Civic Stage : Booklet 2021 - Architecture at Queens by Ivycarolinew

The civic stage poses the question of whether temporary architecture in cities is commendable or wasteful. The term recyclable architecture comes to mind - like the fast fashion industry it changes for the time, for the moment. Maybe that’s what people call for, an ever-changing landscape to fit an ever-changing world and lifestyle. But should we really be using resources to constantly change? People desire stability, but also innovation. We should make sustainable architecture that can last centuries, tying generation to generation. In the future we must protect, perhaps we should be looking for permanent solutions - not temporary fashionable pop-ups to feed architects' growing need to be needed and to express such creativity and fundamental values. The ultimate goal here is not to depict which is better but find a way to incorporate the best of both worlds. A way in which is best for the environment and the people’s needs for a fresh and dynamic world view, the view they see through the world around them.

Now, let us take you through our explorations

CIVIC

STAGE SelgasCano's Serpentine Gallery Pavilion

Pavilion of Slovenia by Dekleva Gregoric

“To live a creative life, we must lose our fear of being wrong.” Joseph Chilton Pearce

family one

INTRODUCE US,

Connor Curley Inspired by the timeless drawings of Paul Rudolph, The fine linework of Jan Kaplický and the painterly visuals of MAE, I am committed this semester to refining my skills and forming a style of digital drawing that brings a touch of the hand to my work. Sectional perspective,

Pey Kwang

William Warnock

Haojie Kong

Throughout my studies in Architecture, I have always

For as long as I can remember I have always had a good

Being

I want to develop my skills concerning architectural

been widely interested in monochrome line drawings

eye for detail and an interest in drawing. Since starting

architecture and other kinds of art, I joined the studio

drawing representation resulting in a more consistent

which represent the materials and textured used in my

second year, I have been spending time learning Cad. As

without experience in this field. I am looking forward to

style throughout my portfolio. I feel I should start by

design. I enjoy hand drawings and am highly committed

good as this is, I haven't

improving my architectural drawing and communication

continuing my greyscale colour palette and developing

in developing my skills in line drawings digitally without

making as much as a should. There is a time

losing the soft touch of my hand drawings. I would also

drawing and a time for CAD drawing, both are amazing

axonometric/isometric drawing skills and experiment

Ryan McCracken

further.

hope

progress

been hand drawing or model for hand

like to further develop my 3D rendering skills in drawing

ways to communicate your ideas. So, I want to develop

with exploding these to highlight areas and structural

sectional

these skills and I also

drawings are all areas I want to focus on and increase

build-ups. Hand drawing skills is something I have

drawings. Hence, I believe I would be able to produce a

want to focus on how to present my drawings to look

my skill in, as I believe they are the drawings that best

lacked over the last year and a half since I’ve started

cohesive

professional, with a consistent drawing style and colour

communicate the lived

my degree. I want to develop these skills at the

experience of the users, materials within and the space

concept stage of designing projects to express my

by drawing the fine details of texture used within my

intentions from the beginning.

design.

material renderings and combination detail/elevation

experience of a structure, and

can grant life to my project to come.

perspectives, board

which

axonometrics will

help

and

elevation

communicate

the

palette.

skills

interested

especially

the

technical

relationship

drawings

with

between

better

fulfillment and aesthetic. A consistent style of outputs throughout the projects is also what I need and what I am exploring currently.

family two Ayshwarya Madhu

Zhen Hong

As a firm believer in the design process, I lay my

Whilst I enjoy conceptual and complex drawings, I

scheme

find that clear and simple drawings are better

out

initially

visual

collage

that

exhibits all the key features that would be the basis

design.

The

aspiration

collage

depicts a proposal for a cinema theatre that allows people of all abilities to enjoy the movie as

equals

features

and that

this would

collage aid

portrays in

all

bringing

the this

experience to life. Entering this studio with my knowledge on softwares, I aim to fine tune my abilities to produce vibrant and detailed graphics - bringing the design to life through just one image.

suited for me in conveying the information to the viewers. In achieving simplicity, with eliminating unnecessary context and constraining the colour

Madeleine Weymouth

Amy Cross

Art has always been a way for me to express my work,

Originally

using bright colours and weird & wacky shapes, for me,

I consider myself a curious person when it comes

studies in architecture have stretched my skills in

more interesting than subjects which are purely writing

to discovering new tools to help me represent

so many ways, from learning CAD for technical

based. The ability for us as training architects to

my ideas. Recently, I acquired an interest in

drawings

graphic design, which I think is a powerful tool

potentially shape communities and enhance peoples lives using our own hobbies will be so rewarding. My

palette, I hope to still deliver the emotion, tactile

goals this semester are to develop my CAD and digital

and atmosphere from my drawings. I look up to

modelling skills, whilst incorporating my love for art, to

Peter

build

Zumthor

and

admire

his

concept

delivering a certain atmosphere in the building we design.

visually

aesthetic

drawing

portfolio,

approach I was too scared to do previously.

trained

and

Claudia Cabrera a

photoshop

for

fine

art

style,

conceptual

visuals.

Continuing through this studio I hope to firstly, explore the role of temporary architecture within communities and how that impacts them and the power or lack thereof they have in being able to make positive change, as well as meld these new skills I have to make clear technical computer based drawings with the more wild missed media artwork of my past.

for us as designers. The way we represent our work is the way we sell our ideas. I would like to end by saying: never be afraid to try something new, always go for the choice that scares you the most, because that will help you to open your mind to new design challenges.

family three Ellen McKeag

Kate Low

Hoay Qing Chow

Throughout my development as a young architect, I

When drawing and sketching there are many styles that

I had little experience with drawing when I first started

I have always been a big fan of monochrome drawings

have experimented with many ways of working.

I enjoy. I can appreciate both neat, accurate line

architecture but throughout the course I’ve explored

and hand-sketches. I’ve always thought that it can be a

Recently I have established an illustrative style in

drawings and impressionistic sketches, as well as the

different

like,

powerful tool to signify the very essence of the drawings. But as I’ve grown to develop a passion for emergent

my graphic work, heavily incorporating linework and

use of colour or the absence of it completely. I hope to

linework in black and white. This is the style I gear towards the most as it helps me express materiality and

technologies,

construction through line weights and textures and I

architecture,

draw my inspiration mainly from Atelier Bow Wow. The

techniques of representation. During this project I am

towards

drawing in this post is an example of my work and I aim

graphic, and 3d design to help me uncover the creative

focusing on development of a looser style, where I can

to further develop my skills in linework by focusing on

potential within every project. I am now focusing on

be less tight with my pencil and let my creativity flow.

including details such as textures, building technology

exploring the use of bright colour-schemes in my crafts

and human activity.

to further experiment with the concept of innovative

hand-drawn

elements

within

chosen

colour

palette. I enjoy working both in monochrome and colour and am hoping to develop my skills in each – using

bold

colours

with

confidence

and

building my portfolio with more populated ‘hybrid’ hand-drawn digital images.

expand my skills in areas of design that I am not as comfortable in, while also learning about new ways and

techniques

and

finally

Ivy Wijaya found

what

eco-design, my

architecture.

crafts

parametric

and

exploration.

interests I

began

and

biomimetic

started to

use

shifting collages,

family four Alice Poole

Gerard MacAllister

Nearly four years ago I was looking around a university having absolutely no clue what to do with my life, I had

Hollie Hamilton

Elena Cariaga

Natalie Cha

I have always had a passion and an eye for anything

“Architecture is really about well-being. I think that

Alvar Aalto is my design inspiration. Aalto, the father

creative

people want to feel good in a space “-Zaha HadidThis

of modernism, is not just an architect who designs

a spare hour in my day where there just happened to

journey into architecture. Before studying architecture,

is a quote I think a lot about when I am studying and

buildings but also furniture, textiles, and glassware.

be an architecture lecture going on, I went, hoping to

I never realised how experimental and free the design

working with design projects. Life is very important in

His

simply fill the time and sat in a lecture hall and

process could be, which is an aspect I really love

my visualization. Creating a playful narrative alongside

buildings

realised that this was totally the right degree for me.

about the subject. I knew I would learn many different

the

been

mainly descend from the natural light flowing into

Having come from the Cotswolds in England over to

things about architecture, but I didn’t think it would

interested in recently and I would like to incorporate it

glazings of buildings. In short, I aimed to design like

Belfast to start my degree back in 2019, I never

influence and enrich my designs so much be that

Aalto and inspired many to let imagination fly beyond

realised how multifaceted architecture could be - if

history,

challenges in which I am not very experienced with

you’re

designing for.

interested

art,

history,

science,

politics,

(particularly

art,

even

the

fashion),

politics

which

the

started

area

you’re

Although I’m very early in my studies,

built

environment

rendering

and

something

process.

strengths

know

lie

have

face

few

model-making.

philosophy – architecture has you covered! While I’m

and haven’t even started my career yet, I can’t wait to

Therefore, I have been experimenting with simple line

just starting my journey and I’m not sure yet what the

see where architecture takes me in life. This semester

drawings with hand drawn elements to highlight the

end goal is, I’m discovering a love for discussing

I really want to refine my hand drawings skills further

structure of the built form and the life that surrounds it

socioeconomic issues, looking at architecture through

with the use of colour, and to further explore the idea

in a mixture of grey tones and bright colours.I hope to

critical eyes and ultimately forming my opinions as a

of digital art to represent my ideas in an exciting and

further

young designer. My drawing goals for this semester

eye-catching way.

experiment with the different human body scales to

progress

this

style

this

semester

and

were to improve my CAD and photoshop work, along

create a render that is busy and teeming with vibrant

with developing my sketching style. Building up a

life.

coherent and ultimately beautiful portfolio.

buildings

the walls.

that

instilled create

vivid

waveform

livelihood.

