’s Grove,” Accessed Jan 2020. https://woodforgood.com/case-studies/barretts-grove 15 Laura Mark, “What Amin Taha specified on Barrett’s Grove,” (Architects Journal, September 2016), https://www.architectsjournal.co.uk/buildings/what-amin-taha-specified-on-barretts-grove/10012096. article?fbclid=IwAR2DqhovOoXtBOF7mjpkUjiuaIJ3mL7zffSxZd1h1JKvwfGamA5RkkfXD7o
17
Fig.16
Catherine Warrman, “Ty Pren by Fielden Fowles” (Dezeen, February 2011), https://www.dezeen.com/2011/02/14/ty-pren-by-feilden-fowles/ Archdaily, “Ty Pren / Feilden Fowles,” June 2012, https://www.archdaily.com/255206/ty-pren-feilden-fowles
Fig.14
Fig.17
13
14
each. In using this diagram, the lifespan of elements can be assessed (what is replaceable, and what is permanent?), and the role of connections in the construction can be identified (structure, skin etc). From this, we can consider the potential for adaptability and
03.1 case study | denby dale house
03.3 case study | barretts grove
deconstruction of the build based on the type (screw, bolt, mortar, resin etc),
Derrie (in O’Sullivan & thereplace greenetc). building quality and accessibility of connections order to adapt,
store
nails
The case studies have been selected based on their approach to connection
03.4 case study | ty pren, wales
Structure: CLT sheets and panels are used for all wall, floor and roof superstructure
The original detailspractices. - adapting British and for German engineering design and examined in accordance to DfAD The vernacular reasoning - for the project are claimed to provide a potential new template for the Uk this is to create a case for the need to consider construction industry.7 structural design in addition
nails
to more widely understood methods of sustainable construction, such as Structure:: Concrete block-work with cement mortar, closed cell insulation and basalt and resin wall tiles, and Yorkshire stone and lime plaster make up material selection and passive heating/cooling in order to the load-bearing wallsmechanisms, .8
which sits on a sunken cast concrete and brick basement box. Consisting of perpendicular planks (lamellas) of sawn, glued, and layered wood, the integrity of the material (and longevity of the shearing layer itself)is dependent on the quality of connections maintaining water tightness. Floor and wall panels are screwed together.
fielden fowels architects bolts, tape
Skin: Insulation, a vapour barrier, a protective sheeting and self-supporting double stacked open ‘Half Flemish’ bond brick rain-screen using a raked mortar connection make up the exterior envelope. Within the brick façade, steel metal shims are bolted through to the CLT and wall ties, and lintels connect the skin to the structural layer. This is taped and sealed where it punctures the membrane to maintain water tightness.14
improve upon their existing sustainability credentials Skin: To improve airtightness around the window opening, adhesive-backed airtightness tape was attached to the plywood box with a fleece wrapped into the wet plaster, making the junction between the plywood and plaster CONCLUSION: airtight. 6
mortar
The roof detail sees plywoodofboard and timber battens nailed to the trusses. The Despite the more widespread adoption sustainable building
Space development Plan: The timber plates the first floorfollowing. are bolted to the wall with practices in contemporary housing (for ofexample, washers and epoxy resin. Chipboard flooring is glued and nailed to I-beams the Passivhaus model), which isandundeniably step in addressing the plasterboardaofpositive ceiling underneath is nailed into the beams.9
nails, mortar
the climate emergency, these While models often docredentials not lend themselves to considerable the sustainability of Denby Dale House are due to its compliance with Passivhaus standard, many of the features which deconstructability and adaptability. This is due mainly to the use of tape) adhesives ensure this compliance (for example, airtightness are incompatible with DfAD practice, making the affected areas less easy to perform repairs on and and sealants in connections which, while providing the airtightness needed elements less likely to be reused in the event of demolition.
bolts
to reach Passivhaus etc standards, are difficult to remove without damaging
Services + Space Plan: The loadbearing CLT panels span up to 6.0m with
Green Spec, “Denby Dale Passivhaus: Derrie O’Sullivan,” 2019, http://www.greenspec.co.uk/building-design/denby-dale-passivhaus/ Michael Corran, “Can Passivhaus standards be met in the UK using traditional cavity wall construction?” (BSc (Hons) Construction
tape
screws
By removing the need for plasterboarding/other internal finishes, the project not only reduces waste and resource use, but makes adaptability + deconstruction far more feasible. Use of non-DfAD compliant (e.g. glue, resin) connections is minimal.
sealant, nails
nails, sealant
Services + Space Plan: The space plan is set out to a set out on a 1.2m grid, dictated by
the standard SIP panel and sheet material size to minimise waste.20 All services and utilities services are embedded within the north wall; Bathrooms, stairs, pantry, storage and solar thermal store. The stair is recessed into the depth of the back wall, emerging onto a viewing gallery created around a cut out void, all of which is key to the passive thermal and stack ventilation strategy. The space plan shearing layer is inseparable from the structure, however the isolation of the services layer to one wall allows for an planned accessibility otherwise restricted within loadbearing walls.21
screws
The use of screws, nails and joints throughout makes Ty Pren a far more DfAD compliant: these types of connections can be more easily removed without damaging elements, allowing for repairs and flexibility which therefore increase the building’s lifespan. However, in this model shearing layers are less ‘seperable’, which can pose Fig.14 problems in terms of replaceability.
nails
18 19
Warrman, “Ty Pren” Feilden Fowles, “Ty Pren Residential Architecture. Brecon Beacons, Powys, Wales”, Accessed Jan 2020. https://www.feildenfowles.co.uk/ty-pren/ 20 Archdaily, “Ty Pren” 21 Feilden Fowles, “Ty Pren”
9
work. It is therefore necessary to reflect upon how we might achieve these
nails
remaining east, west and south elevations are clad in untreated larch with a predicted life of 25 years; eight larch trees have been planted on the client’s estate to provide the replacement wood, and the removed cladding will be burnt to heat the house. The larch was sawn into chamfered battens, mounted 10 mm apart and set out on 100 mm vertical studs fixed using steel screws so as to be removable when necessary.19
various precisely cut voids for the stair and services. Acoustic layers and boards, insulation and a floating timber floor are built up above the floor superstructure and accommodate underfloor heating, power, data and water services. This use of CLT panels as opposed to a frame limits adaptability of the space plan: not only are there loadbearing internal walls, meaning the free plan is lost, but moving a staircase or creating new voids in the CLT floors would be very difficult. The CLT serves as the internal finish and is left exposed with clear, fire-retardant varnish, removing the need for plaster boarded walls, suspended ceilings, cornices, skirtings and finishes such as paints etc. This eliminates the waste accrued with the changing of décor and increases accessibility to services and structural layers. 15
Wood For Good, “Barrett’s Grove,” Accessed Jan 2020. https://woodforgood.com/case-studies/barretts-grove Fig.5 Laura Mark, “What Amin Taha specified on Barrett’s Grove,” (Architects Journal, September 2016), https://www.architectsjournal.co.uk/buildings/what-amin-taha-specified-on-barretts-grove/10012096. article?fbclid=IwAR2DqhovOoXtBOF7mjpkUjiuaIJ3mL7zffSxZd1h1JKvwfGamA5RkkfXD7o
deconstruction or unable to be replaced inMetropolitan the event necessary repair Management, Leeds University,of May 2012), 40.
Structure: Structurally insulated panels slot together as a tongue and groove spline joint held in place with adhesive foam sealant and joints finished with tapes to create a consistent extruded loadbearing form without eaves. These panels are connected with openings for services and windows at structurally calculated fixed points within the loadbearing walls. Timber frame anchor fixings are screwed into blockwork.18
Skin: Recycled welsh slates (from a derelict local building) wrap continually from the 18 mortar roof down the exposed north wall of the house and are nailed onto wooden batons. The
14 15
Building unable Store, “Denby Dale” the affected elements, rendering78 Green them to be reused following 9
The space
Amin Taha & Groupwork
current standards of sustainability whilst also complying with DfAD practice:
nails
13
Fig.18
15
for example, the use of mechanical connections (screws, bolts and nails)
CASE STUDY 1: DENBY DALE HOUSE
CASE STUDY 3: BARRETTS GROVE
C A S E S T U D Y 4 : Ty P re n
rather than bonded connections (tapes, glues and Sealants) in acheiving
Detail highlighting and clasifying connection methods of Structure, Skin and space plan
Detail highlighting and clasifying connection methods of Structure, Skin,services and space plan
Detail highlighting and clasifying connection methods of Structure, Skin,services and space plan
airtightness. In doing so we will be able to adopt a more hollistic, longterm approach to sustainable house-building in the UK, one which places deserved and necessary importance on the longevity and adaptability of the build over its lifespan.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
STUDIO C
STUDIO D
AT R
The space
04 connection appraisal
03.4 case study | ty pren, wales fielden fowels architects
ASSIGNMENT2: CONTEXTUAL STUDY
held in place with adhesive foam sealant and joints finished with tapes to create a consistent extruded loadbearing form without eaves. These panels are connected with openings for services and windows at structurally calculated fixed points within the loadbearing walls. Timber frame anchor fixings are screwed into blockwork.18
nails
Skin: Recycled welsh slates (from a derelict local building) wrap continually from the roof down the exposed north wall of the house and are nailed onto wooden batons.18 The remaining east, west and south elevations are clad in untreated larch with a predicted life of 25 years; eight larch trees have been planted on the client’s estate to provide the replacement wood, and the removed cladding will be burnt to heat the house. The larch was sawn into chamfered battens, mounted 10 mm apart and set out on 100 mm vertical studs fixed using steel screws so as to be removable when necessary.19
SELECT BIBLIOGRAPHY:
ADHESIVE
nails, sealant
Services + Space Plan: The space plan is set out to a set out on a 1.2m grid, dictated by the standard SIP panel and sheet material size to minimise waste.20 All services and utilities services are embedded within the north wall; Bathrooms, stairs, pantry, storage and solar thermal store. The stair is recessed into the depth of the back wall, emerging onto a viewing gallery created around a cut out void, all of which is key to the passive thermal and stack ventilation strategy. The space plan shearing layer is inseparable from the structure, however the isolation of the services layer to one wall allows for an planned accessibility otherwise restricted within loadbearing walls.21
MORTAR
SEPARATE/REMOVABILITY
RE-USABILITY (CONNECTED ELEMENT)
. Difficult to impossible to seperate adhered elements (depending on the type of adhesive used).
. Connected elements likely to be damaged beyond reusability by separation process
Mortar jointed walls can be can be demolished and rebuilt, and individual joints removed and openings made with lintels inserted.
Mortar can be removed by soaking, chipping and chiseling the mortar off. Reclaimed bricks are common building material.
screws
The use of screws, nails and joints throughout makes Ty Pren a far more DfAD compliant: these types of connections can be more easily removed without damaging elements, allowing for repairs and flexibility which therefore increase the building’s lifespan. However, in this model shearing layers are less ‘seperable’, which can pose problems in terms of replaceability.
TAPE
Designed to be a permanent sealant against water or wind. Not removable.
The tape can be cut open to reuse the connection elements, membranes etc. Often not re-useable.
RE-USABILITY (CONNECTOR)
ACCESSIBILITY
. Not easily recycled or re-used
Adhered connections are more difficult to inspect for damage (i.e. need for repair) than other types
The mortar its self is not suitable for reuse. It can be recycled in to a raw material for cement clinker.
Access to repair /repoint mortar connections from external skin layer.
Not suitable for reuse. Tape element becomes wasted after use. Non recyclable and non biodegradable.
Often used in inaccessible locations such as over moisture membranes in roof and walls.
LONGEVITY
SCREW
Can last a long time, however dependant on environmentl factors such as changes in temperature, humidity etc.
Mortar Joint connections have a life span of typically 45 years. Depending on exposure to weather, can last hundreds of years.
BOLT
NAIL
Brands such as SIGA Tape guarantee 20+ years lifespan whilst in use and no recorded shelf life.
nails
Warrman, “Ty Pren” Feilden Fowles, “Ty Pren Residential Architecture. Brecon Beacons, Powys, Wales”, Accessed Jan 2020. https://www.feildenfowles.co.uk/ty-pren/ 20 Archdaily, “Ty Pren” 21 Feilden Fowles, “Ty Pren”
RE-USABILITY (CONNECTOR)
ACCESSIBILITY
LONGEVITY
Screws are easily and cleanly removeable with wither hand or power tools.
Screw holes can be reused a number of times with longer screws or repairing stripped screw holes.
Depending on the grade and previous application, screws can be used many times over .
Due to the requirement of driver tools, human accessibility to connection points is important.
Lifespan is dependant on screw type, application, grade, finish, installation method, etc.
. Nuts and Bolts are easily and cleanly removeable with power tools.
Reuse of connection is common. Holes left can either be reused or trimmed down for reuse . Typically less damage than screws
Reuse of element depends on bolt type, application, grade, finish, installation method, etc.
Nails are common and clean to remove but not as easily as screws.
Holes left can either be reused or material trimmed down for reuse.
Provided no adhesives have been used, joints can be dismantled easily with minimal waste.
Nails are easily misshapen during application or removal and often single use & recycled.
Dependant on the type of joint. Joinery is often suitable for dismantling, repairing and replacing.
N/A
15
Despite the more widespread adoption of sustainable building practices in contemporary housing development (for example, following. the Passivhaus model), which is undeniably a positive step in addressing the climate emergency, these models often do not lend themselves to deconstructability and adaptability. This is due mainly to the use of adhesives and sealants in connections which, while providing the airtightness needed to reach Passivhaus etc standards, are difficult to remove without damaging the affected elements, rendering them unable to be reused following deconstruction or unable to be replaced in the event of necessary repair work.
Due to the requirement of hand tools, human accessibility to connection points is important.
Dependant on location of joint and whether adhesives have been used.
“Barretts Grove / GROUPWORK.” 2016. Archdaily. https://www.archdaily. com/796311/barretts-grove-groupwork Bizley, Graham. 2019. Architecture In Detail II. Ebook. https://issuu.com/ sebastiannunez09/docs/architecture_in_detail_ii. Brand, Stewart. 1994. How buildings learn. New York, NY: Viking.
It is therefore necessary to reflect upon how we might achieve these current standards of sustainability whilst also complying with DfAD practice: for example, the use of mechanical connections (screws, bolts and nails) rather than bonded connections (tapes, glues and sealants) in acheiving airtightness. In doing so we will be able to adopt a more hollistic, long-term approach to sustainable house-building in the UK, one which places deserved and necessary importance on the longevity and adaptability of the build over its lifespan.
Due to the requirement of tightening Lifespan is dependant on bolt type, tools, human accessibility to application, grade, finish, installation connection points is important. method, etc.
Corran, Michael. 2012. “Can Passivhaus Standards Be Met In The UK Using Traditional Cavity Wall Construction?”. BSc (Hons), Leeds Metropolitan University. “Denby Dale Passivhaus: Derrie O’sullivan”. 2019. Green Spec http://www. greenspec.co.uk/building-design/denby-dale-passivhaus/. “Denby Dale Passivhaus: The UK’s First Cavity Wall Passivhaus”. 2019. Green Building Store. https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhausuk-first-cavity-wall-passive-house/.
Lifespan is dependant on nail type, application, grade, finish, installation method, etc.
Krzykowski, Matylda. 2008. “Clay Fields By Riches Hawley Mikhail”. Dezeen, 2008. https://www.dezeen.com/2008/11/18/clay-fields-by-riches-hawleymikhail/.
The longevity of joinery is reliant on keeping water out and the structural integrity and craftemanship of the joint.
Mairs, Jessica. 2016. “Slender apartment block by Amin Taha Architects features a timber structure and wicker balconies.” Dezeen, 2016. https:// www.dezeen.com/2016/09/27/barretts-grove-wicker-balconies-cross-laminated-timber-housing-amin-taha-architects/ Mansour, Steve. 2017. “How Long Should New Build Homes Last?”. Building Construction Design. https://www.buildingconstructiondesign.co.uk/
16
Fig.18
“Barrett’s Grove”. Wood For Good. Accessed January 3. https://woodfor
RE-USABILITY (CONNECTED ELEMENT)
By examining the types of connections used in the housing case studies, an appraisal of the advantages and disadvantages of each type can be compiled, taking into account a number of factors and considering how successfully each one adheres to the principles of DfAD. JOINTING
18 19
SEPARATE/REMOVABILITY
Fig. 1
Author’s own ( Abstracted from “ How Building Lean”by Stewart Brand)
Fig. 15
news/how-long-should-new-build-homes-last/.
Fig. 2
‘The denby house ‘, https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhaus-ukfirst-cavity-wall-passive-house/
David Grandorge, Fielden Fielden Fowles, https://www.archdaily.com/255206/ty-pren-feilden-fowles?ad _source=search&ad_medium=search_result_projects
Mark, Laura. 2016. “What Amin Taha Specified On Barrett’S Grove”. Architect’s Journal, 2016. https://www.architectsjournal.co.uk/buildings/whatamin-taha-specified-on-barretts-grove/10012096.article?fbclid=IwAR2DqhovOoXtBOF7mjpkUjiuaIJ3mL7zffSxZd1h1JKvwfGamA5RkkfXD7o.
Fig. 16
Fig. 3
‘The denby house ‘, https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhaus-ukfirst-cavity-wall-passive-house/
David Grandorge, Fielden Fielden Fowles, https://www.archdaily.com/255206/ty-pren-feilden-fowles?ad _source=search&ad_medium=search_result_projects
Fig. 17
Fielden Fielden Fowles, https://www.feildenfowles.co.uk/ty-pren/
Fig. 4
‘The denby house ‘, https://www.greenbuildingstore.co.uk/technical-resource/denby-dale-passivhaus-ukfirst-cavity-wall-passive-house/
Fig. 18
David Grandorge, Fielden Fielden Fowles, https://www.archdaily.com/255206/ty-pren-feilden-fowles?ad _source=search&ad_medium=search_result_projects
Fig. 5
Author’s own (see citation for information source)
Fig. 6
Nick, Kane, Mickhail Riches Architects ,http://www.mikhailriches.com/project/clay-fields/#slide-13
Fig. 7
Nick Kane, Mickhail Riches Architects, http://www.mikhailriches.com/project/clay-fields/#slide-10
Shelter. 2018. “Homelessness In Great Britain - The Numbers Behind The Story”. https://england.shelter.org.uk/__data/assets/pdf_file/0020/1620236/ Homelessness_in_Great_Britain_-_the_numbers_behind_the_story_V2.pdf. Taha, Amin. 2020. “Barrett’s Grove | Architecture Today”. Architecture Today. Accessed January 3. http://www.architecturetoday.co.uk/barretts-grove/.
Fig. 8
Nick Kane, Mickhail Riches Architects, http://www.mikhailriches.com/project/clay-fields/#slide-08
Fig. 9
Graham Bizley, Page 167 Architecture in Deatail II
Fig. 10
MarrgauxCarron, Wiki House, https://www.wikihouse.cc/Project
Fig. 11
MarrgauxCarron, Wiki House, https://www.wikihouse.cc/Project
“Ty Pren / Feilden Fowles”. 2012. Archdaily. https://www.archdaily. com/255206/ty-pren-feilden-fowles.
Fig. 12
MarrgauxCarron, Wiki House, https://www.wikihouse.cc/Project
Fig. 13
Wiki House, https://www.wikihouse.cc/Project
Fig. 14
ZedFactory, https://www.zedfactory.com/bedzed
Mouilek, Sabrina. 2009. “Design For Adaptability And Deconstruction (Dfad)”. Ecole Speciale des Travaux Publics. Porreco, Anthony. 2016. “Rules For Reusing Bolts - Portland Bolt”. Portland Bolt. https://www.portlandbolt.com/technical/faqs/rules-for-reusing-bolts/. “SIP Connection Details.” 2020. Sips.org. https://www.sips.org/technical-information/sips-construction-details
“Ty Pren Residential Architecture. Brecon Beacons, Powys, Wales”. 2020. Feilden Fowles. Accessed January 3. https://www.feildenfowles.co.uk/typren/. Warmann, Catherine. 2011. “Ty Pren By Feilden Fowles”. Dezeen, , 2011. https://www.dezeen.com/2011/02/14/ty-pren-by-feilden-fowles/.
18
17
REPORT
images
bibliography “Barrett’s Grove”. Wood For Good. Accessed January 3. https://woodforgood.com/case-studies/barretts-grove.
04 connection appraisal
sealant, nails
STUDIO H
05 conclusion
04 connection appraisal
By examining the types of connections used in the housing case studies, an appraisal of the advantages and disadvantages of each type can be compiled, taking into account a number of factors and considering how successfully each one adheres to the principles of DfAD.
Structure: Structurally insulated panels slot together as a tongue and groove spline joint
AMPL
STUDIO A
S C AT
20
19
-good.com/case-studies/barretts-grove
Bizley, Graham. 2019. Architecture In Detail II. Ebook. https://issuu.com/ sebastiannunez09/docs/architecture_in_detail_ii
Brand, Stewart. 1994. How buildings learn. New York, NY: Viking
ADHESIVE
Corran, Michael. 2012. “Can Passivhaus Standards Be Met In The UK Using
MORTAR
Traditional Cavity Wall Construction?”. BSc (Hons), Leeds Metropolitan
“Denby Dale Passivhaus: The UK’s First Cavity Wall Passivhaus”. 2019. Green Store.
TAPE
https://www.greenbuildingstore.co.uk/technical-resource/
denby-dale-passivhaus- uk-first-cavity-wall-passive-house/
Krzykowski, Matylda. 2008. “Clay Fields By Riches Hawley Mikhail”. Dezeen, 2 0 0 8 . h t t p s : / / w w w. d e z e e n . c o m / 2 0 0 8 / 1 1 / 1 8 / c l a y - f i e l d s - b y - r i c h e s -
SCREW
hawleymikhail/.
Mark, Laura. 2016. “What Amin Taha Specified On Barrett’S Grove”. Architect’s Journal,
2016.
RE-USABILITY (CONNECTED ELEMENT)
RE-USABILITY (CONNECTOR)
ACCESSIBILITY
. Difficult to impossible to seperate adhered elements (depending on the type of adhesive used).
. Connected elements likely to be damaged beyond reusability by separation process
. Not easily recycled or re-used
Adhered connections are more difficult to inspect for damage (i.e. need for repair) than other types
Mortar jointed walls can be can be demolished and rebuilt, and individual joints removed and openings made with lintels inserted.
Mortar can be removed by soaking, chipping and chiseling the mortar off. Reclaimed bricks are common building material.
The mortar its self is not suitable for reuse. It can be recycled in to a raw material for cement clinker.
Access to repair /repoint mortar connections from external skin layer.
Mortar Joint connections have a life span of typically 45 years. Depending on exposure to weather, can last hundreds of years.
Designed to be a permanent sealant against water or wind. Not removable.
The tape can be cut open to reuse the connection elements, membranes etc. Often not re-useable.
Not suitable for reuse. Tape element becomes wasted after use. Non recyclable and non biodegradable.
Often used in inaccessible locations such as over moisture membranes in roof and walls.
Brands such as SIGA Tape guarantee 20+ years lifespan whilst in use and no recorded shelf life.
SEPARATE/REMOVABILITY
RE-USABILITY (CONNECTED ELEMENT)
RE-USABILITY (CONNECTOR)
ACCESSIBILITY
LONGEVITY
Screws are easily and cleanly removeable with wither hand or power tools.
Screw holes can be reused a number of times with longer screws or repairing stripped screw holes.
Depending on the grade and previous application, screws can be used many times over .
Due to the requirement of driver tools, human accessibility to connection points is important.
. Nuts and Bolts are easily and cleanly removeable with power tools.
Reuse of connection is common. Holes left can either be reused or trimmed down for reuse . Typically less damage than screws
Reuse of element depends on bolt type, application, grade, finish, installation method, etc.
Nails are common and clean to remove but not as easily as screws.
Holes left can either be reused or material trimmed down for reuse.
Provided no adhesives have been used, joints can be dismantled easily with minimal waste.
Dependant on the type of joint. Joinery is often suitable for dismantling, repairing and replacing.
04 connection appraisal
University
Building
SEPARATE/REMOVABILITY
BOLT
https://www.architectsjournal.co.uk/buildings/whatamin-
taha-specified-on-barretts-grove/10012096.article?fbclid=IwAR2D
NAIL
LONGEVITY Can last a long time, however dependant on environmentl factors such as changes in temperature, humidity etc.
16 Lifespan is dependant on screw type, application, grade, finish, installation method, etc.
Due to the requirement of tightening Lifespan is dependant on bolt type, tools, human accessibility to application, grade, finish, installation connection points is important. method, etc.
Nails are easily misshapen during application or removal and often single use & recycled.
Due to the requirement of hand tools, human accessibility to connection points is important.
Lifespan is dependant on nail type, application, grade, finish, installation method, etc.
N/A
Dependant on location of joint and whether adhesives have been used.
The longevity of joinery is reliant on keeping water out and the structural integrity and craftemanship of the joint.
“SIP Connection Details.” 2020. Sips.org. https://www.sips.org/technicalinformation/sips-construction-detailsqhovOoXtBOF7mjpkUjiuaIJ3mL7zffSxZ d1h1JKvwfGamA5RkkfXD7o
JOINTING
17
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Design Studio D COURSE SUMMERY A direct continuation on from Studio C, this course continues within the principles of Ecosophic Urbanism, developed from a selection of Key Philosophical positions that drive theorisation on how architecture is situated in socio-political, environmental contexts. This course is integrated across four studio modules across both years of study—a research-by-design study of the
PARA-Situation: {Ahmedabad}; Past, Present, and Possible.
city of Ahmedabad, in Gujarat, India. Studio C takes place during and following the field trip to Ahmedabad; the focus is on developing themes of inquiry and forming a written programmatic brief to be developed in the following and final year of the Master of Architecture Program.
CRITICAL REFLECTION Subheading qui nosam venihit, consequis et aliquatis ut volut pre seque excepudant verupta tumqui volum quatem quia volu ommoloria corrum as enimilibus et que nullut es aut at. Oluptat iberatur? Natiusam a con ea volum quatem quia volum eos ipicabo. Et et, soluptatem quam quasi sin prationsed que veriam ipit que veniasimin voluptatus iur aut aut eum quament, vel ipsandus simus dit ex es velluptaspel etur modi ut que sequibe rumendanto modipsae vidempores quia voluptatur reptae. Ibus eic tem cullabo ressinv entur, quamusa dem dest voluptiunt experia dolo ut eius rerrovitis unt. Cil ma voluptatio.
LE ARNING OUTCOMES LO1 | The ability to develop and act on a productive
LO3 | The ability to investigate, appraise and
conceptual framework both individually and in
develop clear statergies
teams for an architectural project or proposition,
environmentsl decisions in a architectural project.
for technological and
based on a critical analysis of relevant issues. LO4 | A critical understanding of, and the LO2 | The ability to develop an architectural, spatial
development of skills in using, differing forms of
and material language that is carefully considered
representation (eg. verbal, drawing, modelling,
at an experiential level and that is in clear dialogue
photography,
with conceptual and contextual concerns.
techniques), especially in relation to individual and group work
film,
computer
andorkshop
{Dance} Floors and {Aqua} Fissures.
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
STUDIO C
ASSIGNMENT1: FIELD WORK
Measured Intensities KHARPUR GATE
SURVEY SITE: BETWEEN RAM AND KHANPUR G AT E I N C O R P O R AT I N G B H A D A R G AT E
BRIEF During the visit to Ahmedabad, we undertook a photographic and measured survey of the remaining Old Walls of Ahmedabad. Each group taking the stretch of wall between two gates. The brief was to survey everything in and around the walls as far as can be determined and achieved. These compiled in a survey book, which mapped the entire remaining wall as a collaborative effort of the MArch and Msc course. Where the was is encrusted or hidden on demolished, we recorded the absence of the wall. The drawing sets are comprised of measured and scale drawings, recording plans, elevation and sections to describe the location and condition of the wall and its environs.
RAM GATE
Khanpur Gate to Ram Gate Plan, 1:2500 Desmond Su
WALL SEGMENT IN PL AN 1: 12500 DESMOND SU SURVEY GROUP: DESMOND SU JULIA BROOKFIELD IONA HOGGARTH
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
KHARPUR GATE
Khanpur Gate Plan, 1:500 Desmond Su
K H A N P U R G AT E P L A N 1 : 5 0 0
AMPL
STUDIO A
S C AT
DS
STUDIO H
T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
STUDIO D
AT R
I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
STUDIO C
REPORT
K H A N P U R G AT E E L E VAT I O N 1 : 1 0 0
DS
Khanpur Gate Elevation C, 1:100 Desmond Su
K H A N P U R G AT E E L E VAT I O N 1 : 1 0 0
K H A N P U R G AT E E L E VAT I O N 1 : 1 0 0 D E S M O N D S U , J U L I A B R O O K F I E L D
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1
11.1
1Khanpur 0 . 2 Gate 1 1Elevation . 2 A, 1:100 Desmond Su and Julia Brookfield 10.3 11.3
A R B G R A D U AT E AT T R I B U T E S
DS
Khanpur Gate Elevation B, 1:100 Desmond Su
2.1
2.2
2.3
2.4
2.6
2.6
2.7
WA L L E L E VAT I O N 1
1: 500
JB
[1] Khanpur Gate to Ram Gate Wall Elevation, 1:500 Julia Brookfield
[3] Khanpur Gate to Ram Gate Wall Elevation, 1:500 Julia Brookfield
WA L L E L E VAT I O N 3
MArch MArch
1 2
SEMESTER SEMESTER
1 2
1: 500
CONTRIBUTORS
JB
IH
DS
CM
JB
JP
ARB CRITERIA
AMPL
STUDIO A
S C AT
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
WA L L E L E VAT I O N 1
1: 500
WA L L E L E VAT I O N 4
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
1: 500
STUDIO H
REPORT
JB
[2] Khanpur Gate to Ram Gate Wall Elevation, 1:500 Julia Brookfield
[4] Khanpur Gate to Ram Gate Wall Elevation, 1:500 Julia Brookfield
JB
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
| EJ E UN LIA LT D E | ADNE D S MROANMD GSAUT E | BI N EC TW EP EO N RKAHT A P UBRH A GD AA TE I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E ISOMNOA N H D OSGUG A | RB TEHT W K HBARNOPOUKRF IGE A OR I NN G R A GN AD T ER A M G A T E I N C O R P O R A T I N G B H A D A R G A T E
STUDIO D
AT R
UE L INA KBHRAONOPKUFRI E G LA D T |E DAE NS D M OR NA DM SGUA T | EB EI N TC WO ER EP N OKRHAAT N U RB H G AA D TA E RA N I O N A H O G G A R T H | J U L I A B R O O K F I E L D | DI EOSNMAO H NO D GSGUA R | TBHE T| WJ E I NP G GD A TREA M G A T E I N C O R P O R A T I N G B H A D A R G A T E
STUDIO C
PRODUCED BY AN AUTODESK STUDENT VERSION
Bhadar Gate Elevation, 1:100 Iona Hoggarth
B H A D A R G AT E S E C T I O N 1 : 5 0 D S
REPORT
I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
IH
STUDIO H
I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
B H A D A R G AT E E L E VAT I O N 1 : 5 0
AMPL
STUDIO A
S C AT
I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
STUDIO D
AT R
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
STUDIO C
RAM GATE
Ram Gate Plan, 1:500 Desmond Su
B H A D A R G AT E A N D S E T T L E M E N T P L A N 1 : 2 0 0 D S
Bhadar Gate Section A, 1:100 Desmond Su
PRODUCED BY AN AUTODESK STUDENT VERSION B H A D A R G AT E A N D S E T T L E M E N T S E C T I O N A L E L E VAT I O N
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
1: 200 IH
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO D
AT R
AMPL
STUDIO A
S C AT
I O N A H O G G A R T H | J U L I A B R O O K F I E L D | D E S M O N D S U | B E T W E E N K H A N P U R G AT E A N D R A M G AT E I N C O R P O R AT I N G B H A D A R G AT E
STUDIO C
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
MArch MArch
1 2
SEMESTER SEMESTER
1 2
E L E VAT I O N
CONTRIBUTORS
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
J A I N T E M P L E N E A R R A M G AT E
1: 100 IH
J A I N T E M P L E N E A R R A M G AT E
IH
DS
CM
JB
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Jain Temple Elevation, near Ram Gate, 1:100 Iona Hoggarth
REPORT
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
STUDIO H
JP
ARB CRITERIA
1.1 1.2 1.3
SECTION
2.1 2.2 2.3
3.1 3.2 3.3
1: 100 IH
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
J A I N T E M P L E N E A R R A M G AT E P L A N
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
1: 100 IH
2.1
2.2
2.3
2.4
2.6
2.6
2.7
ASSIGNMENT 2: THESIS & BRIEF
DEVELOPMENT
{Dance}Floors & {Aqua} Fissures KALAKRUTI - THE WOMENS REFUGE ASSIGNMENT BRIEF: The design project of studio D is a continuation of the thesis exploration set up within the two situations of studio C. With the recent experience of the field trip, Studio D aims to develop the Architectura Project brief, expanding and enriching the conceptual framework conceived in Studio C, to urban speculatio; both at the metropolitan scale, and through a series of Enzymatic territories.