Those

imagery

livelihoods

When it comes to my own work, being an indecisive student is hard, I have experimented with many

different

continuously

styles

changing

and

from

thoughts

semester

are

semester.

However, I do know that my passion is to bring life into drawings with colour and illustration- striving away from the more serious line drawings. I would like to challenge

myself

bringing

perfected

line

drawings and joyful vibrant drawings to marry and become one. Also, working with the 2nd years in vertical studios they have inspired me to dive back into

hand-drawings,

incorporate semester.

into

which

the

would

human

scale

perfect

drawings

to this

Introduce — our tutors

QUB Lecturer / Director of OGU Architects

Rachel O'Grady The Civic Stage studio views the city as theatre, and architecture as public set design. We draw the city as a collection of performances: the material settings anticipating, inspiring and transforming the way people interact. Drawing is central to my own practice and so we spend time in the Civic Stage studio thinking about how – and why – we draw. This year, I am delighted to be running the studio with Fearghal Murray of @mmasarchitects. Both our practices have experience in urban design and public installations and at the start of the spring pandemic lockdown, we decided to collaborate to create better exterior architecture for people who could no longer use the city’s interior rooms. We are currently working on several urban installations in Belfast, Derry-Londonderry and Strabane. These kinds of project can have enormous impact on cities if they are done well, but they are tricky. This is why we have asked our students to investigate, question and critique “temporary” architecture. Everything is “temporary” so all architecture should be designed with a thought as to how it might be taken apart, and where the materials can go next. Conversely, if something is popular, it may stay in place longer than expected and that needs to be thought about too. But what our practices have found is that if architecture is perceived as a short-term installation, it has a special power: it becomes an event, a destination, and it invites collaboration. We strongly believe that temporary architecture is not trivial: it is not an entertaining extra, or a passing distraction. Pop-up architecture has been used throughout history to create settings for events: moments that break out of the “everyday” and allow us to see things differently, as explored in the collection of essays entitled Time out of Time: Essays on the Festival put together by Alessandro Falassi.

Phillip K. Smith Installation

III's

Reflective

Open

Sky

are you

FOR / AGAINST temporary architecture?

ROGAN, K. 2020, NYC’S REOPENING PLANS DEPEND ON A HOLY TRINITY OF DINERS, DESIGNERS, AND CAPITAL, FAILEDARCHITECTURE.COM

temporary pretends

architecture to

Reichstag fire-type event—and been born anew as the aesthetic wing of Open Restaurantsesque pandemic urbanism. Predicated on an understanding of the city as a complex system that can be oriented towards positive change with small interventions of legibility, tactical urbanism above all fetishizes the ability of ‘good citizens’ to do ‘placemaking’. In that spirit, it is the charge of the tactical urbanist to create new restaurant patios for the greater good. The highest aspiration of tactical urbanism is realized in the creation of a mildly interesting backdrop for the ambulation of people and capital—which is apparently exactly what is needed right now.

revolutionary

when

actually

reinforces

capitalist

flows

There is a particular ethos of urban design which corresponds to this usage of public space as a site of consumption: tactical urbanism. This relic of the 2000s has had a new moment—a

RAINFOREST PAVILION BY GUN ARCHITECTS

I believe this structure/piece of art isn’t revolutionary because It doesn’t have a real purpose and the designers haven’t pushed the boundary of its materials. It has also cost money to build and you aren’t getting any money in return.

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william warnock THE SMILE BY ALISON BROOKS ARCHITECTS

I believe this award-winning structure is revolutionary because it has pushed the boundary of CLT to the limit. This is very important because CLT is a fully renewable, zero-carbon material. Moving into the future, I believe designers and architects will be looking at this structure for inspiration and guidance. This is because we need to be using environmentally friendly materials and want our buildings to look aesthetically pleasing. Which is what this structure has achieved.

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http://www.shigerubanarchitects.com/works/2013_cardboard-cathedral/index.html https://www.designboom.com/architecture/mka-arthurs-cave-wales-05-31-2017/

“Temporary architecture can be used as a device to find out what space could be like which allows different relationships with different sites and ecosystems.”

ryan mccracken CARDBOARD / PAPER CATHEDRAL BY SHIGERU BAN

New temporary cathedral that can be used as an event space and a concert space. Paper tubes of the equal length and 20 ft containers form triangular shape.

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“Even concrete buildings can be destroyed by earthquakes very easily, but paper buildings cannot.”

MICRO-CABIN BY MILLER KENDRICK Miller kendrick architects completes its latest compact pop-up cabin, ‘arthur’s cave’ near castell y bere. ‘arthur’s cave’ embodies welsh mythology and folklore, reflecting king arthur’s legend who is said to have taken refuge in a cave with his knights. This pop up hotels would only exist for a short period of time in one location before moving on, using as many Local materials as possible.

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connor curley PAVILION OF REFLECTIONS BY STUDIO TOM EMERSON

This floating pavillion in Zurich, Switzerland was created by a team of students to serve as the manifesta 11 biennial’s public forum: as a meeting point, as a cinema for screening films produced as part of the biennial, reflected in the public swimming bath, open to the public during the day. A mix of capitalist and social public temporary architecture, this pavilion by Students at ETHZ embraces the notion of public bathing and public art while also providing a novel venue for a bar. While one could argue that the addition of a commercial space makes the entire venture a commercial one, I do believe in this case the public facing aspects outweigh the commercial interests in this design. The response to the lake as a space in its own right is an interesting move as well. The creation of a new space off a public promenade in Zurich's historic centre, effectively expanding the city and occupying what is a criminally underutilized space. It is not a small structure, getting it floating is a feat in its own right as well, for a temporary structure it is technically extremely advanced.

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POTEMKIN THEATRE BY MAICH SWIFT ARCHITECTS

This canalside wooden rooftop theater built in Haggerston, London, is inspired by Monsieur Hulot in Jacques Tati’s 1958 film "Mon Oncle". "Potemkin theatre" was chosen from almost 200 entries in an open competition launched by the Architecture Foundation and Shiva Ltd. The colorful structure was built in less than a month by a team of volunteers. The painted laminated veneer lumber structural frame and façade reference theater flats commonly used in set design. The Potemkin Theatre is, by its construction, almost wholly unable to be monetised. one may watch the performance from many sides, and it forms more of an element of street furniture rather than a building. The possibility for community use of this space seems more in keeping with ideas of bottom up urban intervention. The theatre was also made to combat the high rent on performance spaces in London, placing it in firmly anti-capitalistic territory.

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pey kwang PAPER LOG HOUSE (KOBE, JAPAN, 1995) SHIGERU BAN

Designed in response to the earthquake that devastated Kobe, Japan. The foundation consists of donated beer crates, loaded with sandbags. Walls are made from 106 diameter, 4mm thick paper tubes, with tenting materials for the roof. Units are easy to dismantle, and the materials are easily disposed of or recycled, with low cost, easy accessibility and simple application.

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LEVELUP PAVILION (RIJEKA, CROATIA, 2018) BRETT MAHON, JOONAS PARVIAINEN, SAAGAR TULSHAN, SHREYANSH SETT

Designed to be a new place for locals in the post industrial port city to socialise, and turns a previously disused rooftop area into a terrace. Pavilion doubles as street furniture, is formed of a series of levels linking up to an elevated terrace built on the roof. Different places and surfaces for visitors to sit, swing or relax in a hammock are placed all along the extended staircase to the top of the structure.