DESIGN PROJECT BRIEF: REFUGE: A shelter for women from domestic abuse. A sheltered accomodation for those in need that will provide the councilling, oportunities, legal and financial assistance or urgent medical a attention required . PRODUCTION: The production of fine quality fabric products to be sold at the Ravivari Market and further a field The schemes profit will in part be reinvested in the project itself; funding the purchase of raw materials for production, the running of the kitchens and accomodations and the wages of the staff. A percentage will be given back to the individuals of the refuge who are producing the fabrics. SKILLS: The exchange of local traditional skills – Spinning, Dyeing, Block Printing, appliqué embroidery etc. The teaching of crafts that will enable an economic independance when leaving the refuge and keep alive traditions under threat of being lost from the city. EDUCATION: Provide access to key skills & literacy education. Provition of opportunity to learn key communication skills such as IT Literacy and basic writing and mathmatics are essential to independance both financially and socially.
T H E D A PA R N A S C H O O L O F D A N C E ; A H M E D A B A D 2 0 2 0
=
THE REFUGE OF THE RAVIVARI : PROJECT BRIEF KALAKRUTI NI POL
The state government run Nari Sanrakshan Gruh- Ahmedabad’s women’s refuge, houses on average 45 women at a time, between 17 – 45 in age all seeking shelter from desperate or violent domestic situations. With hundreds of AutoRickshaws’ emblazoned with slogans of solidarity in the support of the movement in action against the violence against women – Ahmedabad is considered a front runner in providing a safe city for women in India, and yet the ‘prison’ like refuge does not meet the government own standards of safety, cleanliness or counselling or support. It is a widely established issue that unless financial and legal aid, basic literacy education and trade skills are provided for many ‘ Inmates’ there is not a viable prospect of independence, who then have no options than to return from the situations from which they fled. The Kalakruti ni pol scheme proposes a response to these need and issues with the unification of a number of currently active organisations in Ahmedabad within one scheme, claiming a prominent position on the new Sabarmati east bank and drawing from the commercial and social strengths of site. An alternative agency rooted in the individual and collective self-reliance ingrained within the spatial qualities of Pol typology of the old City.
THE CLIENT & STAKEHOLDERS The Pol structure allows a framework of communicating houses that function as one unit. The lead client for the project is the AWG, with a shared level of investment and occupation from the following stakeholder charity and organisations. AWAG: AHMEDABAD WOMENS ACTIONS GROUP Founded in 1981 the organisation aims to support women of Ahmedabad through the provision of education for economic betterment. AWAG adopts a holistic approach to women’s empowerment to addresses the issue of domestic violence. SEWA: SELF EMPLOYED WOMENS ASSOCIATION SEWA’s organise self-employed women small business workers for full employment & self-reliance economically and in terms of their decision-making ability by creating sustainable livelihood strategies for income security, food security and social security. (at least health care, child care and shelter). SEWA KALAKRUTI: The commercial arm of SEWA represents 15000 women artisans and 106 women’s co-operatives in the textiles and handicrafts sector. Promoted by Gujarat State Women’s Sewa Kalakruti is a marketing outlet for the products generated by women artisans organised under outreach co-operatives. The goal is to let the women workers obtain collective strength and ownership of their trades or principal activity and get directly linked with consumers without interference from exploitative middle agencies. REACH TO TEACH: A charity based across Ahmedabad and London works with local community groups in Ahmedabad to improve literacy and numeracy skills.
S I T UAT I O N B : T H E R AV I VA R I B A Z A A R ; S A B A R M AT I E A S T B A N K
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
THE DANCEFLOOR
At the Darpana Academy of Performing Arts on the West bank of the Sabarmati ,we find a central assembly hall a dance floor, holding up to three classes simultaneously and alongside each other. The pristine surface holds a privileged status within the space, one must remove their shoes before stepping onto the swept and polished dark green, striped surface. The cold surface against the bare foot in the heat of mid day sun prepares one for their dance class. The jarring action of unprotected soft heels of the dancers against the unforgiving hard marble is felt much as observed by the captivated audience. Fragments the green and white striations of the same surface occur unexpectedly within markets and temple floors across the old city. The bounding white lines on the ground demarcating thresholds; between the dancers, the dancers and their teacher. The hierarchy of space and intense relashionship between person and place , gesture and ground are drawn together by a condition of surf This drawing “sets up” the plane table to discuss urban agencies of Ahmedabad through the intersection of two phenomenological events in the city, the dance floor and the Aquafissure. In doing so, we bring the conversation between gesture and environment to ecosophic conversation
T H E M E T R O P O L I TA N D A N C E F LO O R
Re imagining the city as a dance floor; 1:25000 Urban speculation drawing; plotting event territories through notations systems of gesture, programmatic activity
EXHIBITION: FEB 2020 NOT SHOWN- PROJECTION OF DANCERS ON TO P L A N E TA B L E
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
T H E D A R PA N A S C H O O L O F D A N C E ; A H M E D A B A D HTTPS://ARCHITEXTUREZ.NET/DOC/AZ-CF-192486
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
AHMEDABAD; THE CITY AS A DANCE FLOOR
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
THE GROYNE: CONCEPT MODEL
The groyne model conceptualises the inlaid quality of green marble stripes of the dance floor as the bounding containment of the aqua fissure motif. Creating a plotable framework for urban grain to sit within a design development. The idea allowes an re imagination of the fissure to be cracks in the dance floors marble. The idea is developed in concept models which play with ideas of pressure, containment. the fissure lines this time provided by the Ravivari bazaar notations within the phenomological 1:250,000 drawing.
CARVING INTO THE DANCEFLOOR
THE GROYNE: CONCEPT MODEL
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
F I S S U R E S & FA B R I C AT I N G
This
drawing
carries
the
intersection
between
ecosophic
enunciations, of environmental aspiration, spacial and gestural. The drawing stitches the bounding
groyne model spine of the
aquafissures into the Bank site in the Ravivari, within which the invisible waters motif is patterned as an inked Bagru block would print on cotton cloth. Tracing over the top is the gestural notation of the event territories plotted on the plane table
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
THE CONTEMPORARY POL; PLOTTING ECOSOPHIC TERRITORY
An Overlaying of the invisible waters motif, the gestural notation of the metropolitan plane table event territories and the Dance floor Groyne striations of the ground allows a tentative revision of a figure ground plan to be traced instilled with spatial, gestural and conceptual sensitivities. Elements explicit or implied configure to enclose a positive space with a degree of chaos, unpredictability or asymmetry, inherent within the pols but absent from traditional western master planning sensibilities. The method allows the forms to shape space rather than sit freestanding in space.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
Print House
TRANSPOSING ECOSOPHIC TERRITORIES
Dye House
lower courtyard
Weaving House
Courtyard
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3 We
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
GROUND FLOOR 1:200 at A2
FIRST FLOOR
SECOND FLOOR
1.RECEPTION & SECURITY
1.AGENCY ADMINISTRATION
1. FAMILY AND GARDEN ROOM
2.WEAVING HOUSE
2. TEACHING ROOMS
2. FAMILY ACCOMMODATION
3. DYE HOUSE
3. TEACHING ROOMS
3. COMMUNAL GATHERING SPACE
4. DYE COURTYARD
4. KITCHEN & GATHERING SPACE
4. RIVER VIEW ROOF GARDEN
5. PRINT HOUSE
5. COUNSELLING OFFICE
5. DORMITORY ACCOMMODATION
6. RIVER VIEW COURTYARD
6. LEGAL OFFICE
6. WARDEN ACCOMMODATION
7. LOADING BAY COURTYARD
7. COMMERCIAL OFFICE
7. STAFF ACCOMODATION
8. UPPER FLOOR COURTYARD
PROPOSED PLANS 1 : 2 0 0 AT A 1
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
S E C T I O N A L E L E VAT I O N : 1 : 2 0 0
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
=
Studies in Contemporary Architectural Theory WRITINGS ON THE CITY Studies in contemporary architectural theory examine the interaction between design and the cultural, intellectual, political, social and economic contexts in which it emerges. The seminar group ‘Writing(s) on the City’ explores the City as an architectural space, a site of material, social and spatial actions rather than a territory of managerial, programmatic practices . The course debated a range of; interviews, essays, articles and fictions. The authors vary from practising architects and theorists, such as Rem Koolhaas, Andrea Branzi and Peter Eisenman, and philosophers who engage with the City as a site of particular socio-spatial or material practices Italo Calvino, Georges Perec and Bruno Latour. These writings prompting conversations on how we might conceive, theorise and write about the (architecture of the) City today, focusing on the relation between text and image, the structure and design of the document, and reflect upon and explore (through writing) various voices.
CRITICAL REFLECTION My steepest learning curve in this module has been learning to successfully articulate and debate my understanding or opinion of the critical texts in a seminar setting and confidence in my own interpretations of contemporary theoretical texts to situate them in a wider architectural context of research topic. I have explored the dialectical relationship between image and text, within my written essay, and in the formatting of weekly journals into a collective A5 bound set of making up an ‘Anthology of City’, each explores a different city through a different reading or readings
LE ARNING OUTCOMES LO1 | A capacity to research a given theme,
different textual, visual and other media,
comprehend the key texts that constitute the
and to explore their consequences for architecture
significant positions and debates within it, and
LO3 | An ability to coherently and creatively
contextualise it within a wider historical,
communicate the research, comprehension and
cultural,
social,
urban,
intellectual
and/or
contextualisation of a given theoretical theme in
theoretical frame
relation to architecture using textual and
LO2 | An understanding of the way theoretical ideas
visual media.
and theories, practices and technologies of architecture and the arts are mobilized through
BEHIND: PIRANESI’S CAMPO MARZIO
STUDIO C
STUDIO D
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A S S I G N M E N T 1 : W E E K LY J O U R N A L S
VENICE : THE LOVE LE T TER TO THE CIT Y; C A LV I N O T H E S TO RY T E L L E R
AN ANTHOLOGY OF CITIES :
AN ARCHITECTURE OF NARRATIVE
VOLUME 1: VENICE
The love letter to the city; Calvino the Storyteller
Architecture of Narrative
Calvino curates a building momentum in Invisible Cities1 that is not to be confused with a chronology. The contents sequence nine rounds of thematically categorised cities, this structuring sets up a winding rhythm, each consistent action of the arrival within every account, compounding to create a notion of movement. Interrupting conversations, absent from the contents, frame a coherence within the vivid yet haphazard recollections and ruminations of ideas that are otherwise carefully nonlinear—the effect profoundly evocative of memory. The composed “double helix” structure of fifty-five passages of prose interwoven with commentary in eleven exchanges between Venetian explorer Marco Polo and Chinese emperor Kublai Khan 2 is a direct transposition of the city of Venice, as a collection of parallel urbanities, onto the page .
William Gass, Tests of time (Extended Journal) VOLUME 2: PARIS
“When I began writing Invisible Cities, I had only a vague idea of what the frame, the architecture of the book would be. But then, little by little, the design became so important that it carried the entire book; it became the plot of a book that had no plot.” 3
Georges Perec, An Attempt at exhasting a place in paris Depaule,Getzler, Barret, A City in Words and Numbers VOLUME 3: NEW YORK Rem Koolhaas, S,M,L,XL
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Rem Koolhaas, Frontier in the Sky
STUDENT VERSION
Polo’s concluding revelation that the captivating cities of his tales all hold something of his hometown, establishes Venice as a seeding model for infinite future possibilities of urbanism, an idea Calvino explores more explicitly in ‘Venice, Archetype and utopia of the Aquatic City’4 in 1974. Calvino roots this enduring utopian feasibility in Venice’s organic matrix of flooded paths which make up the water infrastructure; an open system’ allowing countless reconfiguration of space. There is a unique duality of threshold to Venice’s inhabitation; the communicating networks of the pedestrian door leading to the town square or street outside, and the Porta d’acqua, the principle canal door providing the aquatic connection from each home to local waterways, to the sea, and eventually to the oceans. The weaving hierarchy of these two lateral planes of movement in Calvino’s eyes produces a superior spatial diversity; an exponentially higher number of potential deviations within its circulation than any other modern city curbed by their singular monopolising road network of automobile vehicles and footfall.5 Two strands of different literary discourse; one a collection of immersive descriptions of place, the other a dialogue between Polo and the Khan are stitched together, quite literally, along the spine of the book to make up the novel of part imagination part reflection. This oscillating, anti-parallel structure reflects the concept of Venice’s simultaneously branching pathways from each dwelling. The local connections of bridges, alleyways and railways represented by the close scenes between the two characters. The more primordial global context of the water labyrinth drawn by the dreamlike passages of the distant subjects in polo’s recount.
Rem Koolhaas, Downtown Athletics Club PRODUCED BY AN AUTODESK STUDENT VERSION
The canals of Venice act as organic green belts, forming semiautonomous urban pockets on a human scale.4 The localised distribution of industry and wealth into small zones cultures a sharp sense of community identity in each.
STUDENT VERSION
Andreas Huyssen, The Voids of Berlin Oswaild Mathias Ungers, The City in the City environment. Calvino’s Invisible cities are all Venice, each city passage representing one pocket of the urban set up by the aquatic circulation his hometown. Polo’s explanation of the analogy is the final pairing point of contact in the helical structure of the novel.
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STUDENT VERSION
1. Calvino, Italo. 2013. Invisible Cities. [Place of publication not identified]: Houghton Mifflin Harcourt.
2. Fucigna, Nicola. 2020. “Lessons For Architects In Italo Calvinos Invisible Cities”. Construction. . http://constructionlitmag.com/architecture/lessons-for-architects-in-italo-calvinos-invisible-cities/.
Piere Vittorio Aureli , The possibiliy of an absolute architecture Gijs Wallis deVries , Archescapes
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3. Weaver, William, and Damien Pettigrew. 1992. “Italo Calvino: The Art Of Fiction”. The Paris Review, , 1992. https://www.theparisreview.org/interviews/2027/the-art-of-fiction-no-130-italo-calvino.
4. Calvino, Italo. 1983. “Italo Calvino On Invisible Cities”. Columbia: A Journal Of Literature And Art
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No. 8 ( Spring/ Summer 1983). https://www.jstor.org/stable/41806854?seq=4#metadata_info_tab_ contents.
5. Scappettone., Jennifer. 2014. Killing The Moonlight: Modernism In Venice. New York: Columbia University Press.
6. Calvino, Italo. 1983. “Italo Calvino On Invisible Cities”. Columbia: A Journal Of Literature And Art
8. Calvino. 1983. “Italo Calvino On Invisible Cities”. Columbia: A Journal Of Literature And Art
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7. Calvino. 1983. “Italo Calvino On Invisible Cities”. Columbia: A Journal Of Literature And Art
STUDENT VERSION
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4
REPORT
Calvino curates a building momentum in Invisible Cities1 that is not to
primordial global context of the water labyrinth drawn by the dreamlike
be confused with a chronology. The contents sequence nine rounds of
passages of the distant subjects in polo’s recount.
thematically categorised cities, this structuring sets up a winding rhythm,
The canals of Venice act as organic green belts, forming semiautonomous
each consistent action of the arrival within every account, compounding to
urban pockets on a human scale.4 The localised distribution of industry and
create a notion of movement. Interrupting conversations, absent from the
wealth into small zones cultures a sharp sense of community identity in each.
contents, frame a coherence within the vivid yet haphazard recollections
These miniature cities held within their water web read as the individual
and ruminations of ideas that are otherwise carefully nonlinear—the effect
cities in the story spun by Calvino. The opportunity for a diverse range of
profoundly evocative of memory. The composed “double helix” structure of
moments carried in Venice’s cityscape topography is applied through the
fifty-five passages of prose interwoven with commentary in eleven exchanges
organisation of the novel, presenting a chance for the reader to dip into either
between Venetian explorer Marco Polo and Chinese emperor Kublai Khan 2 is a
individual streams of writing or a cover to cover route echoing a meandering
direct transposition of the city of Venice, as a collection of parallel urbanities,
experience of Venice.
onto the page. “When I began writing Invisible Cities, I had only a vague
Calvino expresses the position that Venice’s utopian potential is rooted in
idea of what the frame, the architecture of the book would be. But then, little
its spatial diversity and heterogeneous circulation, which ‘staves off the
by little, the design became so important that it carried the entire book; it
ending inherent in linear temporality’ 4. This idea of the inherent limitation
became the plot of a book that had no plot.” 3
of a linear route reinforces Calvino’s resistance to a chronological order of
Polo’s concluding revelation that the captivating cities of his tales all hold
the invisible cities or the journey between them; which instead establishes
something of his hometown, establishes Venice as a seeding model for infinite
an inexhaustible permanent quality to the cities of Polo’s travels, and by
The city becomes the protagonist of the book, and the narrative sits alternatively as a framing device within the dialogues between the Khan and Polo, not the journey of merchant expeditions.6 Calvino’s characters are a tool for insight, consciousness being inherently personal; it creates an investment, which simple explanation or description alone do not. The reader projects themselves onto the role of the Khan guided through Marco Polo’s story. Marco Polo’s character portrays the invisible and emotional pull for people to their cities: senses of belonging and ownership, and personal relationship engrained within the place.
future possibilities of urbanism, an idea Calvino explores more explicitly in
extension, Venice. The city becomes the protagonist of the book, and the
‘Venice, Archetype and utopia of the Aquatic City’4 in 1974. Calvino roots
narrative sits alternatively as a framing device within the dialogues between
“The desire of my Marco Polo is to find the hidden reasons which bring men to live in cities: reasons which remain valid over and above any crisis.” 7
this enduring utopian feasibility in Venice’s organic matrix of flooded paths
the Khan and Polo, not the journey of merchant expeditions.6 Calvino’s
Invisible Cities is a nostalgic yet optimistic love poem to the city. 8 A kaleidoscope of parallel mini-cities each personified with a female name, representing invisible influences of memories, loss, desires, relationships, and other human traits This emotionally evocative language is demonstrating the city as an inseparable relationship between inhabitants and the navigable structures that make up the built
which make up the water infrastructure; an open system’ allowing countless
characters are a tool for insight, consciousness being inherently personal;
reconfiguration of space. There is a unique duality of threshold to Venice’s
it creates an investment, which simple explanation or description alone
inhabitation; the communicating networks of the pedestrian door leading to
do not. The reader projects themselves onto the role of the Khan guided
the town square or street outside, and the Porta d’acqua, the principle canal
through Marco Polo’s story. Marco Polo’s character portrays the invisible and
door providing the aquatic connection from each home to local waterways,
emotional pull for people to their cities: senses of belonging and ownership,
to the sea, and eventually to the oceans. The weaving hierarchy of these two
and personal relationship engrained within the place. “The desire of my
lateral planes of movement in Calvino’s eyes produces a superior spatial
Marco Polo is to find the hidden reasons which bring men to live in cities:
diversity; an exponentially higher number of potential deviations within its
reasons which remain valid over and above any crisis.” 7
circulation than any other modern city curbed by their singular monopolising
Invisible Cities is a nostalgic yet optimistic love poem to the city.
road network of automobile vehicles and footfall.5
kaleidoscope of parallel mini-cities each personified with a female name,
Two strands of different literary discourse; one a collection of immersive
representing invisible influences of memories, loss, desires, relationships,
descriptions of place, the other a dialogue between Polo and the Khan are
and other human traits This emotionally evocative language is demonstrating
stitched together, quite literally, along the spine of the book to make up
the city as an inseparable relationship between inhabitants and the navigable
the novel of part imagination part reflection. This oscillating, anti-parallel
structures that make up the built environment. Calvino’s Invisible cities are
structure reflects the concept of Venice’s simultaneously branching pathways
all Venice, each city passage representing one pocket of the urban set up by
from each dwelling. The local connections of bridges, alleyways and railways
the aquatic circulation his hometown. Polo’s explanation of the analogy is the
represented by the close scenes between the two characters. The more
final pairing point of contact in the helical structure of the novel.
8
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contents
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No. 8 ( Spring/ Summer 1983). https://www.jstor.org/stable/41806854?seq=4#metadata_info_tab_
PRODUCED BY AN AUTODESK STUDENT VERSION
STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Calvino expresses the position that Venice’s utopian potential is rooted in its spatial diversity and heterogeneous circulation, which ‘staves off the ending inherent in linear temporality’ (4). This idea of the inherent limitation of a linear route reinforces Calvino’s resistance to a chronological order of the invisible cities or the journey between them; which instead establishes an inexhaustible permanent quality to the cities of Polo’s travels, and by extension, Venice.
STUDENT VERSION
PRODUCED BY AN AUTODESK
End Notes
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Daniel Libeskind, City Edge Competition
These miniature cities held within their water web read as the individual cities in the story spun by Calvino. The opportunity for a diverse range of moments carried in Venice’s cityscape topography is applied through the organisation of the novel, presenting a chance for the reader to dip into either individual streams of writing or a cover to cover route echoing a meandering experience of Venice.
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VOLUME 4: BERLIN
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STUDIO H
The architecture narrative;
talo Calvino, Invisible Cities
VOLUME 5: ROME
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2.1 2.2 2.3
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5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
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The City in Shorthand; Perec the Scriptwriter
The City in a Lab book; Koolhaas the Journalist
The City as a palimpest; Koolhaas the dicipherer
The architecture of notation
The architecture of Index
The architecture of discontinuity
S, M, L, XL1 by Rem Koolhaas is a rigid yet imperfect categorisation of New York into a heavy 3-inch block of pages. The collective scrapbook of plans, diagrams, photographs, poetry, history lessons, conversations and Rem Koolhaas own Practice OMAs architectural work. Rem Koolhouse collects of evidence to his case on the phenomenon of bigness; the structure is purposefully mirroring the unflexible, unforgiving repetition of the Manhatten grid plan. The plots which Koolhaas describes as making Manhatten a dry archipelago of blocks 2 . The book reads like a journalistic comment on the social impacts of the growth of a megacity. In this form S, M, L, XL reads as a semichaotic yet regulated gathering of proof to build his rounded case. The lack subtly in communication bordering on a rant on the rapid growth of megacities pose to architecture; advancement technologies such elevators and electricity and air conditioning, new infrastructures, randomising circulation, short-circuiting distance, artificial interiors, stretching dimensions, and acceleration of construction. All of which
Andreas Huyssen opens his 1997 Piece The Voids of Berlin1 with establishing the familiar notion of the city as text, with a description of Berlin in the aftermath of the wall coming down as a ‘text being frantically written and rewritten”.2 Huyssen attributes this trope of the city as text, to as long as there has been modern city literature. Huyssen titles berlin as a readable cultural sign, placing it in a unique position as a method in which a country can project its future. The city is a readable collection of signs, bearing its role as capital and the pressures of largescale developments, the city’s legibility relies on visible markers of built space as images. The desire fro berlin to take its place as a leading twenty-first-century European capital haunted by its past political causes, empire, war, and revolution; leading to the self-conscious rewriting of berlin has translated into an obsession with architecture and planning.3 Huyssen reads Berlin as a primarily historical text, made poignant by the gaps, the discontinuity of bleak ruins and shrapnel damage or epicentre of the vibrant culture. 4 The city is the epitome of willfully forgetting and rewriting of place from as trivial as renaming of streets in East Berlin to the dismantling of monuments of socialism.
Perec’s pocket-size book, reminiscent of a policeman’s notebook or the traveller’s companion guidebook, is a plotless script of the city of Paris.1 The contents structure the piece into three untitled days like acts of a play, within each a list of actions and signage complete with stage directions, narration and scene changes between each observation post. A response perhaps encouraged by the graphic composition of the cover image; the horizontal bounding lines reminiscent of a music score’s stave, the streetlights, and pigeons; the key signatures and bar lines segmenting beats of time within music notation. The brief biographical introduction to Perec through his creative credentials as a novelist and filmmaker prompts a premise of a polished artistic piece as opposed to that of any academic rigour or psychogeographical experiment. An expectation raised for a poem on the romanticized trivial minutiae of place. This is an impression which the presentation, departing from a recognizable conventional literary discourse; neither an essay or
newspaper article but somewhere between a list, sketch, and prose poem, demands an open mind from the reader to interpret and helps to set up the to the idea of a new language of notation. The unembellished inventory and surveillance like statements create a sense of uneasy anticipation like a prolonged scene of unexpecting stillness before an explosion in an action film. Especially when combined with the theatrical script-like presentation of the document. The humanity of Perec’s interruptions cut the otherwise clinical, eerie silence. The empirical nature of the text, absence of opinion or conclusion in which to create a dialogue between author and audience gives an impression given is that of a working drawing, a design iteration on trace produced as a test, yet ends up being the Parti diagram on the portfolio cover. This idea is affirmed to a certain extent in the translator’s afterword, setting the intention within the context of Perec’s work as leading to Life; A users manual.2 Perec’s ‘An attempt.’ creates an evocative depiction the city through hanging an abstraction of experiencing place on singularities; a collection of moments and detailed exactitudes. The signs, advertising slogans, and models of car are the specifics rooting the exercise in its situation while still allowing a projection of the reader’s imagination into that space, like a stage set carefully designed. Perec sets up a static frame in which the trajectories of daily life pass through this field of vision to be recorded. There is no narrative, just notation. The Cafe window in which Perec sits frames the houses (the readers) view of the actor’s movements across the stage (City). What carries the reader is the rhythm perpetuated through the regularity of punctuating metronome-like appearance of buses which provide a reference to time passing.
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“Attempt” is the operative word in the title; the account showcases Peres’s inability to quantify the city as much as it does the composition of life in Saint Sulpice. He has not exhausted Paris, merely himself. However, the success and charm of the study are arguably in the method’s failure.3 To see the linguist in Perec escaping, the self-interruption of the record feels like a literary equivalent of an actor corpsing, and a welcome break for the reader.
Rem states has to lead to a new species of architecture. Rem Koolhaas is theorising New york as a petri dish like an experiment for the impact of these ‘mutations’3 on architecture, S, M, L, XL here representing the lab journal of observations. A scientific analogy reinforced by Rem’s claim that New York as experiencing the architectural big bang and completed by the five theorems of bigness conceived in Delirious New York4
The dictionary of references holds the appearance of a phone directory, except for inconsistency of alphabetical order. The contents numbering systems three digits reminiscent of the street numbering system of New York City that help you navigate through the book. The abrupt formatting, of huge fonts within ‘Bigness or the problem of Large’, to photograph to newspaper cutting like text a suggestion of the absurdity of the gentleman’s club mentioned in Delirious New York in his previous work. A comment on the intense proximity yet inherent isolation of the new york skyscrapers, isolation between each floor, each neighbouring plot which allows the yet bizarre programs of a golf course being the floor above a guy and sauna floor. This viewpoint brought out in his description of the invent of the elevator in Delirious New York’s chapter ‘The Double life of Utopia: The Skyscraper The Frontier in the Sky’.5 The passage implies the elevator that makes the skyscraper possible makes moot architecture itself, the building becoming programmed by the engineer rather than the circulation holding a curation from an architect. You travel through the book as one might though travelling on an elevator through the towers Koolhaas is describing, with immediacy through different programs of different floors.
Endnote 1. Perec, Georges. 1975. An Attempt At Exhausting A Place In Paris. Cambridge, MA: Wakefield Press. 2. Perec, George. 1978. Life: A Users Manual. Paris: Hachette Littératures. 3. Hill, Sebastian. 2017. “An Attempt At Exhausting A Place In Paris — The Book, Its Background And Its Lessons For The 21St Century”. Medium, , 2017. https://medium.com/@magicsebi/an-attemptat-exhausting-a-place-in-paris-the-book-its-background-and-its-lessons-for-the-21st-4a7df0ef05bb.
STUDIO H
REPORT
The Atlas of the unbilt ; de Vries the cartographic curator
The architecture of formatting
De Vries’ Archescape: On the tracks of Piranesi presents a “The manifesto of lines rather than ‘points” 1 treatise for the cities of the future in heritage-led counter to urban sprawl, drawing from an interpretation of Gianbattista Piranesi’s 1735 etchings of the Campo Marzio sublime reconstructing ancient Rome. The author brings his reading of Piranesi’s creative cartography into the contemporary architectural theory with a transparency of de Vries’ intent to utilise Deleuze’s concept as a lens. De Vries proposes the potential of fragments of arcadian artifices within a contemporary to satisfy a primary desire for escape. De Vries’s Archescapes is an atlas of three structured parts; The manifesto; The treatise and The reverie. The reverie discusses contemporary interpretations of the Campo Marzio as a negative or positive utopia, as a series of archipelagos or as a field of walls, and concludes in a description of strolls through a future archescape in a visual essay Flightscapes. The culminating dreamlike narrative, written in the first person walks the reader through the Campo Marzio as if its a
Encouraging one to enter Campo Marzio enforces the idea of the book as an experiential object, as the architecture of the city he is describing is an experiential art form. Hierarchy and composition to communicate concept follow through in the use of notes the separation of purely reference notes, sectioned more traditionally at the back. Others with a discursive relevance to the narrative of the piece take up much of the page, serving as a kind of underground navigating guide drive to the book
Bibliography
The inclusion of project credits, charts, and information on OMA’s workforce and photos of the OMA’s messy office within the first few pages of S, M, L, XL. It is a statement that New York, like the book, the subject of the record is a collective project.6
Huyssen conceptualises that if all cities read as text, the city of Berlin is a palimpsest, with traces of its history overlayed but the scar-like etchings still just about legible.
. Huyessen, Andreas. 1997. “The Voids Of Berlin”. University Of Chicago Press Journals.
The Voids of Berlin hold a warning of this method of metropolitan editing of collective memory to result in a backlash of nostalgia, and that history is indelible. The seemingly perpetual building site that is the city centre may read as an ‘optimistic subtext of the ellipsis’ but also a poignant void. The voids of berlin, saturated in the cities history, form the identity of the place. Created by the bombing of British in the war against fascism but also the self-inflicted voids of stark modernism in 60’s planning, the no-mans-land of the wall cutting through the city centre, even the void like representation of west berlin in the maps of East berlin. Rebuilding the heart of Berlin seems to be orientated to an image rather than use, attractiveness for tourists and official visitors rather than living Berlin’s inhabitants, erasure of memory being more critical rather than its ‘imaginative preservation.’ Huyssen illustrates his point with the Disneyfied and theme-parked of Times Square and commercial billboard culture now indistinguishable from real art. The danger in reconstructing the city as legible signs are they are just that, concerned with only image and perception rather than preservation or a continuation of the true life of the inhabitants of the city.5
Endnote 1. Koolhaas, Rem, and Bruce Mau. 1998. S, M, L, XL. New York: Monacelli Press. 2. Koolhaas, Rem. 1978. Delirious New York: A Retroactive Manifesto For Manhattan. New Tork: Oxford
navigable cartographic map of Piranesi’s Rome rather than conceptual creation. Not the Rome that stood at a real time in history, but the other utopian Rome, the reimagined landscape etched in the Campo Marzio. The concept of landscape framing by architecture to create endless paths to mental and physical retreats within the city itself has been instilled by de Vries into the structure and format of his publication. The design of the piece allows readers of Archiscapes the choice to follow the linear unfolding narration of his analysis and manifesto argument cover to cover or flick through the maps and reading passages of text at leisure. The Atlas book format presents a unique hierarchy of image to text, the concept coming very much first through the image, the principle map with pages that bleed right to the edges of the page. These pages of content are then rationalised through text to highlight points, themes and political or historical context before illustration once again with supplementary smaller images once more. De’ Vries’ choice to curate the book in a physically large and heavy format that requires a desk to rest it on is the first evident similarity to an atlas. The gathering of images as visual essays, the deliberate orientation of the supplementary images and corresponding captions at 90 degrees to the direction of the book’s primary text body creating a requirement of the reader to turn the volume physically, are all reminiscent of an Atlas. The 1:1 reproductions of Piranesi’s Campo Marzio plan etchings, photographs and bleeding right to the corner encourage the reader to ‘experience’ the book as a body of work, approach the campo Marzio as a true place and the primary content in place of the atlas’ world maps.
University Press, The Monacelli Pres. 3. Koolhaas. 1998. S, M, L, XL. New York: Monacelli Press. 4. Koolhaas. 1998. S, M, L, XL. New York: Monacelli Press
Endnote
5. Koolhaas, Rem. 1978. Delirious New York: A Retroactive Manifesto For Manhattan. New Tork: Oxford
1. Huyessen, Andreas. 1997. “The Voids Of Berlin”. University Of Chicago Press Journals.
University Press, The Monacelli Pres.
2. Huyessen. 1997. “The Voids Of Berlin”.
6. Lange, Alexandra. 2019. “Rem Koolhaas”. Curbed, , 2019. https://www.curbed
3. Huyessen. 1997. “The Voids Of Berlin”.
com/2019/8/22/20755386/rem-koolhaas-smlxl-review-oma.
4. Huyessen. 1997. “The Voids Of Berlin”.
Endnote 1. de Vries, Gijs Wallis. 2014. Archescape ; On The Tracks Of Piranesi. Amsterdam: Thousand & one.
5. Huyessen. 1997. “The Voids Of Berlin”.
Bibliography
Bibliography
Cooper, Dennis. 2017. “Spotlight On Georges Perec An Attempt At Exhausting A Place In Paris (1975)”. Blog. Dennis Cooper. https://denniscooperblog.com/ spotlight-on-georges-perec-an-attempt-at-exhausting-a-place-in-paris-1975-2/.
Bibliography
Koolhaas, Rem. 1978. Delirious New York: A Retroactive Manifesto For Manhattan. New York: Oxford University Press, The Monacelli Pres.
de Vries, Gijs Wallis. 2014. Archescape ; On The Tracks Of Piranesi. Amsterdam: Thousand & one.
Koolhaas, Rem, and Bruce Mau. 1998. S, M, L, XL. New York: Monacelli Press.
Hill, Sebastian. 2017. “An Attempt At Exhausting A Place In Paris — The Book, Its Background And Its Lessons For The 21St Century”. Medium, , 2017. https:// medium.com/@magicsebi/an-attempt-at-exhausting-a-place-in-paris-the-bookits-background-and-its-lessons-for-the-21st-4a7df0ef05bb.
Lange, Alexandra. 2019. “Rem Koolhaas”. Curbed, , 2019. https://www.curbed. com/2019/8/22/20755386/rem-koolhaas-smlxl-review-oma.
Ian, Klaus, and Becker Daniel Levin. 2019. “The Book That Captured Mid-’70S Paris”. City Lab, , 2019. https://www.citylab.com/life/2019/12/georges-perecbook-exhausting-paris-traffic-streets/603916/. Perec, George. 1978. Life: A Users Manual. Paris: Hachette Littératures. Perec, Georges. 1975. An Attempt At Exhausting A Place In Paris. Cambridge, MA: Wakefield Press. Whitney., Karl. 2010. “What Happens When Nothing Happens?”. 3AM, , 2010. https://www.3ammagazine.com/3am/what-happens-when-nothing-happens/.
PA R I S : T H E C I T Y I N S H O R T H A N D ; P E R E C T H E SCRIPTWRITER AN ARCHITECTURE OF NOTATION
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NE W YORK : THE CIT Y IN A L AB BOOK ; KOOLHAAS THE JOURNALIST
B E R L I N : T H E C I T Y A S A PA L I M P E S T ; KO O L H A A S THE DICIPHERER
R O M E : T H E AT L A S O F T H E U N B I LT ; D E V R I E S T H E C A R TO G R A P H I C C U R ATO R
AN ARCHITECTURE OF INDEX
AN ARCHITECTURE OF DISCONTINUITY
AN ARCHITECTURE OF FORMATTING
IH
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2.1 2.2 2.3
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A S S I G N M E N T 2 : E S S AY
THE WICKED DRAWING; THE OTHERNESS OF PIRANESI’S CAMPO MARZIO
KEY READINGS: Gjis Wallis deVries, Archescapes Manfredo Tafuri, The Sphere and Labarynth
INTRODUCTION The Campo Marzio dell antica Roma is a collection of engravings on six plates by Giovanni Piranesi the Venetian architect and artist of the eighteenth century printed into book form in 1762. The series of plates make up a non-archaeological reconstruction of the Campus Martius area of ancient Rome. Unlike the figure-ground legibility of other ichnographic plans, namely its contemporary the Nolli plan; the Campo Marzio is a visualisation of a city as a figure-figure landscape with no absolute definitions of interior versus exterior space. A semi -invented Chaotic conceptualisation of the city in autonomous architectural components combined in seemingly near irrational collision over a subtle geometry. The drawing is a meticulous daydream in poché plan. The drawings are imagination and interpretation of Rome’s history wearing a language of formal architectural record embedded with a richness of historical reference. Unreadable as a true representation of Rome, then intricate drawing’s intent and value must, therefore, stand in communicating something other. De Vries tracks Piranesi’s plan to set up the city as an ‘Archescape’ a Theatrical stage of object and frame, in which Architecture’s role through the disciplines of both writing and drawing has been to separate a spectacle from within the ubiquitous. The legacy left by the drawing is a break in the boundary separating architecture as a drawing and architecture as the city. To examine the relationship between image and critical thought in contemporary architectural theory this essay will employ Manfredo Tafuri’s writings on Piranesi in ‘Sphere and Labarynth’ as an aid to understand de Vries’s Archecape treatise and the Campo Marzio itself. In reading these two pieces in conversation together; Piranesi’s image carrying the concept, de Vries retrospective interpretive text. here takes on the illustrative communication as a propositioning interpretation, and secondary to drawing. This unpacking of the two pieces focuses a reflection on the significance of the Campo Marzio, as a productive conceptual framework
GJIS WALLIS DEVRIES, ARCHESCAPES
MANFREDO TAFURI, THE SPHERE AND LABARYNTH
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
STUDIO C
AT R
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AMPL
STUDIO A
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STUDIO H
REPORT
A S S I G N M E N T 2 : E S S AY
THE WICKED DRAWING; THE OTHERNESS OF PIRANESI’S CAMPO MARZIO
SUMMERY: The Campo Marzio is challenging the authority of history, criticism of classism and active decomposition of the concept of Place. The legacy of the wicked drawing is a dialectical conception of the city as a project, the drawings itself providing a testing ground in which to apply counter or furthering interpretations. The “triumph of the fragment” drawn From the Campo Marzio by Tafuri endures as a founding conceptual framework throughout Gijs Walis’s Archescapes on the tracks of Piranesi. The otherness of the Campo Marzio lies in its nature as an experiment, a critique setting up questions in which architects must respond—offering a choice for architecture to stagnate or to answer with a proposition and continue. Having forged a radically experimental line of research, Piranesi leads to the emergence of the Avant-garde idea of art as ‘dialectical becoming’- of art needing to destroy its self. A great legacy of an artist-architect whos contribution to architecture was through the unbuilt.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Design Studio A COURSE SUMMERY Studio A is a direct continuation of Studio C. Through the duration of the course the evolving design thesis project is defined and realised in an architectural scheme with close consideration to technological and environmental issues. Following our individual briefs set out in Studio C. These schemes will operate to all four scales: body, building, SET and metropolitan landscape. However, in this semester, by focusing on the body and building scales, we further develop the SET scale.
PARA-Situation: {Ahmedabad}; {Dance}floors and {Aqua}Fissures
CRITICAL REFLECTION
My response to the tasks set out in Studio A demonstrates a high level of ability in programmatic organisation arrangement and architectural assemblage in a contextually highly sensitive situation and building program. Design outputs have been instilled with appropriate technical and environmental understanding and context-specific strategy. However, the submissions of Studio are limited by a small range of representation techniques. In order to improve next semester, I aim to use models and video as a design method and presentation technique
LE ARNING OUTCOMES LO1 | As sophisticated approach to thprogrammatic
LO3 | An understanding of issue relating to the
organisation arrangement and structuring of a
questions of sustainability , and its concomitant
complex architectural assemblage in a loaded
architectural,technological,
contextual situation;built, social,historical,
urban strategies.
environmental
and
technological, urban, environmental LO4 | A critical understanding of, and ability LO2 | A knowledge of how to develop the structural
to present complex design proposals through
constructional material, environmental, legislative
appropriate forms of representation.
aspects of complex building to a high resolution with reference to a team of consultants
B E H I N D : R AV I VA R I B A Z A A R ; S A B A R M AT I E A S T B A N K , A H M A D _ A B A D
The Kalakruti ni Pol; The Refuge of the Ravivari
STUDIO C
STUDIO D
AT R
EXPLODED AXONOMETRIC
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CONTRIBUTORS
IH
DS
CM
JB
AMPL
STUDIO A
S C AT
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REPORT
KALAKRUTI NI POL: TRYPTIC
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
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7
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8
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2
9 2
ROOF
MArch
1
PLAN
SEMESTER
1
CONTRIBUTORS
G E N E R A L A R R A N G E M E N T PGL EANNESR A L A R R A N G E M E N T P L A N S
MArch 1:200
2
SEMESTER
1:200
2
1. 2. 3. 4. 5. 6. 7. 8. 9.
RECEPTION W E AV I N G S T U D I O DYE STUDIO PRINTING STUDIO U P P E R C O U R T YA R D L O W E R C O U R T YA R D F I LT R AT I O N P O O L S
GROUND FLOOR PL AN
PLAN
IH
DS
CM
JB
1. 2. 3. 4. 5. 6. 7.
RECEPTION W E AV I N G S T U D I O DYE STUDIO PRINTING STUDIO U P P E R C O U R T YA R D L O W E R C O U R T YA R D F I LT R AT I O N P O O L S
JP
3
2
8
8
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9
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2
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11
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1
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FIRST FLOOR PL AN
GROUND FLOOR PL AN
ROOF
7
1 1
1:200
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4
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1
GENERAL ARRANGEMENT PLANS
6
7
9
2 5
1. 2. 3. 4. 5. 6. 7.
5
4
6
2
PLAN
REPORT
4 7
ROOF
STUDIO H
GROUND FLOOR PL AN
1. 2. 3. 4. 5. 6. 7.
RECEPTION W E AV I N G S T U D I O DYE STUDIO PRINTING STUDIO U P P E R C O U R T YA R D L O W E R C O U R T YA R D F I LT R AT I O N P O O L S
ARB CRITERIA
A G E N C Y A D M I N I S T R AT I O N TEACHING ROOMS TEACHING ROOMS B AT H R O O M COMPUTER SUITE COMMUNAL DINING HALL K I TC H E N S COUNSELING OFFICES LEGAL & COMMERCIAL OFFICES
FIRST FLOOR PL AN
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
1. 2. 3. 4. 5. 6. 7. 8. 9.
FIRST FLOOR PL AN
A G E N C Y A D M I N I S T R AT I O N TEACHING ROOMS TEACHING ROOMS B AT H R O O M COMPUTER SUITE COMMUNAL DINING HALL K I TC H E N S COUNSELING OFFICES LEGAL & COMMERCIAL OFFICES
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
SECOND FLOOR PL AN
7.1 7.2 7.3
1. 2. 3. 4. 5. 6. 7. 8. 9.
8.1 8.2 8.3
9.2 9.3
10.1 10.2 10.3
4 E A S Y A C C E S S A C C O M M O D AT I O N ROOF GARDEN FA M I LY A C C O M M O D AT I O N S O C I A L S PA C E FA M I LY A C C O M M O D AT I O N R O O M S C O M M U N A L S O C I A L S PA C E RIVER FRONT ROOF GARDEN 4 R E F U G E A C C O M M O D AT I O N R O O M S SOCIAL ROOM B AT H R O O M 4 E N S U I T E A C C O M M O D AT I O N R O O M S . W A R D E N A C C O M M O D AT I O N
SECOND FLOOR PL AN
A G E N C Y A D M I N I S T R AT I O N TEACHING ROOMS TEACHING ROOMS B AT H R O O M COMPUTER SUITE COMMUNAL DINING HALL K I TC H E N S COUNSELING OFFICES LEGAL & COMMERCIAL OFFICES
9.1
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
11.1 11.2 11.3
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
SECOND FLOOR PL AN
4 E A S Y A C C E S S A C C O M M O D AT I O N 1. ROOF GARDEN 2. FA M I LY A C C O M M O D AT I O N S O C I A L S PA C3E. FA M I LY A C C O M M O D AT I O N R O O M S 4. C O M M U N A L S O C I A L S PA C E 5. RIVER FRONT ROOF GARDEN 6. 4 R E F U G E A C C O M M O D AT I O N R O O M S 7. SOCIAL ROOM 8. B AT H R O O M 9. 4 E N S U I T E A C C O M M O D AT I O N R O O M S1. 0 . W A R D E N A C C O M M O D AT I O N 11.
A R B G R A D U AT E AT T R I B U T E S
4 E A S Y A C C E S S A C C O M M O D AT I O N ROOF GARDEN FA M I LY A C C O M M O D AT I O N S O C I A L S PA C E FA M I LY A C C O M M O D AT I O N R O O M S C O M M U N A L S O C I A L S PA C E RIVER FRONT ROOF GARDEN 4 R E F U G E A C C O M M O D AT I O N R O O M S SOCIAL ROOM B AT H R O O M 4 E N S U I T E A C C O M M O D AT I O N R O O M S . W A R D E N A C C O M M O D AT I O N
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
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STUDIO A
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3 2
3 3 1
2
1
2
5
3
4
6
1
5
7 6
3 7
2
1
6
1
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5
7 6 4
S E C T I O N4 C
SECTION B SECTION A
SECTIONAL AXONOMETERIC SEQUENCE
1. 2. 3. 4. 5. 6. 7.
1. 2. 3. 4. 5. 6.
DYE STUDIO TEACHING ROOMS FA M I LY A C C O M M O D AT I O N S O C I A L S PA C E L O W E R C O U R T YA R D C I R C U L AT I O N / D W E L L I N D I V I D U A L A C C O M M O D AT I O N
SECTION B
W E AV I N G S T U D I O & C E N T R A L C O U R T YA R D TEACHING ROOMS ROOF GARDEN U P P E R C O U R T YA R D C I R C U L AT I O N LEGAL AND FINANCIAL OFFICES W A R D E N A C C O M M O D AT I O N
GENERAL ARRANGEMENT
SECTIONAL AXONOMETRIC A
1. 2. 3. 4. 5. 6.
DYE STUDIO TEACHING ROOMS FA M I LY A C C O M M O D AT I O N S O C I A L S PA C E L O W E R C O U R T YA R D C I R C U L AT I O N / D W E L L I N D I V I D U A L A C C O M M O D AT I O N
W E AV I N G S T U D I O & C E N T R A L C O U R T YA R D TEACHING ROOMS ROOF GARDEN U P P E R C O U R T YA R D C I R C U L AT I O N LEGAL AND FINANCIAL OFFICES W A R D E N A C C O M M O D AT I O N
MArch MArch
1 2
9 8
4
4
2
1. 2. 3. 4. 5. 6. 7.
6 5
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
1. 2. 3. 4. 5. 6. 7. 8. 9.
SECTION C DYE STUDIO COMPUTER SUITE TEACHING ROOM FA M I LY A C C O M M O D AT I O N R O O M PRINT STUDIO C O M M U N A L D I N N I N G H A L L / K I TC H E N C O M M U N A L M E Z Z A N I N E S O C I A L S PA C E L O W E R C O U R T YA R D / P O O L S COUNSELLING OFFICES RIVER FRONT ROOF GARDEN
A R B G R A D U AT E AT T R I B U T E S
1. 2. 3. 4. 5. 6. 7. 8. 9.
DYE STUDIO COMPUTER SUITE TEACHING ROOM FA M I LY A C C O M M O D AT I O N R O O M PRINT STUDIO C O M M U N A L D I N N I N G H A L L / K I TC H E N C O M M U N A L M E Z Z A N I N E S O C I A L S PA C E L O W E R C O U R T YA R D / P O O L S COUNSELLING OFFICES RIVER FRONT ROOF GARDEN
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
10
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
20
I N T E R N A L C O U RT YA R D S O U T H E L E VAT I O N 1:100
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
10
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
20
I N T E R N A L C O U RT YA R D N O RT H S E C T I O N A L E L E VAT I O N 1:100
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
10
EAST( RIVER)
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
20
& W E S T ( R O A D ) E L E VAT I O N
1:100
10 MArch MArch
AST( RIVER)
1 2
20 SEMESTER SEMESTER
1 2
CONTRIBUTORS
& W E S T ( R O A D ) E L E VAT I O N
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
10
20
EXTERNAL NORTH
E L E VAT I O N
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
1:100
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
10
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
20
E X T E R N A L S O U T H E L E VAT I O N 1:100
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
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STUDIO A
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A SEQUENCE OF THRESHOLDS
Otla; A raised platform, porch-like plinth, extending
central opening, and overspill into it, semi internal,
the threshold between house doorway and street
semi external, it provides an area for food preparation
into the house. A transition space where both
or laundry but also another reception room.
house occupant and neighbour could rest; sit, observe and interact with passersby, sell fruit or
Osri : A- small semi enclosed veranda near the
vegetables, or the occupant can do household
chowk. It is a semi-open space and accommodates
chores. It is a semi-covered space, shaded by the
the spill-over activities of the chowk. On the
jettying of the upper floor balcony. The active
upper floors this space is known as the revasha.
ORDO
threshold establishes passive surveillance and daily interactions within the pol, strengthening
Ordo
community cohesion; an unfamiliar face would
deep inside from the street; it is the most
be
private space used for sleeping and storage.
quickly
noticed.
Families
can
observe
The innermost space of the house,
RAVESHA
KHADKI
PA R S A L
CHOWK
their children from a relative distance street. Resodu: the kitchen of the house adjacent to the Khadki; main
The
door
quieter
reception for
and
safety
cooler
room and
than
behind
privacy.
outside
the
Darker,
create
a
osri, chowk, to be
RESODU
near the traditional water-
OTL A
storage system known as the tanka. Domestic
CHOWK
OSRI
activities are usually extended from the resodu
calm more formal atmosphere despite being the
most
public
room
within
the
dwelling.
Utility areas: The toilet is generally placed in front and is attached to the otla or khadki rather
Parsal: The semi-enclosed veranda space adjacent to a central courtyard. The most commonly used multifunctional family space bridging the threshold
than to the private spaces in the traditional house. Wash area for washing clothes and utensils and bathing, are attached to a common wall.
TRADITIONAL HAVELI SPACIAL HIERARCHY
between interior and exterior, the key circulation space.
There
is
often
a
traditional
Gujarati
SECTION A
sankheda swing in the Parsal. It is also used as a dining room or an extension of the kitchen.
Household’ the clmatic regulator of the house it providing light and ventilation into the deep narrow plan of the building, all spaces orientate around this
MArch
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SEMESTER SEMESTER
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1:50
1 . R E S O D U - W E AV I N G S T U D I O & C E N T R A L C O U R T YA R D 2. CHOWK - TEACHING ROOMS 5 DEN 10 3. ROOF GAR 4 . O S R I - U P P E R C O U R T YA R D 5 . PA R S A L - C I R C U L AT I O N 6. KHADKI -LEGAL AND FINANCIAL OFFICES OCCUPIED SHORT SECTION 7 . C H O W K C E N T R A L C O U R T YA R D 1 : 5 0 8 . O R D O - R E F U G E P R I VAT E S L E E P I N G A C C O M O D AT I O N
Chowk: The Central courtyard and’ Heart of the
MArch
OCCUPIED SECTION THROUGH KALAKRUTI NI POL REFUGE
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
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STUDIO A
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STUDIO H
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TYPE 1: ENGLISH BOND TYPE 1: ENGLISH BOND
TYPE 2: FLEMISH BOND PROTRUDING HEADER
TYPE 2: FLEMISH BOND PROTRUDING HEADER
TYPE 3: DOUBLE STACK PERFORATED
TYPE 5: BESPOKE BLOCK AND PERFORATED CLAYS PACER
TYPE 4: BESPOKE HANGING DOUBLE STACK
TYPE 3: DOUBLE STACK PERFORATED
TYPE 5: BESPOKE BLOCK AND PERFORATED CLAYS PACER
M AT E R I A L PA C K A G E : M A S O N R Y W O R K T Y P E A X O N O M E T E R I C BESPOKE BRICK TYPE 4 DIAGRAM 1 : 5 0 AT A 1
DRAWING PACKAGE
TYPE 4: BESPOKE HANGING DOUBLE STACK
BRICK D I F F E R E N T B R I C K T Y P E S A N D L O C AT I O N S WITHIN THE PROJECT D I A G R A M O F B E S P O K E B R I C K FA C A D E 1 ; 2 0 D E TA I L S E C T I O N
1
2
D E TA I L S E C T I O N T H R O U G H FA C A D E 1:20
MArch MArch
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CONTRIBUTORS
IH
DS
CM
JB
JP
M AT E R I A L PA C K A G E : M A S O N R Y W O R K T Y P E A X O N O M E T E R I C
ARB CRITERIA
BESPOKE BRICK TYPE 4 DIAGRAM 1 : 5 0 AT A 1
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
W AT E R S U R FA C E
F I LT E R M E D I A
STUDIO H
F I LT E R P R O B E S
AIR HEADER
AQUAFISSURE:
REPORT
INLET CHANNEL ( FROM ALL C O U R T YA R D R O O F G U T T E R S )
A I R VA LV E
LONG SECTION
WA S H O U T CHANNEL
S E C T I O N T H R O U G H W AT E R TA N K S A N D F I LT R AT I O N P O O L S M A X I M U M W AT E R H E I G H T O R A N G E + 1 0 . 5 M E T E R S
D R A I N VA LV E
RECORD FLOOD HEIGHT PINK + 7 ME TERS
F I LT E R E D W AT E R C O L L E C T I N G C H A N N E L
W A S H W AT E R E A R T H E R N W A R E L AT E R A L S
ACCESS ROAD LEVEL BLUE
F I LT E R E D W AT E R C H A N N E L T O L O W E R C O U R T YA R D C I S T E R N
M A X I M U M W AT E R H E I G H T + 1 0 . 5 M E T E R S
RECORD FLOOD HEIGHT + 7 METERS ACCESS ROAD LEVEL
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
S E C T I O N A L P E R S P E C T I V E T H R O U G H P O L C O U RT YA R D
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
3
4
6
5
3
1
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
6
4
3
2
S T R U C T U R A L S Y S T E M & M AT E R I A L PA L E T T E O F E A C H B U I L D I N G R E F L E C T S TA C T I L E H I E R A R C H Y O F P U B L I C V E R S U S P R I VAT E S PA C E S . C O N C R E T E A N D M A S O N R Y P R E VA L E N T I N M O R E P U B L I C , C O M M U N A L S PA C E S , T R A N S I T I O N T O G L U L A M , C LT, A N D T I M B E R I N D I C AT I N G T H R E S H O L D S T O M O R E P R I VA C Y S E N S I T I V E S PA C E S , A C C O M M O D AT I O N
STRUCTURAL SYSTEM INTENTION
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
4
3
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
1. CONCRETE PIERS RAISE GLULAM COLUMN FOOTING ABOVE POTENTIAL FLOOD LINE. CONNECTED VIA A STEEL F L I T C H P L AT E .
5 . G L U L A M P O S T & B E A M S W I T H C LT H O R I Z O N TA L 6. TIMBER ROOF TRUSSES
2. CONCRETE PLINTHS 3. LOAD BE ARING MASONRY ENVLOPES 4. CONCRE TE COLOUMNS & HORIZONAL SLAB
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
Architectural Management, Practice & Law
COURSE SUMMERY
This is an online lecture and online workshop based course whose aims are to develop the student’s understanding of the professional requirements of an architect in practice and being admitted to the title of architect. The course is also intended, in part, as being a preparation for fulfilling the requirements of the Part 3 Examination in Professional Practice and Management. Assessed in three parts the module is largely collaborative ; Regulatory Drawing project prepared in pairs supported by online tutorials , an exam, and online contract simulation excercise with corresponding Report, the course is a collaborative module. e
CRITICAL REFLECTION Through the undertaking of this course, I have gained a thorough and comfortable understanding of legal, professional and statutory roles and responsibilities of the architect and regulations and procedures involved in the negotiation and approval of architectural designs, including law, heritage development control, building regulations and health and safety legislation. I have expressed this through written and drawn communications within assignments 1, 2 and 3. I believe my communication of this understanding would have benefited from more diagrams; as an area of future improvement, it would support more concise written articulation to remain within word counts without compromising content.
LE ARNING OUTCOMES LO1 | An understanding of practice management
CDM & Regulation Study; ARUP’s Replacement Roof for Grade II* Leicester Engineering building
and codes of professional conduct in the context of the construction industry LO2
|
An
understanding
of
the
roles
and
responsibilities of individuals and organisations and
LO3 | An understanding of the influence of
contract administration, including knowledge of
statutory, legal and professional responsibilities
how cost control mechanisms operate within an
as relevant to architectural design projects
within
architectural
project
procurement
architectural project
BEHIND: LEICESTER ENGINEERING BUULDING, D E S I G N E D BY S T I R L I N G A N D G O W E N A N D R E N O VAT E D BY A R U P
Examination & Contract Simulation
4.
The building in 2010 recorded an ‘F Rating’. Energy Consumption of 431kWh/m2/Year for Heating and 104kWh/m2/Year in lighting. The renovation project predicted a 3545% reduction in building energy demand. With a target set at 220 kWh/m2/Year for Heating and 75-90 kWh/m2/year in lighting.
Arrangement of gutters. No visible barriers, platforms or visual obstructions. Any new equipment to be hidden within visible gutter depth.
2. Structural Performance:
STUDIO C
AT R
STUDIO D
BS6399 -Loading For Building BS EN 1991-1-1:2002 Eurocode AMPL S T U D I O ACode of practice for dead and imposed loads. It applies to alterations and additions to existing buildings and existing structures.
S C AT
STUDIO H
REPORT
The load of new glazing, new calculated snow dead load and drift load, calculated had to be calculated in line with current British standard to determine the existing steel trusses could be safely retained and manage the increased loads imposed by the new glazing system.
3. Maintenance Access: BS 6037-2:2004 Code of practice for the planning, design, installation and use of permanently installed access equipment. THE ENGINEERING BUILDING
The Construction (Design and Management) Regulations 1994 (CDM Regulations) require that all façades and other items that require periodic access are designed and positioned so that they can be accessed safely.
A S S I G N M E N T 1 : R E G U L ATO R Y D R AW I N G S
THE UNIVERSITY OF LEICESTER
Key
Jack Parmar & Iona Hoggarth
Louvres - natural ventilation Former louvres, replaced with glass
Building Origins and Project Description Built in 1959, the Engineering Building at The University of Leicester was one of the first projects designed by James Stirling and James Gowan. The iconic red brick podium and ‘diamond-tipped’ glass roof have earned the building its position as a British architectural ‘masterpiece’, and its Grade II* Listed status. The building was originally required to cater for 200 undergraduate students with a range of large laboratories, two lecture theatres, an entrance hall, small rooms for various use. Shortly after its completion, the university was in contact with James Stirling to complain about water dripping from the roof. The structure, with low-cost, off the shelf materials, combined with substandard technological detailing has resulted in a leaking, draughty interior space which does little to cope with the demands of heating and cooling required. Over the years, the University have devised makeshift solutions and workarounds to the problems caused by the roof, including ingenious arrangements of funnels, pipes and buckets to divert the water ingress. A gantry designed by Sterling to provide access to the tower windows was decommissioned due to safety fears, and the method of traversing the workshop roofs using wooden planks was deemed problematic because of the fragile glass below. In 1987 steel walkways were installed above the roofs, detracting from the repeating glazing pattern.
O R I G I N A L R O O F P R O F I L E : M A I N TA I N E D F O R H E R I TA G E C O N S E N T C O M P L IOriginal E N C roof E profile maintained to comply with Heritage Consent conditions
Over 50 years on from its’ completion, the building as a whole was in a good condition, noted in Elain Harwood’s history of the building written in 2015 for Historic England. She notes that ‘it survives remarkably unaltered and is still used for its original function despite changes to the way engineering is taught’. The number of students as increased, with up to 600 undergraduates using the facility. Open workshops have been adapted into offices, storage and seminar spaces to keep up with the demands of a modern university.