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THE COMMUNITY CLASSROOM (GLASGOW, UNITED KINGDOM, 2019) O’DONNELL BROWN

An open-air classroom that hosts learning workshops after the Coronavirus shutdown is over. An adaptable and demountable wooden structure. Developed in parallel with the practice’s ongoing community and educational projects, to explore connections between people, places and learning.

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YULIN ALLEYNHOOW ARCHITECTS

"It's a community center that is trying to create anenvironment of freedom and equality that suiting all.More people with disabilities will be encouraged tocome and take part in our activities and more people cando more exploration attempts."

The structure owned by the whole community managed to bring vitality to theold dwelling blocks via inviting all groups of pedestrians to stay and play with it.

haojie kong MESH TEMPORARY BAR BY FALA

“The 3x3x5m metal structure was given; the skin is defined by an overlay of metal meshes and plastic screens.From far, only the light is visible; while approaching the object, the thin silhouette and its texture reveal their rationality.” The simple bar is simply a takeaway service similar to food trucks. It fits to the current trend of bringing back outdoor dining during the pendemic which is designed with good airflow and transparency.

FOR THE PROVOCATION

AGAINST THE PROVOCATION

HARRISON, S. AND JACOBS, A., 2016. GENTRIFICATION AND THE HETEROGENEOUS CITY: FINDING A ROLE FOR DESIGN. THE PLAN JOURNAL, 1(2), PP.239-259.

There Private developers, seeking profit in emerging new markets in neglected, strategically located neighborhoods partner quietly with public policy makers. Together these public-private partnerships build tax revenue and national status, marketing the gentrified neighborhoods as a product of the “creative class” and young people are welcomed into “up and coming” neighborhoods. First gradually, then rapidly, the ragged edges are smoothed, rents rise and poorer old-time residents relocate. A far cry from the ethos of creative risk-taking that the hip emerging neighborhoods were meant to represent, a haunting predictability begins to pervade the newly gentrified urban spaces. Cafes, bike shares, dog parks, galleries, and popup parks proliferate and are replicated from city to city.

temporary architecture

is a trojan horse for gentrification

zhen hong THE RED PLANET BY 100ARCHITECTS

For cities that undergo rapid development to attract affluent middle-classes and boost land value are resulting in countless relocation and displacement of the working-class population. This process is known as “gentrification”.Urban land resources are being treated in ways to increase business potential, leaving little room for the development of urban street life. Architectural practices are called for temporary architecture to adapt part of cities where people do not have space for themself. Identifying the issues that gentrification brought is the lack of public space for people, to stay and play. 100Architects provides a solution to design a public intervention in a privately- owned area, that would attract kids and adults alike, to come and utilize the space, rather than just passing by.

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HIGH LINE, NEW YORK BY JAMES CORNER FIELD OPERATIONS AND ARCHITECTS DILLER SCOFIDIO + RENFRO

The High Line is a 1.5–mile long public park built on an abandoned elevated railroad stretching from the Meatpacking District to the Hudson Rail Yards in Manhattan. Upon completion, the park is believed as the catalyst for the regeneration of the Chelsea area and the Meatpacking District next to it. Whilst providing green space and walkability to people in the city of Manhattan, it also meant gentrification and displacement of local communities due to rise in land value and rent.

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Architect Liz Diller claims that the High Line's huge success was unexpected and that the city wasn't prepared for the pace of gentrification in the surrounding area, as a direct result.It offers a valuable lesson, she says, about how architects could be more involved after a project's completion. She also believe that architect’s role is limited that municipal council could have legislation to make sure there was more equity in the way that these properties developed: making sure that inclusionary zoning is part of the overall mix; that you can get different income levels as part of a city fabric; that you don't evict artists all of a sudden because they can't pay the rent."

http://www.designcurial.com/news/this-is-temporary-transient-architecture-4802906/2 https://worldarchitecture.org/article-links/epzzn/aprop_temporary_homes_barcelonas_response_to_gentrification.html

FRANK’S CAFE

First constructed in 2009 on the rooftop of Peckham’s multistory carpark, Frank’s Cafe has opened every summer since. The timber structure is lashed to the rooftop with twelve 50m-long ratchet straps, which support the red canopy. Built using reclaimed scaffolding boards and a roof constructed from lorry- siding

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ayshwarya madhu APROP HOMES

APROP, temporary housing until permanent solution: built on site until permanent project is about to be undertaken, then moved to alternate site till completion - modularity and portability. It rises where gentrification is identified, and reusing disused lots / buildings that can be still developed. This program helps to avoid the dramatic consequences of the forceddisplacement of residents due to evictions or other reasons related to emergency.

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madeleine weymouth

F., 2021. Droneport | Foster + Partners. Fosterandpartners.com. Available at: fosterandpartners.com/projects/dronep ort/> [Accessed 1 February 2021].

THE UNZIPPED WALL (LONDON, UK) – BJARKE INGELS, 2016.

It is built out of stacked fibreglass frames to create the shelf effect, where it forms a hall inside and a sitting space on the outside. "This simple manipulation of the archetypal space-defining garden wall creates a presence in the Park that changes as you move around it and as you move through it.”World-Architects. 2021. 'Unzipped Wall' Opens in London -. Available at:world-architects.com/en/architecturenews/headlines/unzipped-wall-opens-in-london> [Accessed 1 February 2021].

DRONEPORT (RWANDA, AFRICA) – NORMAN FOSTER, 2015.

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For the distribution of medical supplies and resources in Rwanda, the facility uses drones to distribute as the number of roads is very sparse. Where the local area is very disconnected, it was designed to become part of community life. “Do more with less”.

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Gagnon k. (2014) 'Inclusivity as Architectural Program: A Reflection on Vancouver's Woodward’s Redevelopment Five Years On', ArchDaily, (), pp. [Online]. Available at: https://www.archdaily.com/580467/inclusivity-as-architecturalprogram-a-reflection-on-vancouver-s-woodward-s-redevelopment-fiveyears-on (Accessed: 24th January 2021). Shim Y., (2021) Reinventing a Superblock in Central Seoul – Without the Gentrification, available at: https://www.archdaily.com/900110/reinventing -a-superblock-incentral-Seoul-without-the-gentrification (Accessed: 24th January 2021).

INCLUSIVITY AS ARCHITECTURAL PROGRAM: A REFLECTION ON VANCOUVER'S

In regards to gentrification and development specifically, the plan acknowledges that the area requires a “thoughtful and balanced approach which means regulating, supporting, and encouraging development that benefits the existing community (including low-income residents), while allowing the area to evolve over time.

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claudia cabrera REINVENTING A SUPERBLOCK IN CENTRAL SEOUL WITHOUT THE GENTRIFICATION

With such explicit efforts to avoid gentrification, the project’s political stakes are high. But already, new tenants are filling Sewoon Sangga’s Makers’ Cube, with industries like VR, robotics, and CNC manufacturing rubbing up against older practices like printing, electronics repair, and metalwork.

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amy cross BALTIC STREET ADVENTURE PLAYGROUND 2014 - ASSEMBLE

The Baltic Street Adventure Playground was inspired by the original ‘Junk playgrounds’ that had their origins in the 1940’s, where instead of the conventional play-areas children were documented playing in ‘old train engines, disused lifeboats, old buses and unwanted railway carriages’. These instincts for children to play freely was seen strikingly during WWII where children could ‘often be seen playing on bomb sites, lighting fires, building a variety of structures, mainly dens and the like, using the materials readily available there.’

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PLACE / LADYWELL - ROGERS STIRK HARBOUR + PARTNERS’ WITH PARTNERSHIP LEWISHAM COUNCIL

Personally, I feel conflicted by this project, the aim of the scheme was to help fill the void for housing in the area, and the quick build/temporary nature meant it was achieved theoretically in a shorter period. But the further actions to dismantle and rebuild almost completely in another area and therefore displacing its residents as well as benefiting from its publicity to create a housing block that did not completely fill the original goal, which was a need for social housing, makes the original aim of helping feel disingenuous to me.

FOR THE PROVOCATION

BOER, R., 2018. WHAT IF ARCHITECTS WERE TO EMBRACE, RATHER THAN IGNORE, A BUILDING’S FUTURE?, FAILEDARCHITECTURE.COM

temporary architecture undermines investment in the long term

improvement of cities

While pop-up projects, from that summertime restaurant pavilion to temporary refugee housing, often do take into account the entire lifespan of a construction, they do not provide any perspective on the long-term urban development of an area beyond that brief, single intervention.