New roof access hatch Former roof access hatch, replaced with glass Roof access walkway Former roof access walkway, removed New landings and aerial positions C-Block roof access walkway C-Block former roof access walkway, removed
By 2011, many of the translucent panels were cracked, the seals holding the plyglass together were failing, and rainwater was seeping into the fibreglass fabric, bringing discolouring stains and the growth of mould. It was not possible to safely access any of the translucent S-block and workshop glazing without scaffolding, and a section of the north-west S-Block elevation was visibly pulling away from its supports. The university had been informed that the glass roof would effectively come to the end of its service life around 2013, and put out a competitive tender for a team of consultants to deliver a project resulting in comprehensive repair or replacement of the problematic roof. Key stipulations of the brief included amendments to the ‘shortcomings’ of the original design, which included drainage and temperature control, the provision of safe access methodologies for future maintenance a fifty year life expectancy, as well as minimising disruption so that the university could continue to operate in the building during the ongoing work.
1:250 Roof Plan
Listed Building Consent: Grade II* Listed
THE LEICE_STER ENGINEERING BUILDING:
1. Thermal Performance & Water tightness
The design team engaged Leicester City council, and Consultees Historic England and The Twentieth Century Society from an early stage of the project in detailed discussions and research to define a set of priorities and guidelines stipulating a brief that if adhered to, would satisfy the local authority and all consulting stakeholders to grant Listed building consent.
N E W A L U M I N I U M T R A N S O M TO I N C O R P O R AT E N E W D O U B L E G L A New Z E Aluminium D W I NTransom D O Wto incorporate S Y S T Enew M double-glazed window system
THE RE-ROOFING OF AN ICONIC BUILDING, ARUP 2011
New Double Glazing , Coated Glass & Insulation Details: a. The Building Regulation 2010: Approved Document L 2B : Conservation of Fuel and Power in existing buildings other than dwellings: Exemption from compliance with the energy efficiency requirements is granted to buildings which are in accordance with section 1 of the Listed Buildings and Conservation Areas Planning Act 1990 where compliance with energy efficiency requirements would unacceptably alter their character or appearance.
To conserve, or else replicate as closely as possible: 1.
Visual Weight and Optical Effect of the Glazing System The texture, colour, translucency of the pylass panels and slim profiles of aluminium framing to be matched as accurately as possible when replaced with new material choices.
2.
Regular Spacing, intersection points and repetitive elements To respect regularity of elements deemed key to maintaining modular rhythm of the building.
3.
Width of Framing Elements Maintaining the slim width of framing elements given priority over their depth. Changes to visual clarity of building externally deemed to have higher impact than internal/
4.
Arrangement of gutters. No visible barriers, platforms or visual obstructions. Any new equipment to be hidden within visible gutter depth.
“ 3.8 General Guidance: Historic and Traditional Buildings where special considerations may apply (3.9) When undertaking work on or in connection with a building that falls within one of the classes listed above, the aim should be to improve energy efficiency as far as is reasonably practical. The work should not prejudice the character of the host building or increase risk of long term deterioration of the building fabric or fitting.” b. Display Energy Certificate Score & Building Energy Demand It was decided the project would not pursue a BREAM rating and instead measure the improved thermal performance of the building on sustainability metrics such as Display Energy Certificate Score. The building in 2010 recorded an ‘F Rating’. Energy Consumption of 431kWh/m2/Year for Heating and 104kWh/m2/Year in lighting. The renovation project predicted a 3545% reduction in building energy demand. With a target set at 220 kWh/m2/Year for Heating and 75-90 kWh/m2/year in lighting. 2. Structural Performance: BS6399 -Loading For Building BS EN 1991-1-1:2002 Eurocode Code of practice for dead and imposed loads. It applies to alterations and additions to existing buildings and existing structures. The load of new glazing, new calculated snow dead load and drift load, calculated had to be calculated in line with current British standard to determine the existing steel trusses could be safely retained and manage the increased loads imposed by the new glazing system.
3. Maintenance Access: BS 6037-2:2004 Code of practice for the planning, design, installation and use of permanently installed access equipment. The Construction (Design and Management) Regulations 1994 (CDM Regulations) require that all façades and other items that require periodic access are designed and positioned so that they can be accessed safely.
Original roof profile maintained to comply with Heritage Consent conditions
E XExisting I S T I Structure NG STRUCTURE
COMPLIENCE DRAWING 1:
New Aluminium Transom to incorporate new double-glazed window system
Existing Structure
NEW ALUMINIUM COVER CAP WITH DRAINAGE New Aluminium cover cap with drainage C Hchannel ANNEL
1. Grade II* Listed Building Consent
New Aluminium cover cap with drainage channel
1:5 New Roof Ridge & Gutter Detail
Original roof profile
2. Thermal Performance & Water tightness: Approved Document L 2B New Double-Glazed window system New mullion designed to match original external appearance
3. Structural Performance: BS63992.
Fall restraint system positioned on south side of gutter Grating for maintenance access Drainage hole at each mullion
PVC gutter membrane
Existing Structure New folding flashing
4. Maintenance Access: BS 6037-2:2004
New mullion for double glazed window
1 1:5 : 5 New NEW O O F& RGutter I D GDetail E & RoofRRidge G U T T E R D E TA I L
Original Single-Glazed window system
Gasket between glass and gutter, often came loose allowing air and water to pass through
Original gutter tray
O R I Groof I Nprofile AL Original
INTRODUCTION:
1:5 Original Roof Ridge & Gutter Detail
ROOF PROFILE
Original gutter provided acess for maintenance
Built in 1959, the Engineering Building at The University of Leicester was one of the first projects designed by James Stirling and James Gowan. The iconic red brick podium and ‘diamond-tipped’ glass roof have earned the building its position as a British architectural ‘masterpiece’, and its Grade II* Listed status. Shortly after its completion, the university complained about water dripping from the roof. The structure, with low-cost, off the shelf materials, combined with substandard technological detailing has
New Double-Glazed N EW D O U Bwindow L E Gsystem LAZED SYSTEM
resulted in a leaking, draughty interior space which does little to cope with
New mullion to match N EW Mdesigned ULLIO N original
the demands of heating and cooling required. A gantry designed by Sterling
FFall A restraint L L R Esystem S T Rpositioned A I N T onCsouth O Nside N EofCgutter TION
to provide access to the tower windows was decommissioned due to safety
N E W hole D RatAeach I N mullion A G E H O L E AT M U L L I O N Drainage
external appearance
N E W G R AT I N G F O R A C C E S S Grating for maintenance access
fears, and the method of traversing the workshop roofs using wooden planks
PPVC V Cgutter G membrane UTTER MEMRANE
was deemed problematic because of the fragile glass below. By 2011, many of the translucent panels were cracked, the seals holding the
Structure E X I S T I N G S T R Existing UCTU RE
NEW FOLDING FLASHING New folding flashing
NEW U L for L Idouble O N glazed F O Rwindow GLAZED New M mullion WINDOW
plyglass together were failing, and rainwater was seeping into the fibreglass fabric, bringing discoloring stains and the growth of mold. It was not possible to safely access any of the workshop glazing without scaffolding,
Original O R I GSingle-Glazed I N A L S Iwindow N G Lsystem E GLAZED SYSTEM
and a section of the north-west S-Block elevation was visibly pulling away from its supports. Key stipulations of the brief included amendments to
G A S Kbetween E T Bglass E T and W Egutter, E N often G Lcame A S loose S Aallowing ND G T water T E Rto, pass O Fthrough TEN CAME Gasket air U and LO O S E A L LO W I N G A I R A N D WAT E R T H R O U G H
the ‘shortcomings’ of the original design with minimal visual impact, which included drainage and temperature control, the provision of safe access methodologies for future maintenance a fifty year life expectancy, as well as minimising disruption so that the university ould continue to operate in the
O R I G I N A L G U T T E R T R AY Original gutter tray 1:5 OR I N A LRoof R ORidge OF R D G EDetail & 1:5I G Original & IGutter
O R I Ggutter I N Aprovided L G Uacess T T for E Rmaintenance O N LY A CC E S S F O R M A I N T E N A N C E Original
G U T T E R D E TA I L
building during the ongoing work.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
the client is aware of the duties owed by the client under these Regulations.
Heath and safety Executive; Health and Safety Guidance Books Health and safety in roof work: HSG33 (Fifth Edition)
(2) When preparing or modifying a design the designer must take into account the general principles of prevention and any pre-construction information to eliminate, foreseeable risks to the health or safety of any person:
STUDIO C
AT R
(a) carrying out or liable to be affected by construction work; (b) maintaining or cleaning a structure; or
STUDIO D
STUDIO A
S C AT
(c) using a structure designed as a workplace.
This legal guidance on how to plan and work safely on roofs. It covers new buildings, repair, maintenance, cleaning work and demolition. It also includes guidance for people not directly carrying out work on a roof, such as clients, designers and specifiers of buildings and components, Contractors, trade union safety representatives and employees’ and safety representatives.
AMPL
STUDIO H
REPORT
APPENDIX 2 USE OF: SAFETY NETS “Relevant standards: (8) Safety nets should be manufactured to the requirements of European Standard BS EN 1263-1.32.They should be erected in accordance with BS EN 1263-234 and the guidance given in BS 8411.33. British Standard : BS EN 1263-1:2014 Temporary works equipment. Safety nets. Safety requirements, test methods Minimum strength of rope edge - 30kN Mesh size - 45mm, 60mm or 100mm Minimum energy absorption - 4.14kj
New Glazing Panels
A S S I G N M E N T 1 : R E G U L ATO R Y D R AW I N G S
THE ENGINEERING BUILDING THE UNIVERSITY OF LEICESTER
(9) There are four types or systems of safety net. ‘System S’ nets (used in the horizontal plane) are the type normally used to protect roofers.
The University of Leicester required the university workshops to remain open to student use throughout the construction period, presenting a challenge. The projects use of tensioned walk-on netting to provide a working platform and allow the building to remain operational below marked an innovative method of use of netting systems. The nets provided a trafficable surface replacing the need for a scaffolding crash deck inside the workshop below. Horizontal plane (‘System S’) safety netting is increasingly common in roof renovation and construction work at great hights, ordinarily designed to either catch a construction worker from a maximum of 1.5 meters should they fall from the scaffolding or platform, or debris netting designed to catch tools or debris falling from construction work overhead. However the application of higher tensioned netting and protective matting immediately below the roof line attached to the steel roof trusses allowed the netting to act a fall prevention method rather than a fall arrest.
1.
(10) When rigging safety nets it is important to maintain their energy-absorbing characteristics. If there are too many fixing points the net will become more rigid and impose larger loads on the user,the structur and the net itself. Too few fixing points and the net will sag and deflect too much under load. Follow the manufacturer’s recommendations and BS EN 1263 on the number and spacing of fixing points.Check that the supporting structure is capable of resisting the expected anchorage loads.
THE LEICESTER ENGINEERING BUILDING: THE RE-ROOFING OF AN ICONIC BUILDING, ARUP 2011 COMPLIENCE DRAWING 2:
HSE HSG33: Health and Safety in Roof Work FASET Guidance Document TAP01 (Revision 2)
The Construction (Design and Management) Regulations 2015: PART 3, Regulation 9 1:1000 Site Plan “Health and safety duties and roles: Duties of designers: (1) A designer must not commence work in relation to a project unless satisfied that the client is aware of the duties owed by the client under these Regulations.
Heath and safety Executive; Health and Safety Guidance Books Health and safety in roof work: HSG33 (Fifth Edition)
(2) When preparing or modifying a design the designer must take into account the general principles of prevention and any pre-construction information to eliminate, foreseeable risks to the health or safety of any person:
This legal guidance on how to plan and work safely on roofs. It covers new buildings, repair, maintenance, cleaning work and demolition. It also includes guidance for people not directly carrying out work on a roof, such as clients, designers and specifiers of buildings and components, Contractors, trade union safety representatives and employees’ and safety representatives.
(a) carrying out or liable to be affected by construction work; (b) maintaining or cleaning a structure; or
(11) Always rig safety nets as close as possible to the working level. Install nets in accordance with BS EN 1263-2. Where reasonably practicable, theyshould be not more than 2 m below the working level. Where safety nets conforming to Class A and in system ‘S’ are subject to falls greater than 2 m, their individual area should be not less than 35 m2 and their shortest side should be not less than 5 m. Where you cannot meet either of these two criteria use a Class B net. Safety nets of smaller areas should be installed only after consultation with a competent person.
TEMPORARY CANOPY
CDM Regulations: Part 3, Reg 9 Health and Safety
2. 3.
(c) using a structure designed as a workplace.
APPENDIX 2 USE OF: SAFETY NETS “Relevant standards: (8) Safety nets should be manufactured to the requirements of European Standard BS EN 1263-1.32.They should be erected in accordance with BS EN 1263-234 and the guidance given in BS 8411.33. British Standard : BS EN 1263-1:2014 Temporary works equipment. Safety nets. Safety requirements, test methods Minimum strength of rope edge - 30kN Mesh size - 45mm, 60mm or 100mm Minimum energy absorption - 4.14kj (9) There are four types or systems of safety net. ‘System S’ nets (used in the horizontal plane) are the type normally used to protect roofers. (10) When rigging safety nets it is important to maintain their energy-absorbing characteristics. If there are too many fixing points the net will become more rigid and impose larger loads on the user,the structur and the net itself. Too few fixing points and the net will sag and deflect too much under load. Follow the manufacturer’s recommendations and BS EN 1263 on the number and spacing of fixing points.Check that the supporting structure is capable of resisting the expected anchorage loads. (11) Always rig safety nets as close as possible to the working level. Install nets in accordance with BS EN 1263-2. Where reasonably practicable, theyshould be not more than 2 m below the working level. Where safety nets conforming to Class A and in system ‘S’ are subject to falls greater than 2 m, their individual area should be not less than 35 m2 and their shortest side should be not less than 5 m. Where you cannot meet either of these two criteria use a Class B net. Safety nets of smaller areas should be installed only after consultation with a competent person.
(12) When using attachment devices, seek advice from the manufacturer and check the rigger is competent working with these devices”
(12) When using attachment devices, seek advice from the manufacturer and check the rigger is competent working with these devices” Temporary Canopy
Temporary Canopy
1. CDM Regulations: Part 3, Reg 9 Health and Safety
New Glazing Panels
2. HSE HSG33: Health and Safety in Roof Work
1:20 Roof Elevation
1:20 Roof Elevation
3. FASET Guidance Document TAP01 (Revision 2)
Fall Arrest Safety Equipment Training (FASET) guidance Document TAP01( Revision 2) : Tensioned Access Platforms Tensioned net platform attached to truss base
As a new construction access method there is not yet an international standard. Although the British FASET ( Fall Arrest Safety Training), have published their own usage and instillation guidelines, technical specifications, design and handover and inspections. “A platform net consist of the assembly, anchoring and tensioning of safety nets of no more than 60 mm mesh. These nets are manufactured according to the EN-1263.1, and normally installed by means of straps with ratchet and using these as a sort of transversal beams forming net grids. The working height must be equal to or less than 1.5 m underneath the lower edge of the construction.”
Retained Steel Trusses
NEW GLAZING PA N E L S
Fall Arrest Safety Equipment Training (FASET) guidance Document TAP01( Revision 2) : Tensioned Access Platforms Canopy Location: Section
Pearson, Thomas. 2020. Diamond-Tipped Conservation At The Engineering Building, University Of Leicester. London. Regulations/ British Standards: Page 1 1. The Building Regulation 2010: Approved Document L 2B : Conservation of Fuel and Power in existing buildings other than dwellings: 2. BS6399 -Loading For Building (BS EN 1991-1-1:2002): Eurocode Code of practice for dead and imposed loads. It applies to alterations and additions to existing buildings. 3. BS 6037-2:2004: Code of practice for the planning, design, installation and use of permanently installed access equipment. Regulations/ British Standards: Page 2 1. CDM Regulations: Part 3, Reg 9 Health and Safety 2. HSE HSG33: Health and Safety in Roof Work 3. FASET Guidance Document TAP01 (Revision 2)
1:200 Exploded Sectional Isometric
Tensioned net platform attached to truss base
As a new construction access method there is not yet an international standard. Although the British FASET ( Fall Arrest Safety Training), have published their own usage and instillation guidelines, technical specifications, design and handover and inspections.
The University of Leicester required the university workshops to remain open
S H E E T 1 : C D M R E G U L AT I O N C O M P L I E N C E
“A platform net consist of the assembly, anchoring and tensioning of safety nets of no more than 60 mm mesh. These nets are manufactured according to the EN-1263.1, and normally installed by means of straps with ratchet and using these as a sort of transversal beams forming net grids. The working height must be equal to or less than 1.5 m underneath the lower edge of the construction.”
to student use throughout the construction period, presenting a challenge. The projects use of tensioned walk-on netting to provide a working platform and allow the building to remain operational below marked an innovative method of use of netting systems. The nets provided a trafficable surface Retained Steel Trusses
replacing the need for a scaffolding crash deck inside the workshop below. Horizontal plane (‘System S’) safety netting is increasingly common in roof renovation and construction work at great heights, ordinarily designed to
1:20 Roof Elevation
TENSIONED NET P L AT F O R M AT TA C H E D TO TRUSS BASE
either catch a construction worker from a maximum of 1.5 meters should
Fall Arrest Safety Equipment Training (FASET) guidance Document TAP01( Revision 2) : Tensioned Access Platforms
Tensioned net platform attached to truss base
As a new construction access method there is not yet an international standard. Although the British FASET ( Fall Arrest Safety Training), have published their own usage and instillation guidelines, technical specifications, design and handover and inspections.
they fall from the scaffolding or platform, or debris netting designed to
“A platform net consist of the assembly, anchoring and tensioning of safety nets of no more than 60 mm mesh. These nets are manufactured A Nmeans O P YofLCanopy O C Awith TLocation: I Oratchet N ISection Nand S Eusing C T I these O N as a sort ofNtransversal E T T I N Gbeams LNetting O Cforming A TLocation: ION N SECTION according to the EN-1263.1, and normally installedC by straps net I Section grids. The working height must be equal to or less than 1.5 m underneath the lower edge of the construction.”
catch tools or debris falling from construction work overhead. However the application of higher tensioned netting and protective matting immediately below the roof line attached to the steel roof trusses allowed the netting to act a fall prevention method rather than a fall arrest.
THE ENGINEERING BUILDING THE UNIVERSITY OF LEICESTER
R E T A I N E D S T E ERetained L Steel Trusses TRUSSED
Key
Isometric ISO M E T RLocation I C LO C AT I O N
K EBibliography: Y: Books:
L O U V E R S ; N A T ULouvres R A L- natural V Eventilation N T I LTA I O N
Jack Parmar & Iona Hoggarth
Workshop and existing plinth structure
Pearson, Thomas. 2020. Diamond-Tipped Conservation At The Engineering Building, University Of Leicester. London.
L O U V E R S ; R E P L Former A C Elouvres, S Wreplaced I T HwithGglass LASS
Regulations/ British Standards: Page 1
Building Origins and Project Description
N E W A C C E S S HNew A Troof CH access hatch
1. The Building Regulation 2010: Approved Document L 2B : Conservation of Fuel and Power in existing buildings other than dwellings:
Built in 1959, the Engineering Building at The University of Leicester was one of the first projects designed by James Stirling and James 2. BS6399 -Loading For Building (BS EN 1991-1-1:2002): Eurocode Code of practice for dead and imposed loads. It applies to alterations and additions to existing buildings. Gowan. The iconic red brick podium and ‘diamond-tipped’ glass roof have earned the building its position as a British F architectural O R M E ‘masR H ATC H ; R E P LBS AC E - G L A S S of practice for the planning, design, installation and use of permanently installed access equipment. 6037-2:2004: Former roof3. access hatch, replaced withCode glass terpiece’, and its Grade II* Listed status. The building was originally required to cater for 200 undergraduate students with a range of large laboratories, two lecture theatres, an entrance hall, small rooms for various use. Shortly after its completion, the university was in contact O O F with A CsubC E S S W A L KRegulations/ W AY with James Stirling to complain about water dripping from the roof. The structure, with low-cost, off the shelf materials, R combined British Standards: Page 2 Roof access walkway standard technological detailing has resulted in a leaking, draughty interior space which does little to cope with the demands of heating Isometric Location and cooling required. Over the years, the University have devised makeshift solutions and workarounds to the problems the Canopy Location: Netting Location: Section F caused O R Mby ESection R roof, W A L K W AY R E M O V E D CDM Regulations: Former roof1. access walkway, removed Part 3, Reg 9 Health and Safety including ingenious arrangements of funnels, pipes and buckets to divert the water ingress. A gantry designed by Sterling to provide access 2. HSE HSG33: Health and Safety in Roof Work to the tower windows was decommissioned due to safety fears, and the method of traversing the workshop roofs usingN wooden E W planks L A Nwas DING 3. FASET Guidance Document TAP01 (Revision 2) deemed problematic because of the fragile glass below. In 1987 steel walkways were installed above the roofs, detracting from the repeating New landings and aerial positions 1:200 Exploded Sectional Isometric glazing pattern.
WORKSHOP AND EXISTING PLINTH STRUCTURE
C - B L O C K W A L K W AY
Bibliography: C-Block roof access walkway Over 50 years on from its’ completion, the building as a whole was in a good condition, noted in Elain Harwood’s history of the building written in 2015 for Historic England. She notes that ‘it survives remarkably unaltered and is still used for its original function despite changes to Books: the way engineering is taught’. The number of students as increased, with up to 600 undergraduates using the facility. Open roof C - workshops B L O C Khave W A LC-Block K W Aformer Y R Eaccess M Owalkway, V E Dremoved Thomas. 2020. Diamond-Tipped Conservation At The Engineering Building, University Of Leicester. London. been adapted into offices, storage and seminar spaces to keep up with the demands of a modernPearson, university.
Workshop and existing plinth structure
Regulations/ British Standards: Page 1 into By 2011, many of the translucent panels were cracked, the seals holding the plyglass together were failing, and rainwater was seeping the fibreglass fabric, bringing discolouring stains and the growth of mould. It was not possible to safely access any of the translucent S-block 1. The pulling Buildingaway Regulation 2010: Approved and workshop glazing without scaffolding, and a section of the north-west S-Block elevation was visibly from its supports. TheDocument L 2B : Conservation of Fuel and Power in existing buildings other than dwellings: 2. BS6399 -Loading For Building (BS EN 1991-1-1:2002): Eurocode Code of practice for dead and imposed loads. It applies to alterations and additions to existing buildings. university had been informed that the glass roof would effectively come to the end of its service life around 2013, and put out a competitive 3. BS 6037-2:2004: Code of practice for the planning, design, installation and use of permanently installed access equipment. tender for a team of consultants to deliver a project resulting in comprehensive repair or replacement of the problematic roof. Key stipulations of the brief included amendments to the ‘shortcomings’ of the original design, which included drainage and temperature control, the2proviRegulations/ British Standards: Page sion of safe access methodologies for future maintenance a fifty year life expectancy, as well as minimising disruption so that the university 1:250 Roof Plan could continue to operate in the building during the ongoing work. 1: 250 1. CDM Regulations: Part 3, Reg 9 Health and Safety
1:200 Exploded SectionalListed Isometric Building Consent: Grade II* Listed
2. HSE HSG33: Health and Safety in Roof Work 3. FASET Guidance Document TAP01 (Revision 2)
The design team engaged Leicester City council, and Consultees Historic England and The Twentieth Century Society from an early stage of the project in detailed discussions and research to define a set of priorities and guidelines stipulating a brief that if adhered to, would satisfy the local authority and all consulting stakeholders to grant
MArch MArch
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SEMESTER SEMESTER
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CONTRIBUTORS
Isometric Location
Books:
New Glazing Panels
CONSTRUCTION DESIGN & MANAGEMENT
Netting Location: Section
Bibliography:
Workshop and existing plinth structure
IH
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JB
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ARB CRITERIA
2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 To conserve, or else replicate as closely as possible: 6.2 7.2 8.2 9.2 10.2 11.2 4 . 2Effect of5the. Glazing 2 System 3 . 2and Optical 1 . 2 1.2 . 2Visual Weight The texture, colour, translucency of the pylass panels and slim profiles of aluminium framing to be matched as accurately as possible when replaced 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3 . 3 choices. 1 . 3 2 . 3with new3material 1.1
Listed building consent.
2.
Regular Spacing, intersection points and repetitive elements To respect regularity of elements deemed key to maintaining modular rhythm of the building.
ROOF PLAN
1. Thermal Performance & Water tightness New Double Glazing , Coated Glass & Insulation Details: a. The Building Regulation 2010: Approved Document L 2B : Conservation of Fuel and Power in existing buildings other than dwellings:
A R B G R A D U AT E
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Exemption from compliance with the energy efficiency requirements is granted to buildings which are in accordance with section 1 of the Listed Buildings and Conservation Areas Planning Act 1990 where compliance with energy efficiency requirements would unacceptably alter their character or appearance.
AT T R I B U T E S
“ 3.8 General Guidance: Historic and Traditional Buildings where special considerations may apply (3.9) When undertaking work on or in connection with a building that falls within one of the classes listed above, the aim should be to improve energy efficiency as far as is reasonably practical. The work should not prejudice the character of the host building or increase risk of long term deterioration of the building fabric or fitting.” b. Display Energy Certificate Score & Building Energy Demand
STUDIO C
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ASSIGNMENT2: C O N T R A C T S I M U L AT I O N E X E R C I S E STUDENT GROUP 4:
2
Iona Hoggarth Matthew Lau Kevin Li
CONTRACT SIMULATION EXERCISE
Lee De Rui
SCENARIO - 19
LETTER FROM MAIN CONTRACTOR TO ARCHITECT
Group 2 Practice 1 The Square Cityburgh CB1 2TY
Contract Simulation Excercise Two day long Contract Simulation Exercise 9.00am – 5.00pm UK time on
20th February 2021
20th February 2021
Thursday 29th and Friday 30th of October.
Dear Sirs
There are a total of 34 contract scenarios. For each scenario, the study
BULLGATE HOUSE, CITYBURGH
group decides on an appropriate course of action, which is decided
D.E Struct Ltd. Low School Yards Cityburgh CB13 1FU
We have discussed the matter of the window reveal details with the Clerk of Works, on several occasions.
by selecting an appropriate clause or clauses in the contract. Scenario
With other finishes and plastering due to commence, these details are now crucial. If we don't receive them by the end of this week, the other trades will have to be postponed and we will seek an extension of time due to late issue of information.
questions, group responses and correct answers, were recorded in sequence by each team on a word document agreed by all study group members at the completion of the exercise
We look forward to hearing from you.
Scenario 19
Yours faithfully
Dear Sir/ Madam,
Contract Simulation Context You are the appointed Architect and Principal Designer for the new office
Thank you for informing us the issue of window reveal details however as referred to in clause 3.4, the architect should not be excluded in the discussion with the Clerk of Works.
D E Struct Ltd
We understand this is a crucial issue and ask to refer to the programme to confirm critical paths. Drawings will be issued accordingly. In Clause 2.27, if we do not issue the drawings in time this would fall under a Relevant Event and an extension of time will be granted.
block.The project has reached the end of stage 4 of the RIBA Plan of Work – ie. Tenders have been received and checked by the Quantity Surveyor (Bill
Is this a problem? Why? Who is liable for this?
Page & Partners); you have reported to your client and have recommended
Please let us know if there is any further issue.
the acceptance of the lowest tender which has been submitted by Messrs.
Kind regards,
D.E. Struc Ltd. And which amounts to £6,342,000.50.
Group 2
S T U D E N T R O L L S ; R OTAT E D CONTRACT NAVIGATOR (research - RIBA job book, JCT SBC) AUXILIARY (file sorting + online research + drafting certificates) COMMUNICATIONS (writing letter, emails with dates, addresses etc.)
SAMPLE-
MArch MArch
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SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
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CM
JB
JP
SCENARIO: 19
ARB CRITERIA
1.1 1.2 1.3
SAMPLE-
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
SCENARIO: 19 RESPONSE
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
required. (Lupton, 2019, p.14) The project cost risk remains mainly with the employer, but they also retain control over STUDIO C
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AMPL
the quality of the design.
STUDIO H
REPORT
In a Design and Build project responsibility for the design, and with it, the financial risk and quality control lies on the Supply-side. The contractor takes partial or total responsibility for design as well as construction for an agreed lump ASSIGNMENT2:
sum. The contract package following the tender stage includes the employer’s detailed requirements, and the chosen
C O N T R A C T S I M U L AT I O N E X E R C I S E TRADITIONAL VS DESIGN &BUILD Traditional versus Design & Build; How different forms of building contract and procurement impact cost control
INDIVIDUAL REFLECTIVE REPORT contract and procurement impact cost control mechanisms and the Architect’s role in operating them either implicitly or explicitly through contractual administration.
contractor’s responding design proposal. (Lupton, 2002, p.143) At the formal appointment of the contractor, the
the quality of the design.
The suitable contract selection is determined not only by the procurement route and extent of contractor responsibility
In a Design and Build project responsibility for the design, and with it, the financial risk and quality control lies on the
but several factors, including the nature of the client’s sector, level of design liability and provision of client
Supply-side. The contractor takes partial or total responsibility for design as well as construction for an agreed lump
subcontractors. (Lupton, 2020, p.33) The contract Simulation game used the JCT standard Building Contract 2016
INTRODUCTION
sum. The contract package following the tender stage includes the employer’s detailed requirements, and the chosen
with quantities. This comparison will stay within the JCT Suite and use the JCT Design and Build contract 2016.
Jack Masterman defines procurement his 2002 book ‘An introduction to Building Procurement’, as “the organisational
contractor’s responding design proposal. (Lupton, 2002, p.143) At the formal appointment of the contractor, the
structure adopted by the client for the implementation, and at times even the eventual operation, of a project”.
employer’s design team consultants are ‘novated’ over to the contractor. The D&B tender process can either be single-
(Masterman,2002) It is an employer’s approach to risk and priority for goals and project aspirations concerning time,
stage; where the contractor will bid competitively for an unresolved design and employers cost plan at RIBA Stage 1 or
The contracts are similar; both are two-party lump sum contracts suitable for private or public sector projects and
quality and money that determine the appropriate choice of procurement route. The differing forms of contract are the
2, the D&B contract then being negotiated with a single chosen contractor. Alternatively, two-stage tender, in which
incorporate optional sectional completion but differ in line with the requirements of the two procurement courses. JCT
legal tool in which these preferred method structures are then implemented and underpinned. (Laird, 2020) Each
multiple contractors are involved from the earliest stages before a single contractor is selected and appointed for first
SBC 2016 allows for optional and specified provision for ‘Contractor’s Designed Portion’ if the appointed contractor is
contractual certificate, instruction or action within a project carries cost implications; therefore, these legal devices
stage work through a pre-construction services agreement. The contractor then collaboratively develops the second
to be responsible for specific parts of the works. JCT DB 16, however, contains a provision for completion of the design
allow the architect or contract administrator different opportunity, authority and mechanism to manage project costs.
stage package with the client and clients consultants, which is then tendered either competitively or through
by the contractor and the option for the clients to specify chosen subcontractors not merely retain approval of those
This report, using the simulated contact exercise as a reference, aims to compare the two most commonly utilised
negotiation. (Laird, 2020) This option is advantageous when there is a time constraint, as it facilitates construction
selected by the main contractor. One direct contrast between the two forms of contract is that the JCT SBC 16 makes
procurement routes, ‘Traditional’ and ‘Design and Build’ (D&B), with a specific examination of how particular cost
works beginning on-site before the detailed completion of the design.
provision for the role of independent and impartial decision-maker typically a contract administrator, Architect or
mechanisms and the Architect’s role in operating them either implicitly or explicitly through contractual administration
Traditional versus Design & Build; How different forms of building
CONTRACT COMPARISON: THE JCT SBC 2016 WITH QUANTITIES VS JCT DESIGN AND BUILD CONTRACT 2016
required. (Lupton, 2019, p.14) The project cost risk remains mainly with the employer, but they also retain control over
employer’s design team consultants are ‘novated’ over to the contractor. The D&B tender process can either be singlestage; where the contractor will bid competitively for an unresolved design and employers cost plan at RIBA Stage 1 or 2, the D&B contract then being negotiated with a single chosen contractor. Alternatively, two-stage tender, in which
Quantity Surveyor with an employee appointed clerk of works. The Architect/ Contract administrator’s role includes
multiple contractors are involved from the earliest stages before a single contractor is selected and appointed for first
control mechanisms operate differently under the two forms of procurement and contract.
BRIEF SUMMERY:
issuing instructions, payment certificates, extensions of time and practical completion certificates. Within the JCT D&B 2016 contract, there is no such designated role, as following novation the contractual obligations of the Architect now
PROCUREMENT COMPARISON:
lie with the contractor they are no longer impartial. Instead, an employers agent will take on the role of interface
Procurement is the organisational structure adopted by the client for the implementation, and at times even the eventual operation, of a project. It is an employer’s approach to risk and priority for goals and project aspirations concerning time, quality and money that determine the appropriate choice of procurement route. The differing forms of contract are the legal tool in which
stage work through a pre-construction services agreement. The contractor then collaboratively develops the second
The critical difference between procurement structures is the roles and relationships within the project; who the
between employer and contractor and the role of the quantity surveyor. (Morris, 2019). Some cost control mechanisms
responsibility and risk for design and construction rest with throughout the different stages of the work. The contract
and Architect’s role in operating them either implicitly or explicitly through contractual administration throughout the
simulation exercise adopted a Traditional procurement route, with a JCT (Joint Contracts Tribunal )Standard Building
construction phases of the project are therefore significantly different.
Contract with Quantities, 2016. Traditional sometimes termed to as Design-Bid-Build procurement refers to primarily
stage package with the client and clients consultants, which is then tendered either competitively or through
designer-led projects, where the Architect and contractor are employed and managed independently. The design team
CONTRACT SIMULATION EXERCISE & REFLECTION
finalise the design as employer appointed consultants (Demand side), the project in its resolved form will then go
An example of where this role of impartial decision-maker can be an effective method for implicitly implementing cost
through a tender process at RIBA stage 4, following which a chosen contractor is employed for an agreed sum. The
control measures is the consideration of ‘Relevant Events’ and ‘Relevant Matters’. In JCT contracts, relevant events are events that affect the program these may or may not be caused by the employer; they include things such as extreme
negotiation. (Laird, 2020) This option is advantageous when there is a time constraint, as it facilitates construction
contractor has no input to the design, responsible instead for constructing the project following the specifications
adverse weather conditions or variations from the design tendered. This term is used in consideration of time
within the tender package, responsible for workmanship and materials, including that of subcontractors and suppliers (Supply Side). Authority for any changes to design specification remains on the demand-side with Architect’s approval
implications and extensions to a contract. Relevant matters refer to a matter for which the employer is responsible that
Figure 2. Traditional Roll Structure
Figure 1. Design & Build Roll Structure
Iona Hoggarth AMPL 2020
2
affects the progress of the works and allows the contractor to claim back the loss or expense it caused. In a JCT SBC
This is not uncommon, especially wherein design and build contracts risks concerning ‘Concurrent delay’ where
2016, it would be the impartial architect/ contract administrator that is the decision-maker on whether something is
multiple relevant eventually impactful events cause delay, can be negotiated in the contract. The approach to which
deemed a ‘relevant matter’. The contract Simulation Game illustrated this in Scenario 11, where the contractor, D. E.
differs between English and Scottish courts. The consideration of a dispute between employer and contractor on matters
project costs.
Struct Ltd., requested a six-week extension to the contract, and to claim back scaffolding charges for six weeks that
concerning extensions of contracts can be long and expensive. (Lakha, 2020) Evidence needs to be provided in the
were nonproductive due to bricklayers strike on site.
form of; Terms of the building contract, Programmes original and revised programmes, Drawings, variations and
The critical difference between procurement structures is the roles and
In the scenario, our group responded with a replying email stating an extension would be granted as a Bricklayers strike
site diaries, logbooks, progress reports, minutes of progress meetings and photographs, any delay notices. All of which
falls contractually into the category of a Relevant Event. In best practice, our team should have, before granting this
could potentially be avoided with an impartial decision-maker who is involved and informed within the project.
works beginning on-site before the detailed completion of the design.
3
these preferred method structures are then implemented and underpinned. Each contractual certificate, instruction or action within a project carries cost implications; therefore, these legal devices allow the architect or contract administrator different opportunity, authority and mechanism to manage
relationships within the project; who the responsibility and risk for design
change orders, payment applications, copies of valuations and payment certificates, breakdown of the rates and prices
consulted the program and established whether the event actually would likely delay the project past the date of completion. The fact that strikes came under the umbrella of accepted reasons in the contract for the delay is not
BIBLIOGRAPHY
enough to say that, in that instance, an extension would be appropriate. Our groups returning email denied the request
•
Laird, M., 2020. Procurement.
and construction rest with throughout the different stages of the work. The
for compensation against the employer explaining the strike is not a Relevant Matter. It is the impartiality of the
•
Lakha, R., 2020. It's About Time!. [online] Charles Russell Speechlys. Available at:
contract simulation exercise adopted a Traditional procurement route, with
A risk in a Design and build contracts is that they often require contractors to use their ‘best endeavours’ to prevent
a JCT (Joint Contracts Tribunal )Standard Building Contract with Quantities, 2016. Traditional sometimes termed to as Design-Bid-Build procurement
Architect in the role of the decision-maker here, which allows this instance of cost control.
<https://www.charlesrussellspeechlys.com/en/news-and-insights/insights/constuction-engineering-andprojects/2019/its-about-time/> [Accessed 22 November 2020].
delay. Clause 2.25.6.1 of the JCT D&B 2016) states that “the Contractor shall constantly use his best endeavours to prevent delay in the progress of the Works”. what exactly is meant by ‘best endeavours’ has been the subject of court
•
Lupton, S., 2019. WHICH CONTRACT?. 6th ed. London: RIBA PUBNS LTD.
•
Masterman, J., 2002. An Introduction To Building Procurement Systems. 2nd ed. London: Spon Press.
•
cases. (Lakha, 2020)
Morris, R., 2020. The Role Of The Clerk Of Works – The Joint Contracts Tribunal. [online] Corporate.jctltd.co.uk. Available at: <https://corporate.jctltd.co.uk/the-role-of-the-clerk-of-works/> [Accessed 21 November 2020].
An obligation for best endeavours is not an absolute contractual obligation but might have meant that the contractors duty to reprogramme the works to prevent or reduce delays. ( Lakha,2020) If scenario 11 of the Contract game had occurred during a Design and Build Procurement route the situation would differ in the outcome that either the
refers to primarily designer-led projects, where the Architect and contractor
contractor reprograms, potentially trying to bring their expenses down in other aspects of the project, posing additional risk to quality. Alternatively, the contractor could request this extension, and the compensation for the scaffolding from
are employed and managed independently. The design team finalise the
the employer directly. When rejected by the employer or agent, there is room for argument on the point, further loss of
design as employer appointed consultants, the project in its resolved form will
architect my use a more explicit form of cost control in the way of an Architects Instruction to rectify work, as seen in
then go through a tender process at RIBA stage 4, following which a chosen
time, cost and potentially legal action or a court case if the contractor believes the employer is unjustified for this refusal. This is also applicable to instances of poor workmanship or works not in accordance with the contract, where an scenario 12.
4
5
contractor is employed for an agreed sum. The contractor has no input to the design, responsible instead for constructing the project following the specifications within the tender package, responsible for workmanship and materials, including that of subcontractors and suppliers. Authority for any
Figure 2. Traditional Roll Structure
Figure 1. Design & Build Roll Structure
changes to design specification remains on the demand-side with Architect’s approval required, The project cost risk remains mainly with the employer, but they also retain control over the quality of the design.
2 MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
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A S S I G N M E N T 3 : E X A M I N AT I O N
STUDIO H
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QUESTION 1
ANSWER SUMMARY:
PRACTICE SCENARIO : Three recently qualified Part 3 students, (including you!) have won an open
As our accountant has suggested we look at three types of business structure, we will provide a brief overview and critical appraisal of the
architectural competition to design and see through to completion an
advantages and disadvantages of each, and make a recommendation based on these. Firstly, when choosing the form of practice we should
archive and education centre building project for Leith Docks worth £2.2
use our Practice Ethos to guide how we wish the practice to be run, how employees will be treated, and how we may look to expand in the
million with a fee of £150,000. The project will be funded by the Forth Ports
future. Any decision regarding the business model of the practice should be taken with the consultation of an accountant and a lawyer, as
Authority. As a result of this you intend to formally start up an architectural
the understanding of legal and tax implications of this decision are vital.
practice in Edinburgh. Please note your examination pair are two of the three
UNIVERSITY OF EDINBURGH SESSION 2020-21
individuals who will be involved in the setting up of the practice.
LIMITED LIABILITY PARTNERSHIP, LIMITED COMPANIES AND COOPERATIVES Limited Liability Partnerships are suitable for firms that wish to be flexible in the way that they operate and organise themselves, established
COURSE ARJA11002 - ARCHITECTURAL MANAGEMENT, PRACTICE AND LAW LO1 - COURSEWORK SUBMISSION
QUESTION 1: N OT E F R O M PA R T N E R We need to consider clearly our form of business options. Our accountant
between individuals who wish to go into business with one another. They are becoming increasingly popular for architectural practices,
ISSUE DATE:
11th January 2021 (12 noon UK time).
making up around 10% of the total number of Chartered Practices according to data from the RIBA. LLPs combine certain crucial structural
SUBMISSION:
1st February
features of both a company and a partnership
2021 (12 noon UK time)
Limited Companies are easy to set up, and are favoured by practices with a large number of directors. Limited Companies enjoy benefits
INSTRUCTIONS: ANSWER a total of TWO QUESTIONS from three.
has suggested three potential business forms for us to consider, without
All questions carry EQUAL Marks. All answers carry a maximum word count of 1200 words.
particularly going into detail on any. Limited Liability Partnership, Limited
in relation to tax, ease of changing ownership/directors and are internationally recognised, making it easier to do business with other companies. In 2013, Ltd Companies made up the majority of architecture firms, around two-thirds of allpractices.
Submissions are to be uploaded to LEARN before 12.00 UK time on the 1st of February 2021. Start the answer to each question on a separate page.
Company or a Co-operative. Can you investigate the above ‘form of business’ options and provide a brief critical appraisal of their advantages and
Co-operatives could be seen as a social statement as much as a business, they are often community driven due to the equal ownership of
Answer papers are to be submitted in accordance with the Submission paper issued on LEARN. Only one paper needs to be submitted per pair. If you choose to answer Question 2 you will also need to submit your completed xls spreadsheet.
disadvantages. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding
the company and sharing of responsibility and rewards. A Cooperative must have at least 3 members who must have particular views in common, and the ownership of the company is equally shared between them. Cooperatives are relatively rare compared to LLPs and Limited Companies, however they are popular with architecture practices due to their flat structure and equal status across staff.
_________________________________________________________________________
on a form of business? Look at key factors, such as business structure,
RISK
professional liability, tax and administrative duties etc. A suggestion for an
Learning Outcome 1:
analytical framework might be Overview/ Ownership-Legal Structure/ Risk/
An understanding of practice management and codes of professional conduct in the context of the construction industry.
As per the ARB Code Standard 8, adequate and appropriate insurance cover is required for a practice and its employees, regardless of the form of practice. In both LLPs and Ltd Companies, the company is a legal entity separate from Directors and shareholders. Liability therefore
Tax/ Perception and Future development, feel free to add any other critical
is not joint and several, and is limited to the capital held within the business. In an LLP however, if a partner can be proved to be personally
terms you might think appropriate. Conclude by making a recommendation
at fault for a claim then they can be held liable for the full amount. In both Limited Liability Partnerships and Limited Companies, if a claim
as to which ‘form of business’ we should adopt and how this might shape the
is for more than the amount of money held within the business, then the company will file for bankruptcy. Cooperatives also operate with
future direction of the practice
limited liability. RECOMMENDATION it is our recommendation that the appropriate form of practice to take on would be a Limited Liability Partnership. As we are a small fledgling practice, it is important that we are able to establish strong relationships and trust with clients; this would be harder to do if we were to set up as a Limited Company, despite the tax benefits offered. Additionally, becoming a Co-operative would dilute the influence that we as founders would have over the company and potentially limit the type of work we would be able to carry out. By becoming an LLP we ensure that we are able to apply for a wide and diverse range of projects, and not limit our future options. It is possible to maintain an ideological practice ethos and operate in a sustainable way while still providing a sure foundation to build a successful business upon.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
STUDIO C
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STUDIO D
AMPL
STUDIO A
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A S S I G N M E N T 3 : E X A M I N AT I O N
STUDIO H
REPORT
QUESTION 3
ANSWER SUMMARY:
PRACTICE SCENARIO : Three recently qualified Part 3 students, (including you!) have won an open
There
architectural competition to design and see through to completion an
are four main methods for getting work; each of which requires specific tactics, both active and passive, in-house or engaging
external consultants, to work most effectively. As a newly-formed practice, we must have a clear and concise strategy to attract new work
archive and education centre building project for Leith Docks worth £2.2 million with a fee of £150,000. The project will be funded by the Forth Ports
UNIVERSITY OF EDINBURGH SESSION 2020-21
Authority. As a result of this you intend to formally start up an architectural
COURSE ARJA11002 - ARCHITECTURAL MANAGEMENT, PRACTICE AND LAW LO1 - COURSEWORK SUBMISSION
practice in Edinburgh. Please note your examination pair are two of the three
ISSUE DATE:
11th January 2021 (12 noon UK time).
individuals who will be involved in the setting up of the practice.
SUBMISSION:
1st February 2021 (12 noon UK time)
appropriate for the practice’s aspirations and practical capabilities. A practice strategy sets out plans, principles and targets to maintain efforts and resources are efficiently and productively channelled.
1. APPROACH: This refers to potential clients reaching out and returning clients with repeat business. (Stewart and McLachlan, 2019) This method should be a primary focus, particularly for a new practice such as ours needing to establish a broad network of contacts and build
INSTRUCTIONS: ANSWER a total of TWO QUESTIONS from three.
QUESTION 3:
a varied portfolio of work, reputation and recognisable credibility. This method requires a consistent and proactive advertising marketing
All questions carry EQUAL Marks. All answers carry a maximum word count of 1200 words.
N OT E F R O M PA R T N E R
Submissions are to be uploaded to LEARN before 12.00 UK time on the 1st of February 2021. Start the answer to each question on a separate page.
we are delighted to have won our first commission We have also been
Answer papers are to be submitted in accordance with the Submission paper issued on LEARN. Only one paper needs to be submitted per pair. If you choose to answer Question 2 you will also need to submit your completed xls spreadsheet.
approached by a family member to design a house extension in the Borders,
campaign, vital networking skills, personal recommendations, and registers such as RIAS. 2. PUBLIC PROCUREMENT AND FRAMEWORKS Government and public sector and large organisations or universities frequently use frameworks for consultants and contractors’
_________________________________________________________________________
including some internal alterations to the existing Victorian property. All new
appointment such as SCAPE, and Public Contracts Scotland. (Chappell and Dunn, 2016) Frameworks often operating through online portals, allow management of compliance with tightly regulated procurement routes, ensuring integrity. Securing a position on a framework for
Learning Outcome 1:
work is welcome! But we need to now ensure that we continue to attract more
An understanding of practice management and codes of professional conduct in the context of the construction industry.
shortlisting requires demonstration of experience in similar scale project delivery. It can be both expensive and time-consuming, all of which
work on a regular basis and we need to devise a set of clear and carefully
does not guarantee a consistent incoming stream of work. This method may not be practical to pursue at this early stage of our developing
considered methods for getting tha work in. I wonder if you could write
business. (Stewart and McLachlan, 2019) Instead, we should consider it a mid-term strategic target to revisit and its suitability reviewed
a short memo on the development of a ‘Getting Work’practice-strategy. It
However, registration with Chartership schemes could prove more immediately worthwhile. The RIBA Chartered Practice scheme with access
should include both general points on good practice and any
to RIBA client services and practice directory is less costly and would bolster credibility and prominence (Chappell
specific targets we should have.
and Dunn, 2016). 3. DESIGN COMPETITION Open or invited design competitions are an opportunity to present our practices’ strengths, gain publicity and without preconception of design team size or experience, win commission over established competitors. We have proven the value of this method with the Leith docks commission. competitions are a resource-heavy risk; entries are time-consuming in intense productivity and procedural requirements and require competitive pricing, as is the nature of open tendering. 4. BY DEVELOPMENT This method relates to architectural practices who design and build; this selling point sets them apart from traditional architecture firms. Taking on a more integrated role within development and construction; these practices have inhouse or sister-company contractors to offer a complete typically residential ‘Turn-Key’ architectural service. Parallell to each of these these methods is a strong marketing strategy; essential planning and promotional material to stand out in a niche, essential publicity & social media and networking required. Establishing good practice of written mission statements, and engagement of consultants where appropriate.
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.5
2.6
2.7
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STUDIO D
AMPL
STUDIO A
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STUDIO H
REPORT
A S S I G N M E N T 3 : E X A M I N AT I O N FULL SUBMISSION
Architectural Management Practice and Law 2020-21 Learning Outcome 1 Coursework Submission - Student Answer Paper
QUESTION 1: FORM OF BUSINESS
LIMITED COMPANY LTD
Note from Practice Formation meeting:
Limited Companies are easy to set up, and are favoured by practices with a large number of directors. (Chappell & Dunn, 2016) Limited Companies enjoy benefits in relation to tax, ease of changing ownership/directors and are internationally recognised, making it easier to do business with other companies. In 2013, Ltd Companies made up the majority of architecture firms, around two-thirds of all practices. (Ostime, 2019)
We need as a fledgling practice to consider clearly our form of business options. Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any. Limited Liability Partnership, Limited Company or a Co-operative. Can you investigate the above 'form of business' options and provide a brief critical appraisal of their advantages and disadvantages. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding on a form of business? Look at key factors, such as business structure, professional liability, tax and administrative duties etc. A suggestion for an analytical framework might be Overview/ Ownership-Legal Structure/ Risk/ Tax/ Perception and Future development, feel free to add any other critical terms you might think appropriate. Conclude by making a recommendation as to which 'form of business' we should adopt and how this might shape the future direction of the practice.
Co-operatives could be seen as a social statement as much as a business, they are often community driven due to the equal ownership of the company and sharing of responsibility and rewards. A Cooperative must have at least 3 members who must have particular views in common, and the ownership of the company is equally shared between them. Cooperatives are relatively rare compared to LLPs and Limited Companies, however they are popular with architecture practices due to their flat structure and equal status across staff. (Chappell & Dunn, 2016)
CRITICAL APPRAISAL
FORMS OF PRACTICE LIMITED LIABILITY PARTNERSHIP LLP
Student Names:
Matriculation numbers:
Iona Hoggarth
s1450039
Jack Parmar
s1998261
Limited Liability Partnerships are suitable for firms that wish to be flexible in the way that they operate and organise themselves, established between individuals who wish to go into business with one another. They are becoming increasingly popular for architectural practices, making up around 10% of the total number of Chartered Practices according to data from the RIBA. (Chappell & Dunn,2016) LLPs combine certain crucial structural features of both a company and a partnership. (Chappell & Dunn, 2016)
QUESTION 3 - GETTING WORK Obviously we are delighted to have won our first commission and we look forward to working on this in the coming months. We have also been approached by a family member to design a house extension in the Borders, including some internal alterations to the existing Victorian property. All new work is welcome! But we need to now ensure that we continue to attract more work on a regular basis and we need to devise a set of clear and carefully considered methods for getting that work in. I wonder if you could write a short memo on the development of a ‘Getting Work’ practicestrategy. It should include both general points on good practice and any specific targets we should have. ANSWER BELOW….
There are four main methods for getting work; each of which requires specific tactics, both active and passive, in-house or engaging external consultants, to work most effectively. As a newly-formed practice, we must have a clear and concise strategy to attract new work appropriate for the practice's aspirations and practical capabilities. A practice strategy sets out plans, principles and targets to maintain efforts and resources are efficiently and productively channelled.
METHOD OVERVIEW 1. APPROACH This refers to potential clients reaching out and returning clients with repeat business. (Stewart and McLachlan, 2019) This method should be a primary focus, particularly for a new practice such as ours needing to establish a broad network of contacts and build a varied portfolio of work, reputation and recognisable credibility. This method requires a consistent and proactive advertising marketing campaign, vital networking skills, personal recommendations, and registers such as RIAS. Although in these early days of the business all incoming work is welcome, we should be mindful of potential conflicts of interests when deciding to accept commission from personal and family connections. Costly misunderstandings can be easily avoided by using RIBA standard forms of appointment to agree scope of works and fees as early as possible in the process.
OWNERSHIP & BUSINESS STRUCTURE The structure of a business can refer to its ownership, internal organisation and the status of its employees. For a Limited Liability Partnership, ownership is shared between partners, agreed and written in the LLP agreement, and there is no requirement to appoint directors. (Dall, 2019) Limited Companies operate differently in this regard, as the business is owned by shareholders but run by directors, and Legal ‘Articles’ define what the company will or will not do. In a true Co-operative the ownership is equally shared between members, and rewards and responsibilities are split between them. (Dall, 2019) Alternatively, the ownership can be held on behalf of the members, who might not have a say in the running of the Cooperative. Internally, the way a company is structured can affect how it operates. Limited Companies are most commonly hierarchical structures, and while LLPs can follow this model, they also have the flexibility to be adopt whatever form of internal organisation they choose. (Chappell & Dunn, 2016). Cooperatives are typically flat-structures due to the nature of their shared ownership.
RISK & PERSONAL LIABILITY Different forms of practice have different implications on the risk an individual takes on when starting a business. As per the ARB Code Standard 8, adequate and appropriate insurance cover is required for a practice and its employees, regardless of the form of practice. (Ostime, 2019) In both LLPs and Ltd Companies, the company is a legal entity
operating through online portals, allow management of compliance with tightly regulated procurement routes, ensuring integrity. An example of such regulation is the Official Journal of the European Union. According to EU legislation, all Public sector tenders priced above a certain threshold must be published in the OJEU. (Chappell and Dunn, 2016) Securing a position on a framework for shortlisting requires demonstration of experience in similar scale project delivery. It can be both expensive and time-consuming, all of which does not guarantee a consistent incoming stream of work. This method may not be practical to pursue at this early stage of our developing business. (Stewart and McLachlan, 2019) Instead, we should consider it a mid-term strategic target to revisit and its suitability reviewed in 5 years. However, registration with Chartership schemes could prove more immediately worthwhile. The RIBA Chartered Practice scheme with access to RIBA client services and practice directory is less costly and would bolster credibility and prominence (Chappell and Dunn, 2016). 3. DESIGN COMPETITION Open or invited design competitions are an opportunity to present our practices' strengths, gain publicity and without preconception of design team size or experience, win commission over established competitors. We have proven the value of this method with the Leith docks commission. It is worth remembering that partnering with larger architectural firms to support resources or adequate PI cover and experience is a possibility; RIBA Services can match appropriate firms. (Littlefield, 2005.) Nonetheless, competitions are a resource-heavy risk; entries are time-consuming in intense productivity and procedural requirements and require competitive pricing, as is the nature of open tendering. (Littlefield, 2005.) Therefore we should establish a target limit for the number and type of competitions entered into per year select only those suitable for our knowledge and skill base. 4. BY DEVELOPMENT This method relates to architectural practices who design and build; this selling point sets them apart from traditional architecture firms. Taking on a more integrated role within development and construction; these practices have inhouse or sister-company contractors to offer a complete typically residential 'Turn-Key' architectural service. (Stewart and McLachlan, 2019)
2. PUBLIC PROCUREMENT AND FRAMEWORKS Government and public sector and large organisations or universities frequently use frameworks for consultants and contractors' appointment such as SCAPE, and Public Contracts Scotland. (Chappell and Dunn, 2016) Frameworks often
MArch MArch
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SEMESTER SEMESTER
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CONTRIBUTORS
FUTURE DEVELOPMENT Although choosing a form of practice happens at the start of a business’s life, it is worth considering how the business moves forward and the development of the practice may be affected. In this regard, LLPs are flexible in their internal structure, allowing new partners to be taken on and changed without affecting the status of the practice. (Dall, 2019) New partners may be sought from within the business, as they will be familiar with the way the practice operates and ensure the continuation of the business after the founding partners retire or leave. (Dall, 2019) Limited Companies also allow for changes in leadership without needing to change the fundamental nature of the company. Co-operatives require a consensus to make decisions on changes which might affect the direction of the practice, which can be time consuming and prove to be a barrier when looking to appoint new directors or expand in the future. (Dall, 2019) If the company is looking to expand abroad to take advantage of an overseas market, the internationally recognised nature of a Limited Company can be beneficial. (Chappell & Dunn, 2016)
CO-OPERATIVE
ANSWER BELOW….
As our accountant has suggested we look at three types of business structure, we will provide a brief overview and critical appraisal of the advantages and disadvantages of each, and make a recommendation based on these. Firstly, when choosing the form of practice we should use our Practice Ethos to guide how we wish the practice to be run, how employees will be treated, and how we may look to expand in the future. Any decision regarding the business model of the practice should be taken with the consultation of an accountant and a lawyer, as the understanding of legal and tax implications of this decision are vital. (Littlefield, 2005)
separate from Directors and shareholders (Littlefield, 2005). Liability therefore is not joint and several, and is limited to the capital held within the business. In an LLP however, if a partner can be proved to be personally at fault for a claim then they can be held liable for the full amount. (Chappell & Dunn, 2016) In both Limited Liability Partnerships and Limited Companies, if a claim is for more than the amount of money held within the business, then the company will file for bankruptcy. Cooperatives also operate with limited liability, where if liquidation is necessary, the liability of individual members is confined to the amount of their shareholdings, which were increased to a limit of £100,000 in April 2014. (Chappell & Dunn, 2016)
IH
DS
CM
JB
JP
TAX AND ADMINISTRATIVE DUTIES Tax situations can change frequently, so therefore shouldn’t be relied upon as a critical factor for deciding the form of practice you wish to use. That being said, there are tax implications which can benefit one form of practice over another, and it is worth understanding these when making a decision. For LLPs, partners are self-employed and must register with HMRC, as well as filing tax returns with Companies House. Income tax is payable on each partners share of profits, even if they are not distributed to members. (Dall, 2019) Limited Companies operate differently in terms of taxation, as all employees in a Ltd Company are subject to PAYE. All salaries are deductible before the calculation of annual profits for corporation tax purposes, including those of directors, resulting in a lower amount of taxation for Limited Companies than Limited Liability Partnerships. (Ostime, 2019) Like Ltd Companies, Co-operatives also have to pay Corporation Tax and are also allowed to defer tax on profits by retaining them within the Co-operative, and employees are subject to Income tax via PAYE. (Tax & Coops, 2021)
OUR RECOMMENDATION Taking these factors into consideration, it is our recommendation that the appropriate form of practice to take on would be a Limited Liability Partnership. As we are a small fledgling practice, it is important that we are able to establish strong relationships and trust with clients; this would be harder to do if we were to set up as a Limited Company, despite the tax benefits offered. Additionally, becoming a Co-operative would dilute the influence that we as founders would have over the company and potentially limit the type of work we would be able to carry out. By becoming an LLP we ensure that we are able to apply for a wide and diverse range of projects, and not limit our future options. It is possible to maintain an ideological practice ethos and operate in a sustainable way while still providing a sure foundation to build a successful business upon.
PERCEPTION How you are viewed as a practice can affect the way in which you do work, and how suppliers and other companies do business with you. As Limited Liability Partnerships are still a relatively new practice structure, they may not be seen as being as credible as a Limited Company despite both being required to register with Companies House. The requirement to publish information such as profits means that LLPs are more transparent, which can be seen in a positive way. The commercial and easily changeable nature of Limited Companies can be viewed as less reassuringly professional, and can give off the impression that the company is not as committed to upholding standards and delivering the quality associated with an LLP or a Cooperative; the attachment to a practice name and personal responsibility for work undertaken can be especially important to potential clients. Co-operatives can be created as the result of shared ideological reasons, and this can be attractive to clients who are looking for a practice which embodies their own ethos.
MARKETING
projects is key to marketing and publication success. It will be worth investing in a professional photographer for our completed projects.
BIBLIOGRAPHY:
NETWORKING
4. RETENTION AND DEVELOPMENT OF EXISTING CLIENT NETWORK
The construction industry is built on relationships; networking is an imperative ongoing method of creating new business and useful connections. (Littlefield, 2005.) There are many cross-discipline networking events, clubs, associations, designed to bring together construction professionals in Edinburgh. Membership fees potentially drain resources, so we need to be strategic in assessing useful attendees, formats, locations, monitoring return value over time and setting targets for events and CPD functions to be attended each quarter. This marketing method does not generate immediate commissions but creates relationships that provide opportunities later; mutual referrals will increase exposure and market reach. It would be worthwhile for us to set up office procedures for collating contacts and key client lists on a database.
Securing a large proportion of our work from one client is unsustainable for ensuring regular income; however, we should be proactive in retaining clients who commission numerous projects as potential long term key accounts. (Chappell and Dunn, 2016) Understanding of clients' business, maintaining contact and correspondence with previous clients, personal connections, contractors, or industry specialists encourages recommendations and return business, reducing our need for expensive active marketing strategies. (Ostime, 2019)
Co-operatives UK. 2021. Tax and co-ops. [online] Available at: <https://www.uk.coop/resources/how-finance-your-platform-co-op-start/tax-and-coops> [Accessed 14 January 2021].
A MARKETING STRATEGY; ESSENTIAL PLANNING AND PROMOTIONAL MATERIAL : Marketing will be our primary tool for attracting new projects; Advertising, networking, websites and social media will be useful in ensuring we are prominent and approachable. Writing a business development strategy will identify buoyant markets and our specific goals and ideal clients within them. Promotional material alone will be ineffective attracting limited new custom, but coupled with an understanding of requirements and characteristics of possible and existing clients; we can tailor how we represent and develop our relevant skills and services to answer these demands. Utilising a PESTLE analysis to understand the current and potential political, economic, social, technological, legal and Environmental position of the practice, our marketing plan then sets out the tactics we will employ to achieve time-specific marketing aims. (Foxell, 2019) Within this plan it is worthwhile us establishing quantitative targets regarding; numbers of new clients, commissions, value of jobs per quarter. minimum added value on identified projects but also more qualitative goals such as consistent client satisfaction.