HOUSE 2 / ALICE - ZURICH, GERMAN

ellen mckeag FORESTS OF VENICE / KJELLANDER + SJOBERG AND FOLKHELM - VENICE BIENNALE

House 2 established itself as a piece of temporary architecture by asserting its to the city - becoming a place of activity, participation and urban events.

position in relation It provided a usable

space in an otherwise unused and forgotten part of cities - the

underpass. House 2 provided a

space for active exchange, collaboration and discussion

involving the whole community,

displaying that temporary architecture can help shape the a togetherness in a community, provoking thoughts

‘forgotten’ places of the city, creating of urban development and providing a new space to be used how the city demands.

This pavilion was erected for the Venice Biennale in

AGAINST THE PROVOCATION

2016 as a tribute to timber, withcareful design for the re-use of the materials used. Its function is to provide a shelteredplace of rest for its visitors. While this can be seen as potentially having no otherlong-term intent it can be argued that this temporary structure, and many of those like it still provide a thought as to how cities / housing / buildings may be constructed or designed in the future: in this instance, can timber be woven or used in urbandevelopment?

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CHECKERED PLAYROOM / ZHU JINGXIANG - CHINA

Originally displayed as ‘pavilion dou’ in the Venice Biennale, the prefabricated structure is described as a ‘checkered playroom’ for kindergartens based in remote areas across China where childcare may not be readily available. The lightweight pavilion can be assembled and taken apart with minimal impact on itssite - having variations of build and design for indoor / outdoor use and weather considerations. The pavilions allow for education and care to be provided for youngchildren who need it, the ‘checkered’ alcoves providing both storage and a place to play. The design was so successful that the pavilions are now in 46 different locations throughout China.

AGAINST THE PROVOCATION

ADD ON / FATTINGER ORSO ARCHITEKTUR VIENNA, AUSTRIA

hoay qing

The structure is made of scaffolding

NEXT GEN PARK / KOGAA STUDIO - BRNO, CZECH REPUBLIC

Next Gen Park is a fully self-sufficient installation aim to raise environmental awareness within the city. It is strategically installed on a neglected back alley which attracts people to it. The

with modules such as RV’s, hot tubs,

bathrooms

the

qualities

the

public

functionality

regular

cleaning,

home.

The

living, Though itManaged to provide

city

led

lines between private and public

perspective

which

bedrooms

Installation was aimed to blur the

installation generated a sense of belonging to the fabric

and

slotted into the scaffolding to mimic

with

living

different and

within a public

maintenance and security in that area. The

square, it would lose its significance

architects hope that it will serve as a driving

and

force for future events similar to Next Gen Park.

AGAINST THE PROVOCATION

public

attention

was

made permanent.

FOR THE PROVOCATION

ivy wijaya BREATHE BY SO IL X MINI LIVING

An experiment that delves into the combination of technology and living requirement to build platforms to the future of sustainable and conscious living.

This goes against the provocation strongly due to its core purpose being to help clean the city air, affecting how housing will be built in the future. "A CATALYST OF CHANGE"

AGAINST THE PROVOCATION

BURNING MAN 2006, THE UCHRONIA INSTALLATION

Funded at $250,000 and was rumored to have costs a total of $800,000 in the end only for it to be burned at the end of the festival. THIS CHALLENGES THE QUESTION OF NECESSITY. IS IT RATIONAL TO BUILD AN EXPENSIVE TEMPORARY STRUCTURE

THAT

DOES

NOT

CONTRIBUTE TO THE CITY?

AGAINST THE PROVOCATION

minhyeok TEMPORARY PLAZAS: 13 PUBLIC SPACES

Normally, the construction industry is aimed to design spaces that are permanent and durable. However, in case of region that natural disaster that occurs frequently, these kinds of fast assembled infrastructure’s disadvantages overwhelm the advantage of temporary architecture. It is true that it has the potential of these interventions, but there should be more considered temporary architecture that suits the surrounding environment.

FOR THE PROVOCATION

ECO BOULEVARD IN VALLECAS, MADRID, 2007

There are two objectives of this architecture; one social and generate activity and other environmental, climate conditioning of space. It solves the problems which are lack of activity in public space and dense woodland. It rather generates the waste or consumes a large amount of energy; it provides electricity by solar panel and public space. Trees are 90% of recycled materials are used in it such as rubber floors, steel structures and concrete. The structures, made from recycled materials and plants, mimic greenhouse systems for lowering the temperature by up to 10 degrees. Environmental and sustainability criteria were behind the entire design process. This project may be reinstalled in locations that require urban activity or lacking activity space.

AGAINST THE PROVOCATION

kate low

PAVILION AT PICNIC AFISHA

This is another example where they used aircraft cable and connected it to trees that already existed.Temporary

architecture

also

increases

development. The only way to develop is through

PAVILION AT PICNIC AFISHA

experimentation,

Times are changing at an accelerated pace. Temporary architecture is flexible, a structure can be made when needed and used and when it is no longer needed it can be taken down. For example, at a music festival there is a need for

this

links

with

temporary

architecture because it can be used to create new ways

building

and

can

seating and chill out area to take a break from the music permanent architecture cannot do this. When the building is

architecture

actually

done serving its purpose then what?

investment in the long-term improvement of cities.

long term because of its short-term use. It could be thought of as just a quick fix, with no thought of the future in mind. This can be seen in this precedent.

FOR THE PROVOCATION

means

better,

methods.

On the other hand, because of their nature, temporary architecture undermines investment in the

This

develop

sustainable

enhances

and

temporary improves

AGAINST THE PROVOCATION

ARNSTEIN, S.R., 1969. A LADDER OF CITIZEN PARTICIPATION. JOURNAL OF THE AMERICAN INSTITUTE OF PLANNERS, 35(4), PP.216-224

temporary architecture

What citizens achieve in all this activity is that they have participated in participation. And what power holders achieve is the evidence that they have gone through the required motions of involving ‘those people’”. Simply put, citizen participation becomes a cover-up.

pretends to empower people through engagement when really it stands between people and meaningful urban decision making

ORIGAMI CONCÉNTRICO 03, MANUEL BOUZAS CAVADA, MANUEL BOUZAS BARCALA, CLARA ÁLVAREZ GARCÍA

The installation was part of Concéntrico 03 which looked to design a temporary information pavilion in Plaza Escuelas Trevijano. The architects had the objective to be playful with origami construction and to create an icon for the exhibit, “to catch the eye of the locals and to cause curiosity”. Through the use of timber panels and joints connected through hinges, it is able to self support itself and create a heavy silhouette yet have an element of lightness.This example of temporary architecture acts as a spectacle for the exhibition. Not only is it a structure that shows the potential and beauty of origami style construction, it acts as a piece that provokes curiosity about its unique structure rather than engaging with the urban environment. It is built for the architects’ curiosity rather than the people.

FOR THE PROVOCATION

elena cariaga MPAVILION IN MELBOURNE, OMA

Located in Queen Victoria Gardens in the center of Melbourne, the MPavilion is a public venue at an intimate scale. It is a temporary structure that intends to draw communities in with events, performances, and entertainment. It looks to nurture artistic creativity in the local area and gives them freedom to use the space how they like. The main infrastructure of the pavilion uses dynamic and static elements which allows further adjustments for the required venue/ amphitheatre. It is successful in engaging the local community and empowering people through creation and appreciation for the arts.

AGAINST THE PROVOCATION

SAVA INSTALLATION / OPENACT ARCHITECTURE + SARA PALOMAR STUDIO

This temporary architecture has been specifically designed for this riverbank, therefore it cannot be placed all over the country like many pop-ups- its for the people of sava. This project experiments with the local people displaying the idea of a ‘city within a city’ and how their inputs and visuals for the temporary architecture is listened to and used to shape the project's future through inclusive public debate to how the project can be improved for the next season when water levels lower. From working with the public this effectively creates bonds between governing bodies, architects and other creators creating a promising reputation within the locals. The local people will certainly learn from these experiences and it will encourage them to get involved and have a voice in the happenings within their community.

AGAINST THE PROVOCATION

hollie hamilton OFIS ARHITEKTI/POP-UP LIBRARY OVERLOOKING LJUBLJANA

The temporary architecture in this project uses units that are designed to suit a variety of locations, climates and terrains. They were first presented at Milan design week earlier this year as a prototype for a modular home – but the designers are now considering a wider variety of uses. A real “one size fits all’ approach. This temporary architecture has not been designed specifically for the people of Ljubljana, therefore it can be placed all over the country with no real meaning or intent for the locals. Despite the flexible design and how the pop-up might look good on social media, it has no real empowerment and engagement for the locals. The library was also filled with books on the architect’s output- the people don’t have a say on the books within the library. It is evident the people have no place for decision making in this project.