Dall, N, 2019. Starting Up an Architectural Practice Foxell, S., 2019. Starting a Practice, 2nd Edition. 2nd ed. [S.l.]: RIBA Publishing. Littlefield, D., 2005. The architect's guide to running a practice. Oxford: Elsevier. Moreno, C., 2021. Building Your Business ; Working out a business strategy for your architecture firm to get ahead.. [ebook] Autodesk. Available at: <https://damassets.autodesk.net/content/dam/autodesk/www/solutions/pdf/Building_yo ur_business.pdf> [Accessed 15 January 2021]. Ostime, N., 2019. Handbook of practice management. 9th ed. London: RIBA Publishing.
ESTABLISHING GOOD PRACTICE FROM THE OUTSET
Stewart, C. and McLachlan, N., 2019. Getting Work The Collective Way.
STANDING OUT IN A NICHE
1. WRITING A MISSION STATEMENT
Considered market positioning while building a strong brand identity is critical in this early stage of the practice. Not only will it help target marketing, but increasing recognition is easier when excelling in a smaller field. Once a knowledge base and client relationships are established, future business development phases can be concerned with branching out strategically for a more diverse and sustainable work scope. (Moreno, 2021) Our successful commission for the Archive and Education Centre at Leith Docks has merited us a foothold in the education sector; Further educational projects and a place on public procurement frameworks specialising in education building delivery will be a beneficial target for us. specific publications to feature in, and longer-term aim to shortlist or win particular industry awards relevant to this market will help maintain our focus on developing our specialism.
A coherent, collectively written mission statement at the outset of forming a practice ensures all partners agree on fundamentals and aspirations such as; Who we are, our perception and strengths in what we offer, and the extent and direction of growth. Understanding and articulating the business development strategy directs and maximises networking opportunities, nurturing more proactive marketing plans. (Littlefield, 2005.) 2. A POSITION OF RESPONSIBILITY Entrusting a specific person to take particular responsibility for marketing does not limit the other partners from bringing in new clientele but instead aims to ensure business development is an ongoing topic in our management meeting agendas. It allows allotment of time for research to revise strategy and targets. Monitoring marketing tactic success is a vital part of attracting new work while not wasting resources. (Littlefield, 2005.)
ESSENTIAL PUBLICITY & SOCIAL MEDIA Consistent branding, sign boarding, website, brochures and social media presence are necessary to present the company as respectable and to nurture reputation. We need to publicise our successes whenever possible; commission wins, planning submissions and approval, work progressing on-site, and reaching completion—only promoting work we are proud of and which reinforces our brand. It is essential in today's industry to utilise social media platforms and regularly update them. The traffic on these platforms and our website are easily monitorable. (Moreno, 2021) We should be proactive regarding press releases; developing professional relationships with publications online and print most suitable for our ideal clients. (Littlefield, 2005.)
ARB CRITERIA
Chappell, D. and Dunn, M., 2016. The architect in practice. 11th ed. Wiley.
3. ENGAGING CONSULTANTS TO INCREASE VALUE Careful consideration of our marketing budget and our collective skill base is required when prioritising and engaging PR consultants; We have the necessary skills to create our branding, logo and experience designing and organising printing of promotional documentation. However, we are less qualified in website design. Typically costing £10,000 (Littlefield, 2005.) a high-quality professional website is essential for attracting potential clients. Similarly, High-quality photography of
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
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A R B G R A D U AT E AT T R I B U T E S
2.1
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Design Studio H COURSE SUMMERY Studio A challenged us test our thesis through a more detailed understanding of technology and assemblages of space. Studio H now drives that s forward and begins to test that spatial understanding and speculation at the SET scale; exploring how the architecture works at not just body and building scale but also within enzymatic territories. Te urban speculations are investigated in parallel to further enrich the representation and refinement of the body and building scale through models, videos, and illustrations.
PARA-Situation: {Ahmedabad}; {Dance}floors and {Aqua}Fissures
CRITICAL REFLECTION The strength of my response to the assignment of Studio H is in the continuation of established thetic conceptual frameworks from building to SET, urban scales drawing on principles of Urban Design and in the Use of Differing forms of representation, primarily models; Detail, Form, Massing and conceptual. The experiential understanding of the project would benefit from further render like illustrations.
LE ARNING OUTCOMES LO1 | The ability to develop a research inquiry
with conceptual
which is clearly and logically argued, has awareness
and contextual concerns.
of disciplinary and interdisciplinary
LO3
modes of
|
A
critical
understanding
of,
and
the
research, draws from specifically defined subject
development of skills in using, differing forms of
knowledge and is relevant to current architectural
representation (eg. verbal, drawing, modelling,
issues
photography, film, computer and
LO2 | The ability to develop an architectural, spatial
workshop techniques), especially in relation to
and material language that is carefully considered
individual and group work
at an experiential level and that is in clear dialogue
B E H I N D : A H M E DA B A D, G U JA R A AT, I N D I A . 1 5 7 3 A K B A R N A M A B O O K BY A B U ’ L - FA Z L I B N M U B A R A T H E M U G A L C O N Q U E R O F G U J A R AT.
The Re-Saturation of the Ravivari. Urban Design.
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{Dance}Floors & {Aqua} Fissures: Guilded Edges KAL AKRUTI NI POL: THE RAVIVARI REFUGE GUILDED EDHES: THE URBAN S P E C U L AT I O N F O R T H E R E S AT U R AT I O N O F THE RAVIVARI BA ZAAR SITE
Standing within the Ravivari Market, The Kalakruti stands prominently in the skyline, for those walking glimpses can be snatched past the Buildings to the Sabarmati beyond. The perforated brick screens of the weaving house allowing glimpses of swaying movement of the lush roof garden and circulation spaces beyond it, veiling but not hiding the activities behind. Oversized bifolding shuttered outer facade of the administration offices projecting to the focal point of the elevation. A perceptible change in threshold of closed versus open shutter, an unavoidable visual prompt whether the kalakruti is open for daily business of closed and walls of the refuge made absolute. The further into the courtyard and more private and encolsed the space becomes, the smaller the elements of the facade become.
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IH
DS
CM
JB
JP
ARB CRITERIA
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A R B G R A D U AT E AT T R I B U T E S
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KAL AKRUTI NI POL: THE RAVIVARI REFUGE
D E TA I L S E C T I O N M O D E L :
D E TA I L E D FA C A D E
MArch MArch
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IH
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JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
SECTION MODEL : 1:50
3.1 3.2 3.3
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STUDIO C
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D E TA I L S E C T I O N M O D E L : C O U RT YA R D FA C I N G FA C A D E
STUDIO D
IH
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ARB CRITERIA
AMPL
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10.1 10.2 10.3
11.1 11.2 11.3
STUDIO H
A R B G R A D U AT E AT T R I B U T E S
REPORT
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
KAL AKRUTI NI POL: THE RAVIVARI REFUGE WHITE CARD FORM MODEL : 1: 200
W H I T E M O D E L : C A R D, B U L S A R A N D COT TO N FORM DEVELOPMENT MODEL
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
MArch MArch
1 2
AT R
SEMESTER
1
CONTRIBUTORS
W H I T E M O D E L : C A R D, B U L S A R A N D COT TO N
SEMESTER
2
FORM DEVELOPMENT MODEL
STUDIO D
IH
DS
CM
JB
JP
ARB CRITERIA
AMPL
STUDIO A
S C AT
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
STUDIO H
A R B G R A D U AT E AT T R I B U T E S
REPORT
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
U R B A N S P E C U L AT I O N : T E S T I N G F I S S U R E S
The urban speculation for the ravivari re-saturates the bank through 12 parallel Aquafissures, each carving a network of filtration pools and cooled spaces woven between and beneath a series of Local amenities; and Guilds; centres for traditional local crafts and the basis for agencies of the same intention as The Kalakruti refuge. Just as demonstrated historically in the pols, communities of skilled trades work together to creative a cohesive and sustainable communities. Setting up a framework model to lead on ongoing ecosophic approach to urban design results in an intricate but spatially appropriately rich, irregular and indian framework for architectural development. The once desiccated void of people, and identity is now saturated with
a rich urban fabric and framework for community sitting
parallel, parasitically
together and as a Paradigmatic Pol for a
contemporary Ahmedabad.
[AQUA] FISSURE & [DANCE] FLOOR THESIS VIDEO
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
MArch MArch
1 2
AT R
U R B A N S P E C U L AT I O N S ; SEMESTER 1 1:100
SEMESTER
2
STUDIO D
D R A F T R I V E R E L E VAT I O N I N T E N T I O N D R AW I N G F R O M M O D E L ARB CRITERIA CONTRIBUTORS IH DS JP
CM
JB
AMPL
STUDIO A
S C AT
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
STUDIO H
A R B G R A D U AT E AT T R I B U T E S
REPORT
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
THE GUILDED EDGES OF THE RAVIVARI: 1:1000 MODEL PL ASTER, AND CARD
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
1 : 1 0 0 0 S A B A R M AT I S I T UAT I O N : P L A S T E R URBAN DEVELOPMENT MODEL: PLOTTING PL ACE
B A N K D E V E LO P M E N T P R O C E S S : F I S S U R E I N G A N D FA B R I C AT I N G
20
60
MArch MArch
100
1 2
SEMESTER SEMESTER
AT I O N ; K A L A K R U T I N I P O L S I T UAT I O N
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
B A N K D E V E LO P M E N T P R O C E S S : F I S S U R E I N G A N D FA B R I C AT I N G 1 : 1 0 0 0
MArch MArch
1 2
SEMESTER SEMESTER 0
20
1
CONTRIBUTORS
2 30
40
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
0
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
AQUAFISSURES
PUBLIC COURSE
AGENCY POOLING
OCEANS OF WETNESS
IMPLEMENTATION OF AQUA FISSURES
MArch 40
MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
PLOTTING AQUAFISSURES & PL ACEMAKING
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
GUILDED EDGES: THE URBAN DESIGN FOR THE RE SATURATION OF THE RAVIVARI BAZAAR, SABARMATI WEST BANK
MArch MArch
25
SEMESTER
1
SEMESTER
2
50
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
3 6
10
1.
50
1 : 2 5 0 0 U R B A N S P E C U L AT I O N G U I L D - E D E D G E S O F T H E S A B A R M AT I
9
PERFORMING ARTS GUILDS
WA L L L E G AC Y G U I L D S
AGENCY & INTERDEPENDENCE
T H E R E F U R B I S H E D R AY K H A D G AT E R E E S TA B L I S H E S A C E R E M O N I A L P E D E S T R I A N A P P R O A C H T O T H E R AV I VA R I M A R K E T S I T E . PERFORMING AND VISUAL ART GUILDS R E I N F O R C E A S E N S E O F D E S T I N AT I O N A L L W E E K L O N G AT T R A C T I N G V I S I T O R S W I T H CONVIVIAL EXHIBITION AND PERFORMANCES S PA C E S S T E P P I N G T O T H E S A B A R M AT I .
T H E W O R L D H E R I TA G E S TAT U S OF AHMEDABAD HAS AIDED THE REINVESTMENT IN OLD AHAMEDABADS A R C H I T E C T U R A L L E G A C Y. T H E R E B U I L D I N G O F T H E O R I G I N A L F O R T I F I C AT I O N S ; STEPWELLS AND POL HOUSING HAS SHOWCASED A CALIBRE OF LOCAL SKILL B A S E T H AT I S R E N O W N E D I N G U J A R AT. T H E L E S S E N C L O S E D C O U R T YA R D A L L O W S F O R
COLLECTION OF AGENCIES WORKING I N T R O S P E C T I V E LY A S A C O M M U N I T Y I N I T S E L F. O N C E W O V E N T O G E T H E R , AND THREADED WITH PUBLIC MEETING A N D L E I S U R E S PA C E S , A L O C A L E I S E S TA B L I S H E D S AT U R AT E D W I T H S H A R E D SENSE OF IDENTITY AND OWNERSHIP A N D P R I D E F O R T R A D I T I O N A L G U J A R AT I C R A F T.
1. VISUAL ARTS GUILD 2. MUSIC GUILD 3. CHABUTRO 4 T H E AT R E G U I L D 5. DANCE GUILD
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
12
11
7
5
25
REPORT
8
4
2
STUDIO H
EACH GUILD IS AN INDEPENDENT
8. CARPENTRY& MARQUETRY GUILD 9 . C A R P E T W E AV I N G G U I L D S 1 0 . FA B R I C A N D T E X T I L E S G U I L D (KALAKRUTI NI POL) 11. JEWELLERY MAKING 1 2 . M E TA L W O R K
6 . S TO N E M A S O N RY & JA L I W O R K 7 . P OT T E RY A N D C E R A M I C S G U I L D
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
1
STUDIO H
REPORT
3 2 4 7
5 6
8
25
50
1 : 2 5 0 0 U R B A N S P E C U L AT I O N G U I L D - E D E D G E S O F T H E S A B A R M AT I : P U B L I C A M E N I T Y
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
S O C I A L LY S U S TA I N A B L E C O M M U N I T Y
PERFORMACE AND EXHIBITIONS
G AT H E R I N G A N D R E C R E AT I O N
L O C AT E D AT T H E P R I M A R Y A R R I VA L P O I N T F O R T H E R AV I VA R I , T H E E X I S T I N G C A R PA R K A C C O M M O D AT E S T H E A R R I VA L O F V I S I T O R S A N D PAT R O N S O F T H E P E R F O R M I N G A R T S GUILDS.
L O N G E S TA B L I S H E D A S A M E E T I N G P L A C E F O R A L L A G E S D U R I N G T H E S U N D AY M A R K E T T H E R AV I VA R I A R E A E N C O U R A G E S I N H A B I TA N C E A L L W E E K L O N G W I T H R I V E R F R O N T C A F É S A N D R E S TA U R A N T S A N D PUBLIC GARDEN THE NEW RIVER BASIN CONDITION SUPPORTING ACTIVITIES SUCH A S R O W I N G A N D C R I C K E T.
1 . E X I S T I N G C A R PA R K 2 . T H E AT R E A N D A R T E X H I B I T I O N S PA C E S
T H E S P E C U L AT I O N O F A G E N C I E S A N D ALLIANCES, PL ACES OF DWELLING AND REFUGE AS WELL AS ENTERPRISE AIMING TO S U P P O RT G E N D E R E Q UA L I T Y C A L L F O R PUBLIC AMENITIES SUCH AS SCHOOLS AND C H I L D C A R E T O B E L O C AT E D C L O S E T O EMPLOYMENT PREMISES. 7. SCHOOL 8 . P L E A S U R E F E R R Y B O AT S
3 . C H A B U RTO 4 . R E C R E AT I O N A N D C R I C K E T G R O U N D 5.ROWING CLUB HOUSE 6 . C A F É ’ S A N D R E S TA U R A N T S 7 . E X I S T I N G P U B L I C M A L E A N D F E M A L E TO I L E T S
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
1
5
STUDIO H
REPORT
6
4 2
VEHICUL AR VS. PEDESTRIAN HIERARCHY
25
50
THE REDUCTION OF THE EXISTING THREE L A N E S O F T R A F F I C I N TO T W O S I N G L E L A N E S O F T R A F F I C I S FA C I L I TAT E D B Y E X I S T I N G R O U N D A B O U T S AT T H E N O R T H A N D S O U T H O F T H E R AV I VA R I S I T E ; S O U T H B O U N D R U N N I N G AT T H E M A R K E T L E V E L A N D N O R T H B O U N D AT T H E H I G H E R B A N K L E V E L . T H I S COMPOUNDED WITH INCREASED ROAD SIDE F R O N TA G E A N D P E D E S T R I A N P R E S E N C E A I M S TO D E C R E A S E T H E S P E E D O F V E H I C U L A R TRAFFIC .
1 : 2 5 0 0 U R B A N S P E C U L AT I O N G U I L D - E D E D G E S O F T H E S A B A R M AT I : A CC E S S A B I L I T Y
1. SOUTH BOUND & MARKET ACCESS 2 . C A R PA R K , R I C K S H A W D R O P O F F 3 . E X I S T I N G A CC E S S I B L E L I F T TO B A N K P R O M E N A D E 4. ONE OF SIX LOWER LEVEL SERVICE AND ACCESS ROUTES
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
8
7
3
IH
DS
CM
JB
JP
PEDESTRIAN ACCESSIBILIT Y
EMBELLISHING THE BAZAAR
EXISTING PROVISION FOR DISABLED A C C E S S T O B E M A I N TA I N E D AT N O R T H A N D S O U T H A P P R O A C H TO T H E R I V E R F R O N T PROMENADE.
THE PRESENCE OF TRADERS THROUGHOUT THE WEEK SUPPORTS THE ENTERPRISE OF THE GUILDS AND SETS UP THE R AV I VA R I A S A D E S T I N AT I O N F O R F I N E LY CRAFTED GOODS AND ENCOURAGES A D A I LY C O N V I V I A L AT M O S P H E R E I N T H E MARKET SQUARE. A VISUAL CONNECTION B E T W E E N O L D WA L L B A S T I O N A N D N E W WA L L I S H I G H L I G H T E D BY F O R M A L S T E P S L E A D I N G T O T H E C H A B U R T O PAV I L I O N O F T H E M E E T I N G A N D R E C R E AT I N G G R O U N D ENTRANCE
7. EXISTING ACCESSIBILIT Y RAMP 8. EXISTING ACCESSIBLE LIFT
5 . S M A L L S H U T T E R E D S H O P S S TA L L F R O N T S 6. MAIN PEDESTRIAN ACCESS BET WEEN MARKET A N D R I V E R F R O N T, M AT E R I A L C H A N G E A N D D R O P CURB
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
Design Studio H COURSE SUMMERY The Design Report sets out the Thesis; research and design development undertaken throughout the four studio courses, incorporating images including the key drawings, photographs of models, and illustrative representations of the design project. The design report should allow the reader to follow the student’s study process, allowing an understanding of the themes and material examined, frameworks of design decisions, etc.
CRITICAL REFLECTION The design report course provided an opportunity to curate the thesis’s narrative and prepare for articulating the idea, themes, and speculations explored in parallel to the verbal presentations at design studio reviews. I found structuring the design report was most productive when undertaken in parallel to crit preparations. In particular with such an extended 2 year project over four-course modules, the wealth of adopted language established in communicating conceptual principles within the studio environmen is vast; therfore the written glossary of Project terms was a useful exercise to undertake and update throughout the semester.
LO1 | The ability to communicate, critically appraise
in architectural design, materials, processes and
and argue the rationale of a design proposal using
techniques of building, the design and development
text and image in the context of a printed report.
of cities, histories and theories of architecture and
LO2
the
| The ability to produce documentation and
reports that are clear, analytical and logical,
related
arts,
management,
practice
and
regulatory frameworks, within the report.
covering a range of architectural issues of culture,
EM S TJ AE RR A A1T , I N D I A . 1C5O , GE U 7N 3 TRIBUTORS M A r cBhE H 1I N D : A H M E D A B AS D
A K B A R N A M A B O O K BY A B U ’ L - FA Z L I B N M U B A R A M A r cThH E 2M U G A L C O N Q USEERMOE FS TGEUR J A2R A T .
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
technology, history, professional practice, value,
LO4 |
theory anddesign.
and techniques through the preparation of a
LO3 | Demonstration of integration of knowledge
sophisticated graphic document.
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
The development of transferable skills
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
AT R
STUDIO D
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
SELECT GLOSSARY
A G E N C Y : An Ezymatic Territory or any part of it. AGENT: That which takes on and represents the operative force of an agency.
AMENITY: That which is available for folk to arrange to suite themselves.
AQUA-FISSURE:
Urban Fabric;
A contemporary re conception of a stepwell, a Vennel of steeping pools and plat-
Carving the Bagru Block
forms of for the slowing of run - off water and filtration into the sabarmati.
DANCE FLOOR: A surface of prestige ground , cool green and white marble found at daparna dance school, but also throughout the old town, in chowks of temples.
Manchester of the East ‘Gujarat is home to
products marketed in the right manner.
many craft communities such as Chaudhari
Just as the pols sit tightly together within the old
E C O S O P H I C A L E N U N C I AT I O N :
Patels,
Rabaris,
city walls, the intricately hand-carved wooden
Harijans, Darbars, etc. who practice various
printing blocks create a fabric which pattern
The register of a constituent part of an enzymatic territory.
kinds
Choradia
Ahirs,
Choradia
appliqué
tesselates completely and yet imperfectly. The
E N Z Y M AT I C T E R R I TO RY :
traditions, which are the mainstay of their
boundary edge invisible to all those except
The fluctuating fecund ground on which folk, ground, sky, buildings, and water
livelihoods. The production of woven cloth,
its maker. The Invisible waters model holds an
dyed fabrics, woven carpets, block printing etc
imprint of that unplottable imperfection in the
continuously work in parasitically productive relations.
that is produced on the premises is sold at the
form of a carved wooden block ready to ink.
of
hand
embroidery
and
GROUND:
Ravivari Bazaar on Sunday. Ahmedabad is one
That which is both literally and metphorically the ground apon which architecture
of the oldest hubs for textile crafts; famous
is built.
for its block printing and Aplique embroidery. Many of these crafts however are dying, the
GROYNE:
craftsmen possessing extraordinary skills face
A barrier or threshold constructed to contain and defend against erosion and
poverty and turn to other occupations for a
drifting, or sprawl.
livable income, pushing these crafts further in the direction of extinction. The skills passed through generations hold great value both
GUILD:
culturally and as a high value product, to
An association or agency craftsmen or creative industry with a mutual aim or the
preserve this rich cultural heritage, awareness
pursuit of a common goal.
needs to be created about these crafts and
PA R A S I T U AT I O N : An unfamiliar co existent. ‘ Other’ situation that is necessitates a different appreciation of a host situation
TA N K A : A traditional vernacular water harvesting system of the Pol districts of Ahmedabad._
S A M P L E PA G E S 2 1 0 X 2 1 0
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
P R E FAC E : 01: INTRODUCTION At the forefront of the drive for independence from
THESIS: [DANCE] FLOORS AND [AQUA]FISSURES; T H E R E F U G E A N D R E - S AT U R AT I O N O F T H E R AV I VA R I
02: THESIS CONTEXT; WALL WELLS AND WELL WALLS T H E WA L L E D C I T Y, T H E PA R A S I T U AT I O N S
AGENCY: THE KALAKRUTI NI POL; A WOMENS REFUGE
S I T UAT I O N A : O B S E R VAT I O N S O F A T Y [ P O L ] O G Y U R B A N FA B R I C ; C A R V I N G T H E B AG R U B LO C K
A COLLECTIVE PROMOTING THE FINANCIAL AND SOCIAL INDEPENDENCE OF WOMEN RECOVERING FROM DOMESTIC ABUSE THROUGH AN ENTERPRISE OF TEACHING, PRODUCING AND TRADING FINE QUALITY TRADITIONAL TEXTILES.
[ PA R A ] S I T U AT I O N :
S I T UAT I O N B : T H E R AV I VA R I B A Z A A R U R B A N FA B R I C : A R E I M A G I N AT I O N O F G R O U N D
T H E S A B A R M AT I R I V E R , A H M E DA B A D, I N D I A
03: [DANCE]FLOORS & [AQUA]FISSURES
THE RAVIVARI BA ZAAR, E AST BANK.
THE UNIVERSITY OF EDINBURGH
20 per cent of which now sit with private developers and a further 28 taken up with four wide lane roads,
India ruled by Indians. The emphasis on the mother
resulted in the most significant displacement of a
tongue and native customs has gone some way to
population in the city’s history, flooding in 2006
contributing to a cultural surge in the post-industrial
and have lead many to question the integrity, both
city of the western bank, deepening national pride and
ecological and political,of those leading the project.
identity. However, as the AMC’s =Sabarmati river front
The concern is now for how a continued division
development projects demonstrate, assertions of western
of public space will affect the social cohesion and
ideals of modernity endure. Sentiments of a society that
both cultural and physical landscape of Ahmedabad.
CONTENTS
0.1 THESIS INTRODUCTION 0.2 THESIS CONTEXT: THE SITUATIONS
recommences its path to modernity along old European
FLOOR AND FOOT T H E P L A N E TA B L E F I S S U R E A N D FAU LT L I N E
AUTHOR : IONA HOGGARTH
The reclaiming of a valuable 200 hectares of real estate,
the British Empire, Ahmedabad held a uniting vision of post-industrial India, prospects of a pioneering
routes, prioritising individual industrial prosperity
2019-2021
04: KALAKRUTI NI POL: THE AGENCY BRIEF T H E C O L L E C T I V E : C L I E N T & S TA K E H O L D E R S
0.3 [DANCE] FLOORS AND [AQUA] FISSURES
The thesis aims to test an ecosophic approach to
and commercialising attitudes, have filtered down into
urbanism for contemporary Gujarat, proposing an
the practice of placemaking and the public realm. The
intervention at the Sabarmati river front developed
once shifting and seasonal flow, thriving with a rich
through a methodology of urban design rooted in the
0.5 KALKRUTI NI POL
biodiversity and over ten thousand families living on the
Indian cultural, intellectual and urban fabric of Old
0.6 THE RESATURATION ON THE RAVIVARI; GUILDED EDGES
Riverbank, is now channelled. The banks capped in an
Ahmedabad.
0.4 THE BRIEF
unyielding 11.5 kilometres of vast baking hot concrete walkways and manicured lawn, emulating year-round
0 5 : T H E R E - S AT U R AT I O N O F T H E R AV I VA R I
navigable basins of the Seine or Thames.
GUILDED EDGES
[DANCE]FLOORS & [AQUA]FISSURES T H E R E F U G E & R E S AT U R AT I O N O F T H E R AV I VA R I [ PA R A ] S I T U AT I O N A H M E D A B A D
E A S T R I V E R B A N K O F T H E S A B A R M AT I , A H M E DA B A D, G U JA R A AT, I N D I A . 1 9 9 0
T H E D RY R I V E R B E D O F T H E S A B A R M AT I I N D RY S E A S O N 1 9 9 0
IONA HOGGARTH
PARA-Situation: {Ahmedabad}; Past, Present, and Possible.
INTRODUCTION 01. THE REFUGE OF THE RAVIVARI
The Kalakruti ni Pol houses an agency rooted in the
city
they
represent
on
the
Western
social sustainability and ecosophic spacial qualities instilled within Ahmedabad’s Old City pol vernacular.
The project tests an ecosophic approach to
An architecture of containment, of defence but
urbanism and placemaking; an ode to thresholds,
also community, interdependence, culture and
and a reimagining of ground; it explores the
sanctuary. The Kalaruti ni Pol is a women’s refuge
balance of passage versus enclosure to elevate the
for those suffering domestic abuse,
a hub for
harmony of many independently moving parts to
producing and trading traditional fabric crafts
function as a collective agency; safe and fortified
and education of critical skills that will empower
rather than imprisoned. The design aims to enable
economic independence while keeping alive textile
Ahmedabad’s people to reclaim and re-saturate
traditions under threat of being lost to Gujarat.
the riverbank as a vital part of their cultural and
Wall Wells & Well Walls 02. THESIS CONTEXT: THE WALLED CITY
01: INTRODUCTION
Bank.
02: THESIS CONTEXT; WALL WELLS AND WELL WALLS T H E WA L L E D C I T Y, T H E PA R A S I T U AT I O N S S I T UAT I O N A : O B S E R VAT I O N S O F A T Y [ P O L ] O G Y U R B A N FA B R I C ; C A R V I N G T H E B AG R U B LO C K S I T UAT I O N B : T H E R AV I VA R I B A Z A A R U R B A N FA B R I C : A R E I M A G I N AT I O N O F G R O U N D
Walls Wells & Well Walls.
commercial landscape. Stitching closed the desiccated seam between
03: [DANCE]FLOORS & [AQUA]FISSURES FLOOR AND FOOT T H E P L A N E TA B L E F I S S U R E A N D FAU LT L I N E
Ahmedabad’s new and old city walls, Ambdavadis, and the watery artery of their city. The project
04: KALAKRUTI NI POL:
sits between the Sabarmati and the centuries long-established Ravivari Bazaar. In its prominent
THE AGENCY BRIEF T H E C O L L E C T I V E : C L I E N T & S TA K E H O L D E R S
purchase on the Eastern bank, the urban speculation
Ahmedabad is the largest city in Guajarat, India
leaving the Dawaja’s standing as monuments.
and situated on the banks of the Sabarmati
In April 1915, Scottish polymath Patrick Geddes
river. Ahmedabad was founded over the ancient
visited Ahmedabad to provide the municipality with
settlement of Ashaval in 1411 by Ahmed Shah
town planning advice. There were plans in motion
I of Gujarat Sultanate. He built the first citadel,
for the demolition of the five-century-old City Walls
Bhadra Fort, starting from Manek Burj, the first
and he was asked to contribute to the discussion.
bastion of the city. The Bhadra Fort had eight gates (Darwaja’s) as entrances to the walled
represents a new phase of the textile legacy and
city. When the city expanded, Ahmed Shah built
counterbalancing landmark to the associations
the second fort, Mahmud Begada, which later
0 5 : T H E R E - S AT U R AT I O N O F T H E R AV I VA R I
of cotton mill owners and the metropolitan
GUILDED EDGES
neighbourhoods is continued,the less does the proposed demolition maintain itself in any way, whether as a
facilitate the movement. Over time large sections
business proposition, an aesthetic or a sanitary one.” -
of the ancient city walls have been demolished,
Patrick Geddes. Notes on Ahmedabad 1915
1917, ARTHUR EDWARD MIRAMS. A H M E DA B A D C I T Y A N D S U B U R B S , T H E O N LY L A RG E - S C A L E T E C H N I C A L S U R V E Y D R AW I N G O F A H M E DA B A D ’ S C I T Y WA L L S , WA S P R E PA R E D BY T H E S A M E C O LO N I A L E N G I N E E R W H O C H A M P I O N E D T H E WA L L D E M O L I T I O N F O R N E A R LY A D E C A D E . (
A H M E DA B A D, G U JA R A AT, I N D I A . 1 5 7 3 A K B A R N A M A B O O K BY A B U ’ L - FA Z L I B N M U B A R A T H E M U G A L C O N Q U E R O F G U J A R AT.
T H E E A S T R I V E R B A N K O F T H E S A B A R M AT I F O L LO W I N G T H E D E V E LO P M E N T P R O J E C T
“The more this patient study of the walls and their
fortified with twelve gates in 1486. After the arrival of railways, the British built two more gates to
A R E M A I N I N G F R A G M E N T O F T H E O L D C I T Y WA L L A N D B H A DA R G AT E , 2 0 1 9
A SEQUENCE OF THRESHOLDS
Ahmedabad Sabarmati
is into
[ PA R A ] S I T U AT I O N S :
O B S E R VAT I O N S O F A T Y [ P O L ] O G Y :
THE CITIES WITHIN THE CITY
S I T UAT I O N A : JAT H A N H I N I P O L
divided two
by
distinct
the halves.
Situation A; Jathanhi ni Pol The Pols are vernacular co housing clusters and
The eastern bank of the river houses the old
self contained sociological units comprised of
city, which includes the central town of Bhadra.
many families, of a particular caste, religion
This part of Ahmedabad is characterised by
or trade. The highly dense unplanned evolved nature from a natural defence. The word Pol is derived from the Sanskrit word Pratoli
The pols are a winding nest of narrow streets and courtyards beneath jettying
places of worship. The heritage of these Pols,
meaning Entrance to an enclosed area. Unique
upper stories. Chabutros, totem-like bird feeders, standing at the entrance
has achieved Ahmedabad UNESCO World
to Gujarat the urban structures date from 1738
unique to each pol act as signpost landmarks within the labyrinth. The Haveli’s
Heritage Status. The colonial period saw
during Mugha Maratha rule ( 1738-1753) in
of Jathanhi ni pol not only showcase the intricate craftsmanship with rich
the city’s expansion to the western side of
Ahmedabad a time of communal riots and
facades of carved wood ornamentation, Jali stonework and intricate metalwork
Sabarmati, facilitated by the construction of
violent unrest.
but embody hundreds of years of understanding of climate and culture. Design
Ellis Bridge in 1875 and later Nehru Bridge.
Situation B: Ravivari Bazaar
principles inherently present engineering their environment through ; Fixed and
The western part of the city houses educational
Ravivari is a Gujarati word meaning Sunday.
flexible façades; layers of shutters and screens, overhanging roofs, minimising solar
institutions commissioning globally renowned
The market runs Adjacent to the Sabarmati
gain, central chowk courtyards providing natural ventilation, thermal properties of
Architects such as BV Doshi, Louis Khan and
between
underground Rain water cisterns, utilisation of thermal mass.
and
Sadar
Bridge
Chowk: The Central courtyard and’ Heart of the Household’ the clmatic regulator of the house it
into the house. A transition space where both
providing light and ventilation into the deep narrow
house occupant and neighbour could rest; sit,
plan of the building, all spaces orientate around this
observe and interact with passersby, sell fruit or
central opening, and overspill into it, semi internal,
vegetables, or the occupant can do household
semi external, it provides an area for food preparation
chores. It is a semi-covered space, shaded by the
or laundry but also another reception room.
A
threshold establishes passive surveillance and
Osri : A- small semi enclosed veranda near the
daily interactions within the pol, strengthening
chowk. It is a semi-open space and accommodates
community cohesion; an unfamiliar face would
the spill-over activities of the chowk. On the
be
upper floors this space is known as the revasha.
quickly
noticed.
Families
can
CHOWK OTL A
OSRI
KHADKI
ORDO
Khadki; main
The
door
quieter
reception for
and
safety
cooler
room and
than
privacy.
outside
most
public
room
within
the
does
not
Fatevadi, Gyaspur and Maktampura districts
storing about one lakh gallon of water, which is
of Ahmedabad queuing in the 45 degree heat
enough to last a year for a family of 10 members
for the visiting water tanker for daily drinking
Copper Drainpipe systems, Chanel monsoon
water. The dense and intricate housing clusters
water in the wet season into deep wells below Chowks the mouth of which has a copper
a particular type of limestone or coated in lime. The 300 year technology was displaced from
dwelling.
Careful consideration of scale for shared living quarters
to a central courtyard. The most commonly used
once stretched to the waters edge but is now
3.
Visual access; framed views, passive community survillance
KHADKI
Resodu: the kitchen of the house adjacent to the osri, chowk, to be
CHOWK
OSRI
OSRI
4.
Clarity of wayfinding; public versus private spaces
5.
Convivial and repose spaces; opportunity for retreat and privacy
sankheda swing in the Parsal. It is also used as
Flexibility of use within communal spaces
a dining room or an extension of the kitchen.
ORDO
OTL A
RESODU
UTILITY
that a fissured threshold between wet and dry
use following a British government order for
in ahmedabad can be re-imagined. Within the
their disuse and closure, fearing freedom
Pols sits a buried and once banned solution to
fighters may use them as hideouts. Now that
the water crisis. This system emerged to
households have taps, most tankas have
tackle water scarcity in this drought prone city.
remained unused for 70 years
There are about 10 000 Tankas in the Old
activities are usually extended from the resodu
City and their storage capacity ranges from
multifunctional family space bridging the threshold
Utility areas: The toilet is generally placed in front and is attached to the otla or khadki rather
space.
than to the private spaces in the traditional house.
Gujarati
PA R S A L
near the traditional water-
between interior and exterior, the key circulation traditional
sunlight
strainer, the underground chamber is lined with
2.
a
As
harbour any water bourne disease. Each tanka
private space used for sleeping and storage.
a
consistent location in Ahamedabads history
often
content.
found across India, Laboratory testing found the water to be without bacteria and cannot
Overexploitation of groundwater has left the
Darker,
create
Parsal: The semi-enclosed veranda space adjacent
is
penetrate the tankas, unlike rooftop cisterns
central and northern Gujarat water table, has dropped at a rate close to 20 meters per decade.
distillation and application of this paradigm
Hierarchy of privacy: Varied levels of access for semi-public areas .
There
chemical
aquifers is now one of crisis. Since 1974 the
deep inside from the street; it is the most
calm more formal atmosphere despite being the
tankas from 16 pols; the water was clear, non -saline and portable, soft and with negligible
monsoon season and stepwells to subterranean
the
behind
storage system known as the tanka. Domestic
6.
PA R S A L
RESODU
The situation of wetness in Ahmedabad, once a finely balanced equilibrium between torrential
an Indian vernacular typology. It is through the
1.
curtained by concrete retaining walls and a no
solution within the pol Haveli’s
The innermost space of the house,
Ordo
32,00msq Concrete seam between old city
mans land of 100 meters
The underground water harvesting
that make up the urban fabric within the walled
wall and new River Wall. The oldest market in
of Investigation (A) and Site of Implementation
Hidden Depths;
city represent an ecophilosophy inherent within
observe
Le Corbusier, residential areas, shopping malls,
(B).
Troubled water
their children from a relative distance street.
theatres and new business districts.
The project is rooted in two Situations; a Site
Tankas &
jettying of the upper floor balcony. The active
densely packed bazaars, the pol system of closely clustered buildings, and numerous
Ellisbridge
Otla; A raised platform, porch-like plinth, extending the threshold between house doorway and street
Wash area for washing clothes and utensils and
CHOWK
OTL A
Traditional Spaces within typical Pol house plans
OSRI
OSRI
PA R S A L
ORDO
KHADKI RESODU
“(The towns eminence) In various ways , is in the
25 000 to 50 000 litres. A survey by the AMC
wealth and capability of its burghers to support
in 2005 discovered the water stored in the
progressive , in clever contrivances such as the
maintained Tanaka’s surpass the World Health
huge infer water tanks called tankas in the old city”
Organisation standards. The survey tested 11
Amrita Shah, Ahmedabad; A city in the World
bathing, are attached to a common wall.
[ PA R A ] S I T U AT I O N S SITE A: JAHANHI NI POL S I T E B : T H E S A B A R M AT I R AV I VA R I B A Z A A R S H A N T I N AT H N I P O L C H O W K A N D C H A B U RTO ( B I R D F E E D E R ) , 2 0 1 9
A N U N P LOT TA B L E R E F U G E
Urban Fabric; Carving the Bagru Block
Gujarat has had a history of successive invasions
in common. Formerly individual could sell or
Ahamedabad has a
history of religious
mortgage a house to an outsider without first
and sectarian strife The most recent of which
offering it to the people of the pol. When a house
tragic
T H E C H O W K S O F JAT H A N H I N I POL
being the 1969 Gujarat Riots which cost over
is mortgaged or sold, the people of the pol had a
1,000 lives. As a direct result the purpose of these
right to claim from one-half to two per cent of the
The motif model of inlaid golden threads and bands into
narrow settlements was to ensure security of each
money received. At weddings or family occasions,
hardwood offers a conceptual method of mapping the pols’
community at times when animosity
each householder is expected to feast the whole
spatial qualities and hierarchy, not evident in the plans of
became
dangerous. Each pol has its distinctive architecture
pol, and in some cases all the men of the pol,
and motifs, depending upon its inhabitants and their
are expected to attend any funeral that may take
traditions. These tightly clustered groups of houses
place. If the pol rules are slighted, the offender is
and plans, the model traces the glinting lines of hidden
have regulated points of entry and gates guarded
fined. The money gathered from gifts, fines, and
copper gutters and plots the Chowks beneath whitch the
by
their ‘polia’ watchman. Each pol ends either
the percentage on house property sales, formed a
blocked by a dead wall or, through a bari; opening
common fund managed by the leaders, seths, of the
calm waters of the tankas sit.
into an adjacent pol usually disguised as a a small
pol and spent on repairs.
I N V I S I B L E WAT E R S
paths alone. Through a process of overlaying aerial images
neighbourhood
the
pols
function
Choradia
Rabaris,
printing blocks create a fabric which pattern tesselates completely and yet imperfectly. The
traditions, which are the mainstay of their
boundary edge invisible to all those except
livelihoods. The production of woven cloth,
its maker. The Invisible waters model holds an
hand
embroidery
and
imprint of that unplottable imperfection in the form of a carved wooden block ready to ink.
Ravivari Bazaar on Sunday. Ahmedabad is one of the oldest hubs for textile crafts; famous for its block printing and Aplique embroidery. Many of these crafts however are dying, the craftsmen possessing extraordinary skills face poverty and turn to other occupations for a
calm waters of the tankas sit.
livable income, pushing these crafts further in the direction of extinction. The skills passed
Unlike the common conception of community or
Ahirs,
appliqué
of
hardwood offers a conceptual method of mapping the pols’
copper gutters and plots the Chowks beneath whitch the
cellars have air shafts running through the walls, so that they may be used as retreats for men in hiding.
city walls, the intricately hand-carved wooden
Choradia
Harijans, Darbars, etc. who practice various kinds
dyed fabrics, woven carpets, block printing etc
and plans, the model traces the glinting lines of hidden
only-to the inhabitants that pol. Some of Haveli
Just as the pols sit tightly together within the old
Patels,
that is produced on the premises is sold at the
paths alone. Through a process of overlaying aerial images
Wooden door to a Haveli. To maintain the integrity
products marketed in the right manner.
many craft communities such as Chaudhari
The motif model of inlaid golden threads and bands into spatial qualities and hierarchy, not evident in the plans of
of the safety precaution the Bari is usualy known
Manchester of the East ‘Gujarat is home to
through generations hold great value both
more
culturally and as a high value product, to
similarly to a co housing intentional community,
preserve this rich cultural heritage, awareness
with communal responsibility and expectation
needs to be created about these crafts and
The property in the pol is to an extent held
Chowks of of Jelthanhai Jelthanhai Ni Pol, Ahmedabad Chowks
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
The Ravivari Market and
PARA-Situation: {Ahmedabad}; Past, Present, and Possible.
Sabarmati River Bank 1:1000
THE RAVIVARI BA ZAAR S I T UAT I O N B : T H E S A B A R M AT I R I V E R F R O N T
‘Sabarmati’
is
derived
from
the
word
‘shvabhra’ , meaning ‘fissure’.
Walls Wells & Well Walls.
The sabarmati riverfront development has
site cleared of immediate spatial constraints
severed the connection between Bazaar and
to avoid a mirroring of the isolated and
waterfront. 32,000 sqm of bustling market is
excluding plots of modern institutes on the
contained between tall concrete retaining walls
opposite bank. The Ravivari market site, while
upon which sits four lanes of traffic
on the
vibrant and hectic on Sundays has no attraction
West and the remaining refurbished old city
throughout the remaining days of the week, for
walls and bastions on the East.
six days a vast expanse of concrete is barren
The site is one of the only remaining stretches
and abandoned. One aim of this project is to
Existing Site: View accross project site from Sabarmati bank facing East to
reclaim the land once engrained in daily routine
the market site. Old city walls visible the far side of the market and level
to the people of Ahmedbad and re-establish
change.
of Eastern Sabermati bank where the busy road deviates away from the bank edge, the
the Ravivari river bank as an appreciated public
opportunity is presented in the seam of land
space, restoring the shared sense of ownership,
between River bank and market currently
identity and presence to the area.
standing void of all footfall, for the old city to
.
reclaim its connection to the water and occupy the bank. The challenge of the site is to create a navigable links between the two walls and set up appropriate design parameters in a
T H E R AV I VA R I B A Z A A R , O N T H E E A S T B A N K O F T H E S A B A R M AT I R I V E R
A RECONCEPTION OF GROUND
AQUIFER & AQUAFISSURE
LENTIC AND LOTIC
The
meaning The
invisible
subterranean
waters
of
aquifers,
and
Ahmedabad, all
but
slow
(from
or
the
Latin
motionless),
lentus,
refers
to
The
illustrations
page
on
investigate
the
(lacustrine),
or
swamps
and
marshes
T H E WA L L E D C I T Y,
the
idea
The first intervetion of the thesis follows the ideas of capture and release of water through aquafissures
the Aqua fissure, creating a lentic situation
as an intervention of ground at the Sabarmati River
(paludal). Lotic (from the Latin T H E lotus, P A R Ameaning S I T U A T I O N of S wetness, or water being released to etch S I T UAT I O N A : O B S E R VAT I O N S O F A T Y [ P O L ] O G Y the fissures deeper into the ground, U R B A N FA B R I C ; C A R V I N G T H E B AG R U B LO C K Srivers I T U A and T I O Nstreams. B: THE RA V I V A R I ofB wetness. AZAAR situation U R B A N FA B R I C : A R E I M A G I N AT I O N O F G R O U N D
washing), refers to running water (fluvial or fluviatile) habitats such as
Parasituation of wetness above and below
ground. The cisterns, hanging below the citadel as
Bank. A Proposed rainwater harvesting system via
in a lotic
a network of canopies utilises the monsoon deluge destined otherwise to be
a pendulum, counterbalance to the humidity above.
of filtration pools, releasing the water gradually
is further explored 0 3 : [ Dthrough A N C E the ] F Llens O Oof R Sthese & [AQUA]FISSURES
slowing down the runoff process and irrigating the
two parallel conditions of wetness represented
where once lush wetlands soaked up the Sabarmati
F L O O Rground. A N D F The OOT above and below Ahmedabad
can be reimagined as a brittle cap on top of the
reciprocity of capture
saturated ground. Brittle and breakable.
river bank. the open pavillion like spaces allow the
T H E P L A N E TA B L E F I S Srelease U R E A Nwithin D FAU LT L I N E and
to reach the river edge once more.
of the ‘ground’ within the pols as an assemblage of
T H Erunning AGENC Y B RisI E F whether in a lake or tanka, and water
released wetness. The aquafissure concept held
hot seasons and allow the market to continue
T H E C O L L E C T I V E : C L I E N T & S TA K E H O L D E R S
wetness above and wetness below ground held in
Proposed Site Plan 1:500
The proposed
can canopies provide needed shading during the
threshold. Still waters are captured wetness,
extrutions; delicate points of connection between
WALL TO WALL; PL AN
people of ahmedabad to ocupy and overflow the channeling walls of the sabarmati developement
the water cycle highlights the temporary and inconsistant 0 4 : Knature A L A KofR the U T Iground N I Pas O La :
The opposite sequence of drawing explores the idea
lost into storm drains
and the river basin. Instead, it creates a network
The conceptual notion of ground and fissure
The culverted and concreted banks that stretch
Filtrations Pools
opposite
captured 0 2 : Tsuch H E S as I S lakes C O Nand T E Xponds T ; W A LofLwater W E standing LLS AN D W Eand L L pooling W A L Lwithin S standing waters
the
forgotten
chambers of the Pols Tankas sit in contrast to the water scarcity of the dusty city above, alluding to a
Lentic
Submerssion and
Release. the Ravivari
01: INTRODUCTION
term
Wall well: Capture and A rainfall intervention at
LENTIC AND LOTIC
Aquafissures & Cloud Catchers
throughout the rainy season.
within the model of the invisible waters can be conceived of as either facilitating the capture
the fissures between the pieces and held together
0 5 : T H E R E - S AT U R AT I O N O F T H E R AV I VA R I
LENTIC
in the compression provided by the old city walls.
LENTIC
GUILDED EDGES
LOTIC
Troubled Water
The Pols
Wall well: Catch
Well wall: Release
The situation of wetness in Ahmedabad, once a finely balanced equilibrium between torrential monsoon season and subterranean aquifers is now one of crisis.
The word 'Pol' is derived from the Sanskrit word 'Pratoli' meaning entrance to an enclosed area. The dense and intricate housing clusters that make up the urban fabric within the walled city represent an ecophilosophy inherent within an Indian vernacular typology. It is through the distillation and application of this paradigm that a fissured threshold between wet and dry in ahmedabad can be re-imagined. Within the Pols sits a buried and once banned solution to the water crisis,
The intervention of a water harvesting network for the Ravivari Market, collects water within the' well' created between old wall and new walls and utilised the centuries old technology of the pol's 'Taankas.' An open pavilion like structure allows the people of Ahmedabad to occupy and overflow the channelling walls, new and old, to reach the river once more. The shifting unformulaic nature of the temporary market now free to spill out protected from the sun above and cooled by the water chambers below.
The concrete capped westernised Sabarmati river front has physically separated the people of Ahmedabad from the River. The act of idol submersion within the river, an important ritual of the Hindu festivals of Durga & Ganesh Puja, have been stopped due to the resulting pollution of the River. The second intervention; a mechanically flowing 'Stepped well' breaks the Sabarmati bank and creates filtering submersion ponds using the water harvested at the Ravivari, and created a more ecosophic threshold between the people and the river
Since 1974 the central and northern Gujarat water table, has dropped at a rate close to 20 meters per decade. Overexploitation of groundwater has left the Fatevadi, Gyaspur and Maktampura districts of Ahmedabad queuing in the 45 degree heat for the visiting water tanker for daily drinking water.
of wetness or the release.
LOTIC
cad-block.com
cad-block.com
cad-block.com
& THE POLS
Wall Wall to to wall wall // // Catch Catch & & Release Release
act
of
submerssion Sabarmati
idol
in is
a
cad-block.com
cad-block.com
cad-block.com
cad-block.com
WALL TO WALL; SECTION
Well Wall: Filtering Submersion Ponds
Long Long Section Section 1:200 1:200
additional polution the
the
dissolving idols leave in
an
the river, The submersion
important ritual of the
cad-block.com cad-block.com
cad-block.com
M E T I C U LO U S C H A O S ; A H A N D I L L I S T R AT I O N C A P T U R I N G T H E PA R R A L L E L I N T E N S I T I E S O F R AV I VA R I
THE SUBMERSSION OF IDOLS
The
pools
of
filtering
water within the aqua
has
fissures
been
banned
by
and
slowly
Hindi festivals Durga & Ganesh Puja. The practice
flowing
accomodated
the AMC due to the
the
resulting
endangering the river.
debris
and
practice
without
1:50 1:50 M M EE TT II CC U U LL O OU U SS CC H H AA O O SS :: AA FF O OO O TT H HO O LL D D II N N AA FF II SS SS U U RR EE
Proposed Ravivari Bazaar Section: 1:200
Ravivari
Bazar
Short
PARA-Situation: {Ahmedabad}; {Aqua} Fissures and {Dance}Floors
/
Section
The
wall
well
1:200
DANCE FLOORS AND AQUA FISSURE
Floors & Fissures
T H E P L A N E TA B L E
03. CONCEPT DEVELOPMENT
F I S S U R E S A N D FAU LT L I N E S This drawing “sets up” the plane table to discuss urban
a series of surfaces. Through the notation system
agencies of Ahmedabad through the intersection of
developed we understand certain kinds of event
two phenomenological events in the city, the dance
territories which would accommodate different types
floor and the Aquafissure. In doing so, we bring the
of program. Rather than formalising the individual
conversation between gesture and environment to
notation, the sets of colour marks are created to
ecosophic conversation
augment the existing and potentially-emerging
Fissures and fault lines suggest an inflexible quality; Fault lines only appear when pressure is applied. The urban grain of the pols developed from containment within the old city walls, forcing a patterning self organisation like matrix of
carbon atoms in graphite or diamond. Well Wall: Filtering Submersion Ponds
event territories. The result could be perceived as
Ecosophic Urbanism Ecosophic Practice
At the Darpana Academy of Performing Arts on
markets and temple floors across the old city. The
the West bank of the Sabarmati ,we find a central
bounding white lines on the ground demarcating
assembly hall a dance floor, holding up to three
thresholds; between the dancers, the dancers and
classes simultaneously and alongside each other.
their teacher. The hierarchy of space and intense
APPARATUS AND APETURE, A METHOD OF DRAWING
EXHIBITION: NOT SHOWN, PROJECTION OF D A N C E R S O N TO P L A N E TA B L E
dance floor as the bounding containment of the aqua fissure motif. Creating a plotable framework for urban grain to sit within a design development. The idea
In order to unpack Ahmedabad in terms of the dance
of the new event condition. Displaying fluctuating
allowes an re imagination of the fissure to be cracks in the dance floors marble.
floor and the aqua fissure we derive a language. Here,
architectural qualities such as intensity vs. porosity and
The idea is developed in concept models which play with ideas of pressure,
we looked to the frameworks of architect Bernard
fast vs. Slow help highlight these spaces.
containment. the fissure lines this time provided by the Ravivari bazaar notations
The pristine surface holds a privileged status within
relashionship between person and place , gesture
Tschumi and Flusser to offer guidance on how to
the space, one must remove their shoes before
and ground are drawn together by a condition of
analyse the urban. Tschumi’s ability to perceive the
stepping onto the swept and polished dark green,
surface.
modalities of the urban guide us to our first stage
striped surface. The cold surface against the bare
The groyne model conceptualises the inlaid quality of green marble stripes of the
1:50 1:50
the linkages among the situations within the city / the connections to the four cities / future proposal
within the phenomological 1:250,000 drawing. The white lines of the dancefloor seep and pool through into the fissures in the brittle surface finally broken by the dancers heel
of drawing, the notation. From this underpinning
foot in the heat of mid day sun prepares one for their
we established a drawing process to analyse the
dance class. The jarring action of unprotected soft
Notations of an event
gesture of body to ground and understand both of
heels of the dancers against the unforgiving hard
the phenomenological implications of gesture and the
marble is felt much as observed by the captivated
territory;
weight of consequence to the act of observing The
audience. Fragments the green and white striations
Situation; The Ravivari
implementation of dance floor and mappings create
of the same surface occur unexpectedly within
CO AUTHORS: DESMOND SU & JULIA BROOKFIELD
CO AUTHORS: DESMOND SU & JULIA BROOKFIELD
FISSURE AND
PARA-Situation: {Ahmedabad}; {Aqua} Fissures and {Dance}Floors
FA B R I C AT I N G
CONCEPT DEVELOPEMNT
This drawing carries the intersection between ecosophic
enunciations,
of
aspiration, spacial and gestural. stitches the bounding
environmental The drawing
Kalakruti ni pol
Well Wall: Filtering Submersion Ponds
04. THE AGENCY BRIEF
1:50 1:50
groyne model spine of
the aquafissures into the Bank site in the Ravivari, within which the invisible waters motif is patterned as an inked Bagru
The Refuge of the Ravavivari; Kalaruti ni Pol
block would print on cotton
cloth. Tracing over the top is the gestural notation of the event territories plotted on the plane table.
not a viable prospect of independence, who then
average 45 women at a time, between 17 – 45 in
have no options than to return from the situations
age all seeking shelter from desperate or violent
from which they fled. The Kalakruti ni pol scheme
domestic situations. With hundreds of Auto-
proposes a response to these need and issues
Rickshaws’ emblazoned with slogans of solidarity
with the unification of a number of currently active
in the support of the movement in action against
organisations in Ahmedabad within one scheme,
the violence against women – Ahmedabad is
claiming a prominent position on the new Sabarmati
considered a front runner in providing a safe city
east bank and drawing from the commercial and
for women in India, and yet the ‘prison’ like refuge
social strengths of site.
rooted in the individual and collective self-reliance
safety, cleanliness or counselling or support.
ingrained within the spatial qualities of Pol typology
OOCCCCUUPPIIEEDD SSHHOORRTT SSEECCTTIIOONN
It is a widely established issue that unless financial
of the old City.
11: :5500
and legal aid, basic literacy education and trade
1100
5
MArch
skills are provided for many ‘ Inmates’ there is
Gruh- Ahmedabad’s women’s refuge, houses on
does not meet the government own standards of
55
MArch
The state government run Nari Sanrakshan
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
10
55
OCCUPIED SHORT SECTION
OOCCCCUUPPI IEEDD SSHHOORRTT SSEECCTTI IOONN
1:50
11: 5: 500
IH
DS
CM
JB
JP
An alternative agency
1100
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
THE COLLECTIVE AGENCY; THE BRIEF
C L I E N T A N D S TA K E H O L D E R S
V O I C E , V I S I B I L I T Y, V I A B I L I T Y
THE BRIEF
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
A contemporary pol; Plotting ecosophic place
TRACING TERRITORY
REFUGE: A shelter for women from domestic
embroidery etc.
in need that will provide the councilling,
The teaching of crafts that will enable an
oportunities, legal and financial assistance or
economic independance when leaving the
food security and social security. (at least health care, child care and shelter).
project is the AWG, with a shared level of investment and occupation from the following stakeholder charity and organisations.
refuge and keep alive traditions under threat
urgent medical a attention required .
THE CLIENT & STAKEHOLDERS The Pol structure allows a framework of communicating
TRANSPOSING ECOSCOPHIC TERRITORIES
A CONTEMPORARY POL
Weaving together the transposed plan and aqua fissure along the
houses that function as one unit. The lead client for the
abuse. A sheltered accomodation for those
of being lost from the city. PRODUCTION: The production of fine quality
EDUCATION:Provide access to key skills &
fabric products to be sold at the Ravivari
literacy education.
The commercial arm of SEWA represents 15000
An Overlaying of the invisible waters motif, the gestural notation of the
women artisans and 106 women’s co-operatives
metropolitan plane table event territories and the Dance floor Groyne
in the textiles and handicrafts sector. Promoted by
striations of the ground allows a tentative revision of a figure ground plan
Gujarat State Women’s Sewa Kalakruti is a marketing
AWAG: AHMEDABAD WOMENS ACTIONS GROUP
.
SEWA KALAKRUTI:
Market and further a field Provition of opportunity to learn key The schemes profit will in part be reinvested
communication skills such as IT Literacy and
in the project itself; funding the purchase
basic writing and mathmatics are essential to
of raw materials for production, the running
independance both financially and socially.
of the kitchens and accomodations and the wages of the staff. A percentage will be given back to the individuals of the refuge who are producing the fabrics.
organised under outreach co-operatives. The goal is to
Elements explicit or implied configure to enclose a positive space with a degree of chaos, unpredictability or asymmetry, inherent within the pols
women of Ahmedabad through the provision of
let the women workers obtain collective strength and
education for economic betterment. AWAG adopts
ownership of their trades or principal activity and get
a holistic approach to women’s empowerment to
directly linked with consumers without interference
addresses the issue of domestic violence.
from exploitative middle agencies.
SEWA: SELF EMPLOYED WOMENS ASSOCIATION
REACH TO TEACH:
SEWA’s
A charity based across Ahmedabad and London
enclosed space and pathway, dwelling and transition space, bank and river edge. The aqua fissure represents a vennel network of terraced and naturally cooled courtyards, pools and cisterns steeping down into
to be traced instilled with spatial, gestural and conceptual sensitivities.
outlet for the products generated by women artisans Founded in 1981 the organisation aims to support
bounding lines of the groyne framework creates an intersection between
Print PrintHouse House
the river bank to reach the Sabarmati. The slowing down and filtering
Dye DyeHouse House
of surface runoff may make a minimal environmental difference in one lower lowercourtyard courtyard
project alone, but when iterated along the extent of the 1km open seam
but absent from traditional western master planning sensibilities. The
of land between Ravivari market and riverbank there is an opportunity
method allows the forms to shape space rather than sit freestanding in
to saturate the site, creating a more biodiverse habitat and engaging
space.
relationship between Amdavadi people and Sabarmati than the existing
Weaving WeavingHouse House
organise self-employed women small business workers
works with local community groups in Ahmedabad to
for full employment & self-reliance economically and
improve literacy and numeracy skills.
unyielding concrete diaphragm retaining walls allow Courtyard Courtyard
in terms of their decision-making ability by creating sustainable livelihood strategies for income security,
SKILLS: The exchange of local traditional skills – Spinning, Dyeing, Block Printing, appliqué
Weaving WeavingHouse House
Front FrontofofHouse: House: Reception Reception Administration Administration
7
4
PARA-Situation: {Ahmedabad}; {Aqua} Fissures and {Dance}Floors
4
4 7
3
3
Kalakruti ni Pol
6
2
2
01: INTRODUCTION
Stitching closed the desiccated seam
rooted in the social sustainability and
between Ahmedabad’s new and old
The Refuge of the Ravivari; Kalakriti ni Pol
spacial
quality Old
instilled City
artery of their city. The project sits
architectural vernacular. An architecture
between the Sabarmati and the centuries
of containment, of defence but also
long-established
Ravivari
Bazaar.
6
its prominent purchase on the Eastern bank, the urban speculation represents
and circulation spaces beyond it, veiling but not hiding the activities T H E P L A N E TA B L E
a new phase of the textile legacy and
behind. Oversized bifolding shuttered outer facade of the administration
a hub for producing
traditional
counterbalancing
landmark
to
associations of cotton mill owners and
and education of critical skills that will
the metropolitan city they represent on
empower
the Western Bank.
independence
4 3
2
4 5
1
5
57
9
2
7
6
5
6
8
8
4
5
5
6
4
5
5
6
1
6
1
7
9
9
2 6
5
8
2
8
2
5
10
8
9
9
1
5
10 2 11
10
11
4 1
3
1
1
SECTION A 8 9
116
2
7
1
10
5
33 33
8 9
2
10
11
11
1
1
11
22
22
66
11
1 1
F I S S U R E A N D FAU LT L I N E
1
55
offices projecting to the focal point of the elevation. A perceptible change 04: KALAKRUTI NI POL: in threshold of closed versus open shutter, an unavoidable visual prompt
55
77 66
44
44
THE AGENCY BRIEF whether the kalakruti is open for daily business of closed and walls of the T H E C O L L E C T I V E : C L I E N T & S TA K E H O L D E R S
while keeping alive textile traditions
W E AV I N G S T U D I O & C E N T R A L C O U R T YA R D TEACHING ROOMS ROOF GARDEN U P P E R C O U R T YA R D C I R C U L AT I O N LEGAL AND FINANCIAL OFFICES W A R D E N A C C O M M O D AT I O N
3
9 9
2
1. 2. 3. 4. 5. 6. 7.