FOR THE PROVOCATION

alice poole IZMIR, TURKEY BY STEFABO PUGLIESE AND SEBASTIAN EVAZO

This project was a collaboration between students and Pugliese and Evazo. The task being to activate parts of the campus through initiatives. This was part of a workshop for interior design and interior architecture students. Geçit is a Turkish word meaning portal, gateway, passage. This project was built in 5 days. This project was built from only agricultural mesh fabric and reclaimed pine wood meaning it was a high sustainable project. The project was also part of a workshop for students meaning there was the perk that people were learning from it, it was just self indulgent like some temporary architecture projects. It really does what it says on the tin, it brightens up the campus and adds intrigue and becomes a great social space for people to meet and hang out.

FOR THE PROVOCATION

THE TEMPORARY LIBRARY IN THE 16TH CENTURY BATH PLOVIDIV, BULGARIA BY STUDIO81/2

The

project

part

exhibition

space

within

abandoned building repurposed as a gallery. This is one of the redeeming features of this project, it is taking up an otherwise unused space and turning it into a place with purpose. The issue with this project is that it was heavily marketed as being “for the local community”“The project has

The issues with this project appear when you see

tremendous respect for the surrounding area”However, the

how much press was written about it and how

architect goes no further into explaining how it does

important

the

this.There is a mention of the fact that the colors used in the

university making the motives for it a little more

cushions (blue and green) were used due to their association

blurry than the stated enlivening the campus motto.

with the colors of the festival, what festival this is is unclear

The project seems to have been creating publicity

leading to the idea that maybe the architect doesn’t truly

for the university and the faculty. Was all the press

know.

the

attention

clearly

was

for the benefit of the students to show off their work? Or was it for the university and architects to advertise their program?

FOR THE PROVOCATION

KADVACORP. 2019. Feeding the planet - Energy for life Latvia pavilion Milan expo. [online] Available at: <https://www.kadvacorp.com/design/latvia-pavilion-milan-expo/> [Accessed 28 January 2021].

natalie cha

designboom | architecture & design magazine. 2014. plastique fantastique + marco barotti transform color into soundwaves. [online] Available <https://www.designboom.com/architecture/marco-barotti-plastique-fantastique-sound-of-light-urban-lights-ruhr-2014-germany-10-29-2014/> [Accessed 28 January 2021].

‘ SOUND OF LIGHT’ BY PLASTIQUE FANTASTIQUE + MARCO

N A T A L I EB A R O T T I

The project transforms sunlight into audio frequencies as it merges sound and architecture.

‘Sound

light

composition

hue,

saturation, and light. By mixing sound and architecture, the audience experiences a unique oneiric reality through the superimposition of colors, shapes, sounds and vibrations. Visitors can

also

discover

their

own

concert

changing their point of view- an individual spectrum’ -Plastique Fantastique

AGAINST THE PROVOCATION

FEEDING THE PLANET-ENERGY FOR LIFE LATVIA PAVILIONMILAN EXPO

On the surface, it might seem to have the intention of representing cultural and social heritage values but when seeing the true intent of the exposition, one might rethink its actual purpose.An article written about the government’s intent is to give visitors the welcoming of an oak tree, which the designer does by resembling the essence of Latvian ecosystem. Long story short, the expo sounds like a very polished advertisement for Latvian tourism. The article even mentions that ‘the Latvian government intends to increase awareness and build a positive country brand...as well as strengthen international ties’.

FOR THE PROVOCATION

at:

xue cong MONTREAL'S VILLAGE AU PIED-DU-COURANT BRINGS A POP-UP TROPICAL BEACH TO A WINTERY CITY

This project took place in Canada and it was designed by 16 teams of architects and artists but is developed as a shared public space that sustains the city’s art and creative scenes. There is an artificial beach which is open to people during September and it attracts people from all ages. I think this project is actually a good one as a temporary architecture design for the people who live in Canada, a really wintery place because it gave them an unique experience of how it was like to have a holiday by the beach. I think all temporary architecture designs should consider how they can help benefit people with their design and also have the profit by not damaging

the

neighbourhoods.

FOR THE PROVOCATION

The Architect’s Newspaper. 2021. Village au Pied-du-Courant: Montreal's temporary beach. [online] Available at: <https://www.archpaper.com/2016/08/village-au-pied-du-courant-montreal/>

living

space

the

Studioweave.com. 2014. Smith. [online] Available at: <https://www.studioweave.com/projects/smith/> [Accessed 6 January 2021].

gerard macallister HIGHLINE- NEW YORK

The Highline in manhattan was built on the old coal railways and was developed to provide an outdoor Space for the local community- gaining support from the community as they felt this would benefit them.However this had the opposite effect,

the

highline

became

major

tourist

attraction-

leading

visitorsNeeding a reservation at the weekend. The popularity of the highline very quickly made rent prices in non-Rent controlled buildings skyrocketmeaning that many of the local community that lived there for yearsCould no longer afford the rent. While the highline proved a successful outdoor space, it hindered the Local community it was built for far more than it benefited them.

FOR THE PROVOCATION

ORIGAMI CONCÉNTRICO 03, MANUEL BOUZAS CAVADA, MANUEL BOUZAS BARCALA, CLARA ÁLVAREZ GARCÍA

The smith pavilion was built for Clerkenwell design week in 2014. The space was used as an

exhibition

Centre

show

the

rich

manufacturing history of Clerkenwell. Smith benefited the local community by Allowing local blacksmiths and craftsmen to hold workshops and presentations of their workgiving them A platform to reach the local community and have their work exposed to a wider audience. The smith Pavillion not only benefits Clerkenwell by sharing its history but

also

Showing

the that

local public

craftspeople, architecture

again is

not

always built with profit as a motive

AGAINST THE PROVOCATION

Dorbolò, C., Clemoes, C., Minkjan, M. and Bedir, M., 2021. We Participate, They Profit - Failed Architecture. [online] Failed Architecture. Available at: <https://failedarchitecture.com/we-participate-they-profit/>

development work “We are what we repeatedly do. Excellence, then, is not an act but a habit”

Aristotle

Ningbo Digital by Synarchitects

Connor C.

Previous Drawing Style

Inspiration Drawing: South Robinson - Oklahoma City, Sketchy-G

Inspiration Drawing: Barbican Detail, Curl la Tourelle Head.

Haojie K.

Development Drawing

Pey K.

Previous Drawing Style

Inspiration Drawing: Tryouts LIRAN DROR

Inspiration Drawing:

Previous Drawing Style

Patrick Bradley Architect.

Development Drawing

Ryan M.

living

the

city: four possible homes MESSER,

STAV

Madeleine W.

Inspiration

Drawing:

Newhall

Amy C.

Previous Drawing Style

Be,

Alison Brooks Architects

Development Drawing Development Drawing

Inspiration Drawing: Marilyn Henrion, Patchwork city

Ayshwarya M.

Previous Drawing Style

Inspiration Drawing: Presidents Medals.

Inspiration Drawing: Russ Tyson

William W.

Development Drawing

Previous Drawing Style

Inspiration Drawing: Presidents medals, Pinteres.

Previous Style

Inspiration: Peter Zumthor.

Claudia C

Development Drawing

Zhen H.

Development Drawing

Previous Drawing Style

Kate L. Inspiration Drawing: Learning from Santos

Los by

You+Pea

Development Drawing

Inspiration Drawing: Venetarian Bridges, Clare Caulfield.

Development Drawing

Ivy W.

H. Qing

Previous Drawing Style

Inspiration Drawing: . BMW Guggenheim Lab Mumbai, Atelier Bow-Wow.

Inspiration

Drawing:

Glasgow

Atlas,

Studio Tom Emerson .

Ellen M.

Development Drawing

Previous Drawing Style

Development Drawing

Inspiration: Zean Macfarlane

Min H.

Previous Drawing Style

Alice P.

Development Drawing

Inspiration: Barbican Centre by by Chamberlin, Powell & Bon

N a t a l i e

Previous Drawing Style

C .

Inspiration Drawing: A Place of Relief in an Urban Taxi Rank, Airy Loo

Inspiration Photography : Burnham Arlidge

E l e n a

C .

Development Drawing Development Drawing

Hollie H.

Previous Drawing Style

Inspiration Drawing: Venetian Canal, Ian Murphy.

Inspiration Drawing: Magazine for Tokyo Metropolitan Government, Bento Graphics.

Development Drawing

Gerard M.