10
8
1
9
1
8
9
2
Sectional Axonometric
7
3
8
17
3 1
6
7
3
11 6
4
6
4 7
3
4
2
6
4
7 3
9 2
3 1
8
4 3
4
5
FLOOR AND FOOT
the
crafts
economic
fabric
8 5
4 3
to the Sabarmati beyond. The perforated brick screens of the weaving 03: [DANCE]FLOORS & [AQUA]FISSURES
culture
trading
7
6
4 3 6
2
the skyline, for those walking glimpses can be snatched past the Buildings
In
The Kalaruti ni Pol is
interdependence,
domestic abuse, and
2 5
2
U R B A N FA B R I C : A R E I M A G I N AT I O N O F G R O U N D
a women’s refuge for those suffering
community,
6
6 5
5
S I T UAT I O N A : O B S E R VAT I O N S O F A T Y [ P O L ] O G Y U R B A N FA B R I C ; C A R V I N G T H E B AG R U B LO C K I T URavivari A T I O N Market, B: THE R A V IKalakruti VARI BA Z A A R prominently in Standing within Sthe The stands
house allowing glimpses of swaying movement of the lush roof garden
and sanctuary.
7
3
T H E WA L L E D C I T Y, T H E PA R A S I T U AT I O N S
city walls, Ambdavadis, and the watery
pols’
2
4
3
02: THESIS CONTEXT; WALL WELLS AND WELL WALLS APPROACH The Kalakruti ni Pol houses an agency
Ahmedabad’s
6
5 7
THE KALAKRUTI
ecosophic
7
3
7
05. BUILDING DESIGN
within
7
4
7
3
refuge made absolute.
under threat of being lost to Gujarat.
The further into the courtyard and more private and encolsed the space 0 5 : T H E R E - S AT U R AT I O N O F T H E R AV I VA R I becomes, the smaller the elements of the facade become.
ROOF
P L AR NO O F
PLAN
ROOF
G R O U N D F LGOROORU NPD L AFNL O O R P G L AR N OUND FLOOR PL AN GROUND FLOOR PL AN
PLAN ROOF PLAN
GUILDED EDGES
1. RECEPTION 1. RECEPTION 1. RECEPTION PT 2 . W E AV I N G S T2 U . D WIEOAV I N G S T U D I O 2 . W E AV1I .N RGE SCTE U DIIO ON AV I N G S T U D I O 3 . D Y E S T U D I O3 . D Y E S T U D I O 3 . D Y E S2T. UW DEI O 4 . P R I N T I N G S 4T .UPDRI O INTING STUDIO 4 . P R I N T3I.NDGY ES TSUTDUID OI O 4 . CPORU IN N GR DS T U D I O 5. UPPER COUR 5 .T YA U PRPD E R C O U R T YA R D 5 . U P P E R R TT IYA UO PP C ORUDR T YA R D 6 . L O W E R C O U6R. TLYA OW RD E R C O U R T YA R D 6 . L O W E5R. C UERRT YA . ILO ON W EP RO O C LOSU R T YA R D 7 . F I LT R AT I O N 7P. OF O I LT L SR AT I O N P O O L S 7 . F I LT R 6AT 7 . F I LT R AT I O N P O O L S
G E N E R A L GAE RNRE AR N AG L EAMRERNA T GNEG PNLE EA MRNEASNL T A PRLRAANNSG E M E N T P L A N S GENERAL ARRANGEMENT PLANS 1:200
1:200
1:200 1:200
ROOF
KALAKRUTI NI POL
PLAN
ROOF
GROUND FLOOR PL AN
PLAN
1. RECEPTION 2 . W E AV I N G S T U D I O 3. DYE STUDIO 4. PRINTING STUDIO 5 . U P P E R C O U R T YA R D 6 . L O W E R C O U R T YA R D 7 . F I LT R AT I O N P O O L S
G E N E R A L A R R A N G E M E N T PG LA E N ES R A L A R R A N G E M E N T P L A N S 1:200
1:200
GROUND FLOOR PL AN
1. RECEPTION 2 . W E AV I N G S T U D I O 3. DYE STUDIO 4. PRINTING STUDIO 5 . U P P E R C O U R T YA R D 6 . L O W E R C O U R T YA R D 7 . F I LT R AT I O N P O O L S
F I R S T F L O OFRI R P S LT AFNL O O R P L A NF I R S T F L O O R P L A N FIRST FLOOR PL AN 1 . A G E N C Y A D 1M. I A NGI SETNRCAT Y IAODNM I N I S T R AT 1 .I O AG N E N C Y A D M I N I S T R AT I O N 1 .I NAG G ERNOCOYMASD M I N I S T R AT I O N 2 . T E A C H I N G R2O . O T EMASC H I N G R O O M S 2. TEACH 2 .I NT G E ARCOHO IN 3 . T E A C H I N G R3O . O T EMASC H I N G R O O M S 3. TEACH MGS R O O M S ACHING ROOMS 4 . B AT H R O O M 4 . B AT H R O O M 4 . B AT H 3 R .OTOEM RO 5 . C O M P U T E R 5S.UCI TOEM P U T E R S U I T E 5 . C O M P4U. TBEAT RH SU I TOE M 5 .UCNOAM T EI N R GS U 6 . C O M M U N A L6 .D C IN OIM NM G UHNAAL L D I N I N G 6H.ACL O L MM L PDUI N HIAT LEL 7 . K I TC H E N S 7 . K I TC H E N S 7 . K I T C H6E. NCSO M M U N A L D I N I N G H A L L 8 . C O U N S E L I N 8G. O C FOFUI C NESSE L I N G O F F I C E S8 . C O U N7S. EKLIITNCGH EONF SF I C E S UN IN 9 . L E G A L & C O9M . M L EEGRACLI A&L C OO F FMI C MEESR C I A9L. O L EFGF A I CL8E. & SC O CO MSME EL R CG I AO L FOFFI C F IECSE S 9. LEGAL & COMMERCIAL OFFICES
FIRST FLOOR PL AN
SECOND FLO S EOCRO NPD L AFNL O O R P LSAEN COND FLOOR PL AN SECOND FLOOR PL AN 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
FIRST FLOOR PL AN
1 . A G E N C Y A D M I N I S T R AT I O N 2. TEACHING ROOMS 3. TEACHING ROOMS 4 . B AT H R O O M 5. COMPUTER SUITE 6. COMMUNAL DINING HALL 7 . K I TC H E N S 8. COUNSELING OFFICES 9. LEGAL & COMMERCIAL OFFICES
1 . A G E N C Y A D M I N I S T R AT I O N 2. TEACHING ROOMS 3. TEACHING ROOMS 4 . B AT H R O O M 5. COMPUTER SUITE 6. COMMUNAL DINING HALL 7 . K I TC H E N S 8. COUNSELING OFFICES 9. LEGAL & COMMERCIAL OFFICES
4 E A S Y A C C 1E .S S4 A EA CC S YO M AC MCOE D S SATAI O C CNO1M. M 4O EA D SAT Y IA OCNC E S S A C C O M M O D AT I O N . A 4 REDAESN Y A C C E S S A C C O M M O D AT I O N R O O F G A R D2E.NR O O F G A R D E N 2 . R O O F1 G 2C . IR OSO FPA GM N I O N S O C I A L S PA C E FA M I LY A C C3O. M FA MM OIDLYATAI O C CNOSMOM CO I ADLAT 3S .PA IO FA C NM E SI O LY AAO CLC M CAER ODDEAT 3 .OFA I LY AC MIM O DRAT I OMNS S O C I A L S PA C E FA M I LY A C C4O. M FA MM OIDLYATAI O C CNORMOM OO MDSAT 4 .I O FANMRI O LY A MCSM CO MM OCDOAT ON OO 4 .UFA A ICACLOSMPA MCOED AT I O N R O O M S C O M M U N A L5 .S O CO C IM AM L U S PA N ACLE S O C I A L S5 PA . CCOEM M N AML I LY SOC CO ON MTMRUONOAFL G SO CD I AELN S PA C E R I V E R F R O N6T. R O I VOE FR GF R AO RD NETNR O O F G6A. RRDI VE ENR5 .F R AR I VA ECR F RMOM NO T DRAT OO RD 4 R E F U G E A 7C.C 4O M R EMF O UG D EATAI O C CNORMOM OO M7DS.AT 4 IROENF6UR. GOREO M SC O I OF NG A RO OEMNS RO E FMU G E A C C O M M O D AT I O N R O O M S S O C I A L R O O8M . SOCIAL ROOM 8 . S O C I A7 L. 4R O B AT H R O O M 9 . B AT H R O O M 9 . B AT H 8 R .OSOOMC I A L R O O M RCO 4 E N S U I T E1 0A. C4C O EN MM S UOID T EATAI O C CNORMOM 1O0 O M. DS4AT . E INO9N S. UBRI AT TOEOHA M SC.O OM M M O D AT I O N R O O M S . NCSOUMI TME OADCAT C OI O MNM O D AT I O N R O O M S . W A R D E N A1C1C. OWMAM RD O EDNATAI O C CNO M M O1D1AT . W I OAN R1D0E. N4 AE C 1 1 . W A R D E N A C C O M M O D AT I O N
SECOND FLOOR PL AN 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
SECOND FLOOR PL AN
4 E A S Y A C C E S S A C C O M M O D AT I O N 1. ROOF GARDEN 2. FA M I LY A C C O M M O D AT I O N S O C I A L S PA C 3E . FA M I LY A C C O M M O D AT I O N R O O M S 4. C O M M U N A L S O C I A L S PA C E 5. RIVER FRONT ROOF GARDEN 6. 4 R E F U G E A C C O M M O D AT I O N R O O M S 7. SOCIAL ROOM 8. B AT H R O O M 9. 4 E N S U I T E A C C O M M O D AT I O N R O O M S .1 0 . W A R D E N A C C O M M O D AT I O N 11.
4 E A S Y A C C E S S A C C O M M O D AT I O N ROOF GARDEN FA M I LY A C C O M M O D AT I O N S O C I A L S PA C E FA M I LY A C C O M M O D AT I O N R O O M S C O M M U N A L S O C I A L S PA C E RIVER FRONT ROOF GARDEN 4 R E F U G E A C C O M M O D AT I O N R O O M S SOCIAL ROOM B AT H R O O M 4 E N S U I T E A C C O M M O D AT I O N R O O M S . W A R D E N A C C O M M O D AT I O N
White Model:
Detail Section Model 2
3 3 1
2
1
2
5
5
is made up of eight distinct varying volumes. It, therefore, requires a degree of aesthetic cohesion
and Materials, to Bulsar, white card and cotton
of architectural form whilst maintaining distinct
to represent, primary , secondary, and tertiary
The Section taken represents the point within
identity and characteristics. The goal is to read
compositional elements of structure and envelope
the scheme as a collective agency but made up of
meet. The more public buildings of Kalakruti, the
individual houses. ‘ The Weaving House’ , ‘ The Dye
workshops, offices and market-facing buildings
House’ etc. Each building aims to reflect the nature
are load-bearing brick and concrete systems. The
of the program within.
more privacy-sensitive facilities such as the refuse
as Wood. The facade systems being adjustable
SECTION B
N TT EE RR N N AA LL SS O OU U TT H H EE LL EE VV AATT II O ON N II N
10
encasing the spaces used for workshops, offices, teaching and those used by the wider community
White card modelling aided in the refinement
woven pattern of perforated brickwork veiling
of these forms and spatial relationships through
spaces used by members of the refuge .
overhanging shutters. This section model examines
walls or the framed views created through new
20
I N T E R N A L C O U RT YA R D S O U T H E L E VAT I O N
the assemblage of the wooden skin of the courtyard
openings. The white model worked in parallel with
1:100
facing elevation but also the ‘ Threaded’ brick
the refinement of the Plans.
N TT EE RR N N AA LL N NO O RR TT H H II N
10
ON N EE LL EE VV AATT II O
20
I N T E R N A L C O U RT YA R D N O RT H S E C T I O N A L E L E VAT I O N
1. DYE STUDIO 2. COMPUTER SUITE TEACHING ROOM 3 . FA M I LY A C C O M M O D AT I O N R O O M 4. PRINT STUDIO 5 . C O M M U N A L D I N N I N G H A L L / K I TC H E N 6 . C O M M U N A L M E Z Z A N I N E S O C I A L S PA C E 7 . L O W E R C O U R T YA R D / P O O L S 8. COUNSELLING OFFICES 9. RIVER FRONT ROOF GARDEN
1:100
1100 EXPLODED AXONOMETRIC
E A S T E L E VAT I O N
10
1:100
A SEQUENCE OF THRESHOLDS
Otla; A raised platform, porch-like plinth, extending
Chowk: The Central courtyard and’ Heart of the
the threshold between house doorway and street
Household’ the clmatic regulator of the house it
into the house. A transition space where both
providing light and ventilation into the deep narrow
house occupant and neighbour could rest; sit,
plan of the building, all spaces orientate around this
observe and interact with passersby, sell fruit or
central opening, and overspill into it, semi internal,
vegetables, or the occupant can do household
semi external, it provides an area for food preparation
chores. It is a semi-covered space, shaded by the
or laundry but also another reception room. Osri : A- small semi enclosed veranda near the
daily interactions within the pol, strengthening
chowk. It is a semi-open space and accommodates
community cohesion; an unfamiliar face would
the spill-over activities of the chowk. On the
be
upper floors this space is known as the revasha.
noticed.
Families
can
observe
Ordo
quieter
reception for
and
safety
cooler
room and
than
behind
privacy.
outside
deep inside from the street; it is the most private space used for sleeping and storage.
create
TYPE 1: ENGLISH BOND
RAVESHA
calm more formal atmosphere despite being
Resodu: the kitchen of the house adjacent to the osri, chowk, to be
public
room
within
the
dwelling.
near the traditional water-
storage system known as the tanka. Domestic Parsal: The semi-enclosed veranda space adjacent
activities are usually extended from the resodu
to a central courtyard. The most commonly used multifunctional family space bridging the threshold
Utility areas: The toilet is generally placed in
between interior and exterior, the key circulation
front and is attached to the otla or khadki rather
space.
than to the private spaces in the traditional house.
There
is
often
a
traditional
W A S H W AT E R
D I A G R A M O F B E S P O K E B R I C K FA C A D E
1:20
KHADKI
PA R S A L
CHOWK
M A X I M U M W AT E R H E I G H T O R A N G E + 1 0 . 5 M E T E R S
F I LT E R E D W AT E R C O L L E C T I N G C H A N N E L
RECORD FLOOD HEIGHT PINK + 7 ME TERS
E A R T H E R N W A R E L AT E R A L S
1 ; 2 0 D E TA I S E C T I O N
F I LT E R E D W AT E R C H A N N E L T O L O W E R C O U R T YA R D C I S T E R N
ACCESS ROAD LEVEL BLUE
TYPE 2: FLEMISH BOND PROTRUDING HEADER
OTL A
CHOWK
TYPE TYPE 1: ENGLISH 1: ENGLISH BOND BOND
OSRI
Gujarati
sankheda swing in the Parsal. It is also used as a dining room or an extension of the kitchen.
Wash area for washing clothes and utensils and bathing, are attached to a common wall.
10
20
PARA-Situation: {Ahmedabad}; Urban Fabrics & Fluvial Fortification
Aquafissure:
S E C T I O N T H R O U G H W AT E R TA N K S A N D F I LT R AT I O N P O O L S D R A I N VA LV E
TYPE 3: DOUBLE STACK PERFORATED
TYPE 5: BESPOKE BLOCK AND PERFORATED CLAYS PACER
TYPE TYPE 2: FLEMISH 2: FLEMISH BOND BOND PROTRUDING PROTRUDING HEADER HEADER
Ecosophic Urbanism: The Resaturation of the Ravivari
TYPE 4: BESPOKE HANGING DOUBLE STACK
TYPE TYPE 3: DOUBLE 3: DOUBLE STACK STACK PERFORATED PERFORATED
a
the
most
WITHIN THE PROJECT
20
E A S T ( R I V E R ) & W E S T ( R O A D ) E L E VAT I O N & W E S T ( R O A D ) E L E VAT I O N 1:100
LONG SECTION
A I R VA LV E
D I F F E R E N T B R I C K T Y P E S A N D L O C AT I O N S
D E TA I L FA C A D E S E C T I O N M O D E L
ORDO
The innermost space of the house,
the
Darker,
INLET CHANNEL ( FROM ALL C O U R T YA R D R O O F G U T T E R S )
WA S H O U T CHANNEL
their children from a relative distance street.
The
F I LT E R P R O B E S
AIR HEADER
BRICK
RESODU
threshold establishes passive surveillance and
W AT E R S U R FA C E
F I LT E R M E D I A
Drawing Package
jettying of the upper floor balcony. The active
door
W E S T E L E VAT I O N [ M A R K E T ]
2200
EAST( RIVER)
quickly
[RIVER]
EEXX TTEERRN NAALL SSO OUUTTHH EELLEEVVAATTIIO ON N 11::110000
main
11.. D DYYEE SSTTU UD DIIO O 22.. TTEEAACCH HIIN NG G RRO OO OM MSS 33.. FA FAM MIILY LY AACCCCO OM MM MO OD DAT ATIIO ON N SSO OCCIIAALL SSPA PACCEE 44.. LLO OW WEERR CCO OU URRTTYA YARRD D 55.. CCIIRRCCU ULLAT ATIIO ON N // D DW WEELLLL 66.. IIN ND DIIVVIID DU UAALL AACCCCO OM MM MO OD DAT ATIIO ON N
G G EE N N EE RR A A LL A A RR RR A AN NG G EE M M EE N N TT
E X T E R N A L S O U T H E L E VAT I O N
Khadki;
SSEECCTTIIO ON N BB
the relationship between program and material. The white card representing the solid brickwork
screen of the ‘ Ordo’ Balconies.
SECTION C
1. DYE STUDIO 2. TEACHING ROOMS 3 . FA M I LY A C C O M M O D AT I O N S O C I A L S PA C E 4 . L O W E R C O U R T YA R D 5 . C I R C U L AT I O N / D W E L L 6 . I N D I V I D U A L A C C O M M O D AT I O N
1:100 at A2
W WEEAV AVIIN NG G SSTTU UD DIIO O & & CCEEN NTTRRAALL CCO OU URRTTYA YARRD D TTEEAACCH HIIN NG G RRO OO OM MSS RRO OO OFF G GAARRD DEEN N U UPPPPEERR CCO OU URRTTYA YARRD D CCIIRRCCU ULLAT ATIIO ON N LLEEG GAALL AAN ND D FFIIN NAAN NCCIIAALL O OFFFFIICCEESS W WAARRD DEEN N AACCCCO OM MM MO OD DAT ATIIO ON N
subtle iterative adjustments in the alignment of
for comfort and privacy with full or half story
GENERAL ARRANGEMENT
11.. 22.. 33.. 44.. 55.. 66.. 77..
allowed a refinement and clarity of system to
of the Kalakruti. Starched Cotton representing the
accommodation ‘ GesturalLink’ sitting over the Aquafissure Pools utilise ‘softer’ materials such
1 . W E AV I N G S T U D I O & C E N T R A L C O U R T YA R D 2. TEACHING ROOMS 3. ROOF GARDEN 4 . U P P E R C O U R T YA R D 5 . C I R C U L AT I O N 6. LEGAL AND FINANCIAL OFFICES 7 . W A R D E N A C C O M M O D AT I O N
SS EE C C TT II O ON NA A LL A A XX O ON NO OM M EE TT EE RR II C C SS EE Q QU U EE N NC C EE
The reduction in representation of facade systems
the scheme where the two facade sensibilities
7
4
SECTION A
Elevation Set SSEECCTTIIO ON N A A
The cluster configuration of the contemporary pol 9
6
SECTIONAL AXONOMETERIC SEQUENCE
Form and Massing Study 1:200
8
5
7
4
White Model:
1:200
1:50
6
4
6
1
Form and Massing Study
Facade Study
3
5
OCCUPIED SHORT SECTION 1:50
10
Traditional Haveli Spacial Hierarchy
EXPLODED AXONOMETRIC
SECTION A
TYPE TYPE 5: BESPOKE 5: BESPOKE BLOCK BLOCK AND AND PERFORATED PERFORATED CLAYS CLAYS PACER PACER
M A X I M U M W AT E R H E I G H T + 1 0 . 5 M E T E R S
M AT E R I A L PA C K A G E : M A S O N R Y W O R K T Y P E A X O N O M E T E R I C BESPOKE BRICK TYPE 4 DIAGRAM 1 : 5 0 AT A 1
1. 2. 3. 4. 5. 6. 7. 8.
TYPE TYPE 4: BESPOKE 4: BESPOKE HANGING HANGING DOUBLE DOUBLE STACK STACK
R E S O D U - W E AV I N G S T U D I O & C E N T R A L C O U R T YA R D CHOWK - TEACHING ROOMS ROOF GARDEN O S R I - U P P E R C O U R T YA R D PA R S A L - C I R C U L AT I O N KHADKI -LEGAL AND FINANCIAL OFFICES C H O W K C E N T R A L C O U R T YA R D O R D O - R E F U G E P R I VAT E S L E E P I N G A C C O M O D AT I O N
RECORD FLOOD HEIGHT + 7 METERS ACCESS ROAD LEVEL
M AMTAETREI R A ILA P L APCAKCAKGAEG: EM : AMSAOSNORNYR Y WO WROKR K T YTPYEP A E XAOXNOONM O EMTEETREI R CI C B EBSEPSOPKOEK B E RBI R C IKC K T YTPYEP 4 E 4 D ID A IGARGARMA M 1:5 10 :50 A TA T A 1A 1
OOCCCCUUPPI IEEDD LLOONNGG SSEECCTTI IOONNAALL PPEERRSSPPEECCTT II VV EE
1
2
D E TA I L S E C T I O N T H R O U G H FA C A D E 1:20
MArch MArch
1 2
SEMESTER SEMESTER
1 2
CONTRIBUTORS
IH
DS
CM
JB
JP
ARB CRITERIA
1.1 1.2 1.3
2.1 2.2 2.3
3.1 3.2 3.3
4.1 4.2 4.3
5.1 5.2 5.3
6.1 6.2 6.3
7.1 7.2 7.3
8.1 8.2 8.3
9.1 9.2 9.3
10.1 10.2 10.3
11.1 11.2 11.3
A R B G R A D U AT E AT T R I B U T E S
2.1
2.2
2.3
2.4
2.6
2.6
2.7
STUDIO C
STUDIO D
AT R
Guilded Edges AQUAFISSURES
06. THE URBAN DESIGN;
AMPL
STUDIO A
S C AT
STUDIO H
REPORT
Implementation of Aqua Fissures to Kalakruti
S P E C U L AT I V E S A B A R M AT I E L E VAT I O N
context
1:1000
Bank Development Process
URBAN METHODOLOGY IN MODELS
PUBLIC COURSE
The urban speculation for the ravivari re-saturates
The final drawing outlining the varied public
the bank through 12 parallel Aquafissures, each
domains and the water present within the Aqua
carving a network of filtration pools and cooled
fissures. The once desiccated void of people, and
spaces woven between and beneath a series of
identity is now saturated with a rich urban fabric
Local amenities; and Guilds; centres for traditional
and framework for community sitting parallel,
local crafts and the basis for agencies of the
parasitically together and as a Paradigmatic Pol for
same intention as The Kalakruti refuge. Just as
a contemporary Ahmedabad.
1;1000 WHITE PLASTER MODEL G R O U N D : I T E R AT I O N S O F I N C I S I O N S , VA R Y I N G T H E F I S S U R E .
Bank Deelopment Process
demonstrated historically in the pols, communities of skilled trades work
together to creative a
cohesive and sustainable communities. Setting up
1:1000 WHITE PLASTER & CARD
a framework model to lead on ongoing ecosophic
GUILD
approach to urban design results in an intricate but spatially appropriately rich, irregular and indian framework for architectural development.
AGENCY POOLING
The series of drawing on the overleaf depict the cumulative fissuring and enclosure of first the Aqua fissures, then the proposed public open Amenity spaces, (Chowks), progressing onto the next degree of threshold, and the public space within the proposed guilds.
OCEANS OF WETNESS
U U RR BB AA N N SS PP EE CC U U LL AA TT II O ON N SS ;; 11 :: 11 00 00
1100
D D RR AA FF TT RR II VV EE RR EE LL EE VV AA TT II O ON N II N N TT EE N N TT II O ON N D D RR AA W W II N NG G FF RR O OM M M MO OD D EE LL
2200
3300
4400
PLOTTING AQUAFISSURES & PL ACEMAKING S A B A R M AT I B A N K S AT U R AT I O N D E V E LO P M E N T
U U RR BB AA N N SS PP EE CC U U LL AA TT II O ON N ;; PP LL O O TT TT II N NG G AA Q QU U AA FF II SS SS U U RR EE SS 11 :: 11 00 00 00
GUILDS:
GLOSSARY OF TERMS:
L E F T TO R I G H T :
PERFORMING ARTS GUILDS, S T O N E M A S O N R Y, J A L I , C E R A M I C S , C A R P E N T R Y, C A R P E T M A K I N G , T E X T I L E S , JEWELLERY AND IRONWORK
A G E N C Y : An Ezymatic Territory or any part of it. P A R A S I T U A T I O N : An unfamiliar co existent. ‘ Other’ situation that is necessitates a different appre-
A G E N T : That which takes on and represents the operative force of an agency.
01: INTRODUCTION
ciation of a host situation
A M E N I T Y : That which is available for folk to arrange to suite themselves.
forms of for the slowing of run - off water and filtration into the sabarmati.
T H E WA L L E D C I T Y, T H E PA R A S I T U AT I O N S
T A N K A : A traditional vernacular water harvesting system of the Pol districts of Ahmedabad._
school, but also throughout the old town, in chowks of temples.
P E R F O R M A N C E A N D E X H I B I T I O N S S PA C E S G AT H E R I N G A N D R E C R E AT I O N S S PA C E S ; R O W I N G C L U B , C A F É ’ S A N D R E S TA U R0A3N: T S [DANCE]FLOORS & [AQUA]FISSURES SCHOOL P L E A S U R E B O AT F E R R Y D O C K
E C O S O P H I C A L E N U N C I A T I O N : The register of a constituent part of an enzymatic territory.
GUEST CRITICS: PETER SALTER F I N D L AY M C FA R L A N E S A M B A R C L AY ROBERT STEPHENS
E N Z Y M A T I C T E R R I T O R Y : The fluctuating fecund ground on which folk, ground, sky, buildings, and water continuously work in parasitically productive relations.
FLOOR AND FOOT T H E P L A N E TA B L E F I S S U R E A N D FAU LT L I N E
C O N S U LTA N T : A N D R E W L E I P E R JJ O ON N AATT H H AA N N N N AA RR RR O O ENGINEERS
G R O U N D : That which is both literally and metphorically the ground apon which architecture is built.
L E F T TO R I G H T : D E S M O N D S U , J A M I E F O R D E , J U L I A B R O O K F I E L D, I O N A H O G G A RT H , PA M E L A FENG, VSEVOLOD YERCHENKO.
POL GUIDES: RAJESH & UNESH SHAH
G R O Y N E : A barrier or threshold constructed to contain and defend against erosion and drifting, or
04: KALAKRUTI NI POL:
TUTORS: DORIAN WISZNIEWSKI KEVIN ADAMS NEIL CUNNING PA U L PAT T I N S O N LEO XIAN
D A N C E F L O O R : A surface of prestige ground , cool green and white marble found at daparna dance
S I T UAT I O N A : O B S E R VAT I O N S O F A T Y [ P O L ] O G Y U R B A N FA B R I C ; C A R V I N G T H E B AG R U B LO C K S I T UAT I O N B : T H E R AV I VA R I B A Z A A R U R B A N FA B R I C : A R E I M A G I N AT I O N O F G R O U N D
AMENTITY: L E F T TO R I G H T :
ACKNOWLEDGMENTS
P L A C E : Somewhere people find meaningful.
A Q U A - F I S S U R E : A contemporary re conception of a stepwell, a Vennel of steeping pools and plat-
02: THESIS CONTEXT; WALL WELLS AND WELL WALLS
sprawl. THE AGENCY BRIEF T H E C O L L E C T I V E : C L I E N T & S TA K E H O L D E R S
ACCESS:
SPECIAL THANKS I wish to extend a special thank you to my fellow Parasituation: Ahmedabad Studio colleagues;
G U I L D : An association or agency craftsmen or creative industry with a mutual aim or the pursuit of a
Julia, Desmond, Pam, Seva, Jamie, Jack and Kevin, better travelling companions I could not
common goal.
I N C R E A S E D P E D E S T R I A N P R E S E N C E O N R O A D F R O N TA G E R E D U C T I O N O F F O U R L A N E S O F V E H I C U L A R T R A F F I C TO T W O T HBEA NRKE -DSEAVTE U O TN F O F MT H N E W A C C E S S R O U T E S0 I5N: T O L ORPAMT EI N RO MEA RRKAE V T I LVEAV R E LI DISABLED ACCESS ALONG RIVER FRONT PROMENADE
have hoped for; Thank you for sharing two years of exploration, collaboration and friendship. Thank you to my family for their unwavering long-distance support, and my flatmate Martha for tolerating a kitchen full of sawdust and plaster during the workshop closures of a national lockdown.
GUILDED EDGES
THE GUILDED EDGES OF THE RAVIVARI
2255
THE GUILDED EDGES OF THE RAVIVARI: 1:1000 MODEL PL ASTER, AND CARD
5500
11 :: 22 55 00 00 U U RR BB AA N N SS PP EE CC U U LL AATT II O ON N G GU U II LL D D -- EE D D EE D DG G EE SS O O FF TT H H EE SS AA BB AA RR M M AATT II
BIBLIOGRAPHY: Adhyaru Majithia, P., 2011. US study dips into walled city tanks for green wisdom | Ahmedabad News - Times of India. [online] The Times of India. Available at: <https://timesofindia.indiatimes.com/city/
Shah, A., 2015. Ahmedabad. London: Bloomsbury.
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UTS Centre for Social Justice and Inclusion.
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Hcp.co.in. 2018. Sabarmati Riverfront Development | HCP. [online] Available at: <https://www.hcp.
SELF EMPLOYED WOMEN’S ASSOCIATION (SEWA). 2018. Struggle for Voice,visibility and Viability.
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Gobrick.com. 2021. Technical Notes 30 - Bonds and Patterns in Brickwork. [online] Available at:
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<https://www.gobrick.com/docs/default-source/read-research-documents/technicalnotes/30-
[online] Available at: <https://timesofindia.indiatimes.com/city/ahmedabad/tanka-water-meets-
bonds-and-patterns-in-brickwork.pdf?sfvrsn=0>
who-standards/articleshow/1066770991.cms>.
Gungwar, G. and Kaur, P., 2020. Traditional Pol Houses of Ahmedabad: An Overview. Post graduate. IKG Punjab Technical University Jalandhar, Punjab, India. Manoj, M., 2013. Mirage of a river; Is therestoration of the sabarmati the way to go?. [online] Downtoearth.org.in.
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The Times of India; Ahmedabad News. 2017. The Nari Sanrakshan Gruh: A gilded cage?. [online] Available at: <https://timesofindia.indiatimes.com/city/ahmedabad/The-Nari-Sanrakshan-Gruh-Agilded-cage/articleshow/784043757.cms>.
<https://www.downtoearth.org.in/blog/dams/mirage-of-a-
river-41078>]. Sabarmatiriverfront.com. 2021. River Promenade – Sabarmati Riverfront. [online] Available at: <https://sabarmatiriverfront.com/river-promenade/>.
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ARB CRITERIA
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