Development Drawing

Let's explore: Get to know our crafts

House 2 - Counter City : Alice FAMILY 2

In the city of Zurich situated next to Toni-Areal is a 240square-metre public architectural installation called HOUSE 2 – Counter City. This temporary structure was designed by ALICE (Atelier de la Conception de l’Espace) to be a commonplace of activity and urban participation. The project involved 200 first-year students, who prefabricated all the built elements of the installation. It was transported across Switzerland in six shipping containers and erected in less than ten days. A considerable amount of wood was used in the construction of HOUSE 2. When this structure was deconstructed all the materials were reused the following year for HOUSE 3.

pey kwang For my Urban scale drawing, I have drawn the city scale plan in a wider scale to show the context of the site. I further developed the drawing by adding texture/hatches to enhance the materiality and texture within the area in my own style which makes it look like a hand drawing but it’s actually digitally drawn. For my Human scale drawing, I have drawn a transactional

section

the

design.

developed my drawing by inhabiting it with users

and

adding

textures/hatches

digital line drawing. From the drawings I have drawn,

has

helped

understand

the

materiality of the surrounding context. I have also explored how people interact within the building, through the transvectional section drawing to convey the user experience within the space and also help people understand the space better.

I started drawing with a goal of exploring the construction of one section of the House 2 structure in particular: a covered part of the intervention containing pools of water and shaded by screens. I first attempted one very zoomed-out city scale axo and one human scale plan using photoshopped textures under linework. After refining the axo and the plan significantly, I have two quite detailed, quite delicate line drawings that consider texture and lineweight carefully. The plan has been improved greatly by drawing custom figures in poses specific to the inhabitation of the space, and the axo by drawing in more context and the rest of the accompanying structures of House 2.

My final drawings illustrate the structure, context and lived experience of House 2. The plan drawing is an exploration of the different types of wooden connection and texture in the building, and also how human beings experience the space. One key feature I tried to highlight was interaction with the troughs of water, with a mother and child sailing paper boats in it and two people sitting dangling their feet above it. The axonometric is an exploration of how the covered part of House 2 fits into it slarger whole and also its urban context, below a bridge. It also tries to explain the complex structure and the layering of space created inside the building.

connor curley

My first drawing of the axonometric structure

In my drawings I have tried to explore how the

was taken from a more zoomed outlook to try

house 2 structure has been put together through

and

exploded

make

understandable.

the

structure

I developed this concept

and explored by zooming in more closely on certain parts of the structure to read the buildings joints better and ultimately how it goes together. perspective

I developed my hand drawing

highlighting

and

darkening

certain areas of the view to make elements stand out better.

axonometric/isometric

drawings.

These

types of drawings have helped me to understand the joints in timber structures and the simplicity of this design which I don’t think you feel when you first look at it.

have

tried

explore

how

people

interact with the building, through these structural drawings

different understand

try

and

bring

views

and

the

building

bit

ultimately better.

life

help With

the

people the

hand

drawn perspective from eye level from across the road I have tried to bring the atmosphere of the city in and around the structure.

william warnock I was working on the human body scale sections and the city scale axonometric. I first drew the long section of our structure at 1:100 and I had a more detailed scale 1:20 drawing on the same page. This second drawing was taken from the long section. I developed this second drawing and presented them over two pages. Also having a plan showing the section line. I have also drawn an exploded axonometric, this is because the structure is very complex, and I wanted to show clearly the individual parts of the structure. In my scale 1:20 section, I have tried to show

how

the

structure

used.

Looking at the staircase this staircase comes to a dead-end, it's more about people

standing

around

them.

and In

looking the

down

exploded

axonometric, I have tried to show the individual

elements

the

structure.

This shows it’s not as complex as it looks.

Located among busy traffic, the variety of transportations such as the trams and vehicles affects the site and the project

a lot such as the

trams and vehicles. That is what I hope to explore and interpret as important local features. Another point I tried to deliver is the contrast between still and dynamic. Throughout the weeks I was examining the composition and developing details of the project. In the final pieces the compositions themselves actually highlighted the featuring parts and the information can be conveyed well due to the developed details.

haojie kong

That is what I hope to explore and interpret as important local features in the city scale drawing.In the human scale drawing, I emphasised the key structural elements and human movement. The key elements can provide a concrete image of the structure and the movement drawn with dynamic lines can help understanding the activities and scales.

Nomadic Museum FAMILY 4

In 2000, client Gregory Colbert contacted architect Shigeru Ban to design a transportable mobile museum to showcase his gallery ‘Ashes and Snow’. This temporary structure has now travelled to 3 major cities, New York, Tokyo and Santa Monica before the design is taken over by other architects. This structure is studied for its rational choice in using recyclable material and thoughts in transporting the exhibition from one city to another. Shipping container is used as the outer skin of the museum as well as container for the construction material while on the move. The columns and roof trusses are made from recyclable paper tube to decrease waste at the building’s end of life. The interior atmosphere of the museum is set by a straight path covered in recycled wooden scaffolding and surrounded by a row of 30 inches thick column with exhibition pieces hanged in between the thick column.

cheah zhen hong For the urban scale drawing, I aim to highlight

The urban scale drawing is inspired by Nolli plan

the sheer volume of the Nomadic Museum. This

public space and private space. In adding the final touch, I

is done by drawing the floor plan of the nearby

introduce different colours to green space and adding old

gallery/ museum to compare relatively. In the

paper texture to bring the drawing to live. There is not

plan, I also highlighted the public space and

much clear photograph of the building online, so I decided

nearby

to do a montage in photoshop to highlight the quality of

landmarks

(eg.

Museum of American Art) location

the

High

line,

Whitney

to help identify the

temporary

structure.

the

human scale drawing, I did a montage of the internal

space

recreate

the

atmosphere,

material and spatial relationship in perspective. This is to relate the structure and the element of

the

structure

relation

human

scale.

Apart from the montage, I did line drawings in bird eye perspective to briefly demonstrate the construction scale.

joint

the

structure

human

place.

to define

The

ayshwarya madhu

human

body

scale

construction

axonometric drawing is a manipulation of a hand drawing that improved understanding of the structural integrity of the precedent. I

believe

this

drawing

style

shows

the

authenticity of the scheme while exhibiting an artistic as well as architectural quality to the drawing.This style could be taken further with a complete digital approach, but believe the authentic nature achieved through this technique might be lost.

The urban scale drawing is a symbolic representation of the transportation and construction of

the

Nomadic

Museum.

initial stage of it sitting clean as a line drawing didn’t allow the

vibrant

understanding

the

scheme

whole,

of the

various routes of transportation involved in relation to the site. I believe that this surreal graphic style allows exploration of the precedent from a different lens.

From the first draft to the final version, I have drawn the structural axonometric in line drawings to highlight the construction details of the Nomadic museum.

In order to have a better understanding of how this precedent was assembled, I have developed a zoom in of the floor plan, which I have attempted to show spacious inside

the

organization building.For

and my

circulation body

scale

drawing, I have developed an explored

claudia cabrera

zoom in, closely on a certain part of the floor plan. Based on this drawing, I have

The shown drawings tried to explore

drawn an axonometric drawing of one of

different

the main thresholds of the museum: the

museum

entrance shows the interaction between

building to its connection within the

the visitors within the building.

city sale.

aspects from

the

structure

Nomadic of

the

In my final drawings, I wanted to evoke my artistic each

inspirations,

collage,

whilst

pouring

colour

maintaining

the

into main

principle of each piece of work; the shear scale

carefully

the

Nomadic

placed

the

Museum.

overlayed

have

images

maintain the one-point perspective which is a major architectural feature in

the

museum,

however,

focussing

the

human body scale compared to the building, I wanted to ensure this was the focal point of the piece. In the next

piece,

interaction

was within

interested the

focusing

space,

using

human

outlined

silhouettes as a way of showing movement throughout the

space,

whilst

again

representation of scale.

madeleine weymouth I am also aware of the importance of crisp, mathematically scaled drawings, and so I made

sure

individually,

include

displaying

CAD

drawings,

different

whether

aspects

this

the

Nomadic

top

Museum.

the

montages,

This

portrays

or a

contrasting representation method to show an artistic and precise approach, continuing my own style through each piece.

keeping

mind

the

amy cross

started

human

scale

drawing

with

biro

pen

base

drawing,

median

was

very

confident with in the past. It was exciting to go back to a tool I haven’t used in a few years, I layered the tones of the drawing slowly using hatching to create shadows and mid tones over time. The deep rafters and symmetry of the structure created an interesting image to recreate with the bright columns constructing against the almost infinite darkness of the roofs. The

city

scale

experiment using and

layered

Lino

map

with

prints

was

mixed

cardboard to

add

media inks

texture

and structure into the New York City map, finished in photoshop to add more tones and shadows, I will finally add a CAD map in white over the image to finalise the piece.

Ferembal House FAMILY 3

Ferembal House is a temporary architecture first built in 1948. The bent steel frame structure is supported by five axial portal frames set on a pressed steel floor and is held together by ridge beams. “After the War Ferembal CEO Pierre Bindschedler was a member of the French government team in the Saar, and was able to back Prouvé’s plans for involvement in large-scale creation of housing and public facilities via mass production of the steel components for the portal frame system,” as written in Patrick Seguin. The architect, Jean Prouvé was a man ahead of his time. He used a modular construction system, in which at the time, only a handful of prototypes were ever made.

I’ve

explored

the

urban

plan

showing

the

built

and

unbuilt

spaces with a figure ground drawing. the drawing allowed me to understand how the site relates to the garden and among the built spaces

clearly

drawing

the

city.

The

human

construction

scale

details

drawing and

was

human

explored

activity

which

allowed me to understand the building technology of the house and how humans interact with the space.

hoay qing In

the

urban

scale

drawing,

I’ve

drawn it in 1:1000 to show how the site

relates

citycontext

proportions. developed

the

terms

wider

size

I’ve

the

and

further

drawing

adding

textures

and

placing

the

vegetation

accurately.

I’ve

started drawing body

out

the

construction developed more

the

bystarting

house details

the

detail

human with

and and

drawing the

and human activity.

scale

the

main

simple further adding

construction

kate low

created

two

atmosphere

perspectival the

space

views

and

for

then

the

human

created

city

scale scale

get

sense

axonometrics

and two

different sizes, this was to see the wider context andalso a closer context. I started by figuring out the scales of the surroundings and created autocad drawings from those. From there I added my creative twist and used a mixture between hand-drawn pencil and watercolour and photoshop to create my first two draft pages. From there I continued to develop those drawings and also created two other images further developing my analysis of the precedent.

From

this

project

really

wanted to let loose and explore a style I wasn’t confident in. In my drawings I tried to create an atmosphere of warmth and life. Overlaying

colour

media

create

and a

mixeddynamic

quality and vibrancy that cities possess. To show how cities can glow if you pay attention.

Time used to be perceived as linear, where moments in time is a string of line where time passes in an order. But in the era of technology, change becomes more elusive than ever. Life becomes segmented between digital reality and physical reality.

“The theory of Einstein is a marvelous proof of the

harmonious

multiplicity

all

possible points of view. If

the

idea

extended

morals

and

aesthetics,

come

experience

shall

history and life in a new way.” José

Ortega

The human scale plan of the house aims to explore the concept of time relativity on social anthropology. While the

function

perception,

habits

house

remains

and

priorities

the

same,

are

the

never

human

constant.

Every shadow represents a different time; 2021 - 2006 1991

1948.

technology,

the

From

the

fluidity

era

human

war,

music,

behaviour

always

balanced by the perpetual human needs. This duality of the

house

represented

through

the

use

both

kaleidoscopic palette and monochrome. Although small in space, it remains rich in substances and experience.

Gasset,

the Modern Theme

ivy wijaya The

gradient

the

perspective

depicts

collage

how

drawing

the

house

defies social relativity. It speaks

timelessness, and

its

adaptability

ambition.

almost

Built

years

for

ago,

Ferembal

the

House's

contemporary and

character innovative

construction system are as relevant

today

was

then. As you approach the structure,

you

will

walk

through a shifting culture and

time

closer day.

and

that

brings

closer

us this

urban

scale

city

axonometric

explores

how

the

Ferembal House sits in relation to the site and wider urban setting at a scale 1:1000. I used hand drawing to further emphasise the textures and contextual grain of the neighbouring buildings and vegetation in contrast with the

very

stripped

back

and

honest

nature

the

demountable house. The drawings get tighter and more detailed around the house, and become more abstracted in shapes and forms the further you get from it. My human scale drawing at scale 1:20 is a ‘how - to’ constructional axonometric, demountable

explaining house

put

through together

details in

how

the

manual-like

manner.

ellen mckeag I

very

much

wanted

explore

how

hand-drawn

textures at a city scale could become an informative and creative way to communicate details of how the spaces feel -

often I find 1:1000 CAD drawings to be

rigid and harder to grasp what the space, and life within the spaces may be like. Through hand-drawing I hope that I have managed to convey the nature of the space that the Ferembal House is situated in. My human scale drawing aims to understand and convey how the building works- a drawing that does not already exist in connection with the Ferembal house. The set of drawings I have produced are ones which are monochromatic, in order to force myself to be analytical

and

communicate

details,

distract with colours and other graphics.

unable

minhyeok For my human scale drawing, I have drawn the axonometric drawing of the precedent to show the interior and try to represent the construction detail of the

building.

construction

further

detail

develop

adding

all

the the

detail elements based on my drawing style. For my city scale drawing, I have drawn a site plan in scale 1:500 with AutoCad drawing. However, it did not work well with AutoCad, especially with hatches. Therefore, I tried to develop my

drawing

with

hand

drawing

represent the texture of the surface.

From

represent materiality;

final all and

drawings, the so

detail; on,

and

try

texture; consider

how I can develop them. Through the final

drawing,

understand

the

helped

materiality

me of

to the

surrounding. Moreover, I have explored how people interact within the building, and helped me to understand the usage of space.

Canal Swimmers Club FAMILY 1

The Canal Swimmer’s Club by Atelier Bow-Wow is a response to explore the relationships between human behaviour and the body of water. It initially functioned as the start and finish for the swimmer’s competition, but now it sits as an alternative public space that offers locals and visitors of Brugges to enjoy the backdrop of the water and the historic city center in a unique way. The site is divided into two areas, the main access point for swimmers, and on the other side tourist boats pass by where swimming is prohibited. The two platforms are connected by the path under the Carmetsburg canal and it can be easily assembled and disassembled every summer. The project achieves its playful vision on social engagement and successfully brings people together.

The Canal Swimmer’s Club is an exploration of the relationship between human behaviour and the body of water. The 1:100 urban scale perspective drawing assists this concept through highlighting the street ground, to the temporary structure and finally the water. The structure is designed to be playful and enticing, and therefore I wanted to use a bright yellow monocolour to show the joyfulness the project brings to the urban context in contrast to the grey and white in the background. The drawing focuses very heavily on life and especially the movement of people in between the different grounds, from cyclists, to walkers, to swimmers and paddle boaters. The 1:20 human scale axonometric focuses more on the structure, and therefore a simple line drawing was used to show the details and once again, the river is coloured to show the change in ground.

elena cariaga

“Architecture is really about

well-being.

think

that

people

want to feel good in a space … On the one hand

it's

about

shelter, but it's also about pleasure.”

-Zaha Hadid Social engagement is very important to the ethos of the project. The 1:100 urban scale perspective allows to focus on the playful narrative of The Canal’s Swimmer’s Club through the use of people, whereas the 1:20 human scale axonometric focuses on

the

Overall

project’s both

the

unique

structure

drawings

really

and

details.

capture

the

project's playful vision on social engagement and its unique floating structure.

Through my Human scale drawing I wanted to explore the relationship

between

the

swimmers

Club

and

its

users,

exploring how they might feel standing on the platform that sits below the Current street level and what they might see and experience from this height. With my urban Scale drawing i wanted to explore the relationship between the swimmers

gerard macallister

club and its wider Context and how it interacted with it, especially the canal and the medieval bridge network. With both

drawings

they

represent

their

intended

driven project that was intended to be free and playful.

From my first draft to the final, my 1:20 human scale perspective has changed dramatically. I startedBy having the background context drawn in a looser and more sketchy style. However, by the final Draft i have developed this by drawing the context in a much more precise way with little detail. This is to have the Canal swimmers club be the focal point of the drawing. I used a hatching methodWhen adding the colour to give the drawing more dimension and it was a more playful use of Colour, which for me, represents the playful use of the structure. With my 1:300 Urban Scale axonometric I had initially used the same beige tone background, but i had coloured the Structure to show materiality. However with the final draft I removed this colour and left the structurewhite as to make it the prominent feature and to show its importance.

feel

investigation well, but they also showHow this is a community

My first draft focuses on dividing the background houses and the precedent itself. This draft has a yellow beige background to give off a retro feeling to the overall aesthetic. I used outlines for the background houses and rendered the precedent

with

natural

color

palette.

For

people,

trees,

and

water,

photoshopped them and turned down the transparency.

changed

aesthetics

darker background which I think

natalie cha

help

with

enhancing

the

precedent. This is because the water

murky

grey

and

the

dark grey background contrasts it.

The

dark

background

also

accentuates the details of the background

houses

which

are

outlined in white. Since housing in Germany is very intricate, I wanted

typology

but

housing

it’s

celebrate not

give

entire

the the focus

because the drawing is on the precedent itself.

hollie hamilton For my first drawing I drew a section at 1:100, of The Canal Swimmer’s Club.

When drawing my section, I

discovered how the wall looking down into the river has a great height as it provides privacy for those who are on the swimmer’s club platform- as most people will be in swimwear/ sunbathing. However, if the wall was any lower this would expose the whole platform to street level destroying any privacy making the project uncomfortable for the occupants. ' Another discovery I made while drawing my 2D streetscape map at 1:100 is that, if I drew it like a normal architectural map this might confuse those who aren’t familiar with this language and form, therefore I drew it at an accessible scale and language. This map is a great way to draw as it can be handed out to a local community without confusing anyone, they can point out buildings/ locations easily with this style- this helps to sell a project and makes it personal for a community.

Over the last three weeks my drawings have greatly

developed,

city

scale

plan

particular has completely changed from where I

started!

The

plans

colour

scheme

has

changed to match the section to create an undeniable unity between my work. I’ve been focusing on texture through the plan showing the roofscapes of the city and in particular the water of the canal as this is a key part of the project. The trees have dramatically changed from just being green circles to being much more

detailed

complete

with

leaves

and

branches, I recognised the importance of them within the project. With looking at the roof textures,

there

has

grown

better

understanding of the surrounding cityscape.

alice poole

My section has grown in size and in detail, learning what details are required for a 1:20 section. Looking much more at the structure shown, being more careful in my choice of people present on the platform and adding in the context of the bridge across the section. I am really proud of this drawing. Focusing on the people and how they interact with this place at different points and different levels.

“Exploration of temporary architecture leads to greater development in ways to improve our cities, through use of different materials and construction techniques. The need for improvement is accelerating at an increasing rate with the world changing and temporary may be the only way to keep up.” KATE LOW

“Temporary architecture, when built within the sustainability quota, can be an instrument of architectural and technological experimentation that allows us to explore how a particular structure would respond to the surrounding context, the climate, and especially, the public. It can be a cultural instrument that would capture a city in its most responsive state, and ultimately, it can help influence the paradigm of a thriving future city.” IVY WIJAYA

“Temporary architecture brings huge advantages in part of improvement of cities. No matter what purpose is, temporary architecture is not a step backward, but a step forward to urban development.”

‘Temporary

architecture

can

become

catalyst

for

housing the permanence of thought.’

ELLEN MCKEAG

MINHYEOK

“ While community engagement may be proposed as the forefront

profiting

from

some

developments,

these

developments

theirTrue is

often

intent

hidden

from

local communities. This deception Continually leads to the harm of the community that supported the developments”

GERARD MCALLISTER

“Community lead projects are abruptly turned into profitable businesses” ALICE POOLE

PEY KWANG

“The ambiguity surrounding the definition of “community participation” causes problems because it allows a lot of room for misappropriation.” Sources: Concéntrico. Origami Information Pavilion Plaza Escuelas Trevijano Concéntrico 03. (Online) Available at: https://concentrico.es/en/origami/ .

"Temporary architecture can be revolutionary, structures such as the Smile in London which has pushed the boundary of CLT. Preparing the way for future architects who can take inspiration and help propel their ideas forward. Temporary architecture that costs a lot of money and has no real purpose doesn't appeal to me." WILLIAM WARNOCK

I am a strong believer in “less is a bore”- Robert Venturi.

ELENA CARIAGA HOLLIE HAMILTON

TEMPORARY ARCHITECTURE

“Temporary architecture pretends to be revolutionary when it actually just reinforces existing capitalist flows.” - Opening up access to capitalist flows isn’t necessarily a sinister move (right to the city is equivalent to the right to be part of capitalist flows). Pretending not to be doing this is the sinister move that it blocks access. I believe that temporary architecture can be a piece which can possibly appear to be outside of capitalist flows.

what we have to say about

Temporary Housing For Refugees Beneath Paris Bridge by 1week1project

Though the architecture is momentary, it reaches to a large audience through its ideas, form, space and materiality. Temporary architecture tends to be more eye catching and has the ‘wow’ factor as it aims to capture the attention of as many audience as it can due to its impermanence, leaving behind resonance even when the architecture is no longer there. This memory will be a catalyst for residual site and open new doors for new built forms and uses within the site. HOAY QING

“This is capitalism's constant urban conundrum: what makes cities profitable is inherently at odds with the needs of the poor and middle classes (who are needed for a city to function), and centrally located land has inherent value if it can be made amenable to the rich. Gentrification may be a new expression of this conflict between land value and the needs of the poor, but it's a problem as old as capitalism itself.”

“ Time will forever be the catalyst that decides the ephemeral effect of a form, place and space. Time is responsible for the emotional impression and connection the public builds with the ephemeral, therefore the absence of time, would mean the lifespan of the temporal to be infinite.” AYSHWARYA MADHU

AMY CROSS

“A city that lives and breathes diversity and change will embrace temporary architecture and allow architects and artists to be expressive. With that freedom, risks will occur. These experimental risks, in other words, light touch architecture are used to judge the city's personal opinions on these installations. For good or bad they show us where we are, where we are going and where we want to go. In life, for change to happen for the better risks have to be taken to show the right way forward.” RYAN MCCRACKEN

Architecture has the potential to spark urban development and its surrounding urban fabric, so does temporary architecture. In the process of urban development, the local communities lost their right of place due to increased rent, thus forcing them to move out of their homes. This process is known as gentrification. Unfortunately, gentrification is often associated with developed areas where its land value and urban fabric has been rejuvenated by means of architecture. However, the architect’s role is only limited to designing responsible buildings within the resources provided. In the contrary, gentrification that has brought about by new urban development plans can be controlled by legislations by making sure there was more equality in the way that these properties developed.

Throughout my precedent research, it became clear that often gentrification is driven by the economic benefits of increased tourism. Although this influx of tourists benefits the economy, negative impacts such as conflict with locals causes complications. Conflict over gentrification causes contrasting views about the pros and cons of temporary architecture in place. This includes art installations such as the Smile, Unzipped Wall, and the introduction of new styles such as Gaudi’s unique work in Barcelona. The benefits of gentrification in my opinion, mostly outweigh the negative, as exemplified in Barcelona. The Spanish city used to be a deprived area with few specific attractions. The introduction of Gaudi’s architecture transformed the place into a cultural city of arts, although this isn’t always perceived as a positive. Some locals do not want to welcome a creative class of young people to move into the area, as they start to feel replaced and lost in their own home towns. As different religions and classes move into areas, attracted by new attractions and opportunities, it is often older generations who have lived in that same place for years, who lose the sense of belonging. As the attraction to reside in a specific area increases, so do living costs and house prices, benefitting businesses but not so much the people who were already living there.

CHEAH ZHEN HONG MADELEINE WEYMOUTH

"In my opinion, temporary architecture is supposedly not built to last forever and to me it means that designing for flexibility and deconstruction are probably the architect’s intent. But I do not think the flexibility is limited to the physical form, I think there is also flexibility in the concept in that temporary architecture can also be used as a medium to introduce something new. Especially in this "fast-paced world we live in now different problems requite different solutions, right? So, with an environment that is continuously changing due to climate change etc. experimenting with different solutions through temporary architecture could be key. Now I am not saying temporary architecture is the solution to everything, but when I think about the Eiffel tower for example, it was meant to be temporary but ended up as a permanent structure. It is unpredictable. So, in response to the second question, I think that despite the temporary physical form, the theory/ concept can be permanent. It can evolve into something good or bad and could contribute to gentrification to a certain degree. If the architect wanted to introduce a solution that did not consider the whole community, then for sure certain groups will be neglected. I mean let us be real it sucks that money makes the world move but there is nothing that one can do. The privileged are privileged its so easy for them to disregard the people struggling."

what do YOU think about temporary architecture?

ALEXIS PAYOT / STAGE 3 STUDENT

The Burnham Paviilion, Zaha Hadid Architects

something revolutionary is supposed to cause a complete change, and I don’t see that happening if the architecture is not permanent in a place

I think of architecture that isn’t permanent, a pop up or intervention that can be taken down and perhaps moved elsewhere. I think I neither agree nor disagree. I think often temporary architecture can provide the opportunity to improve multiple cities, whereas sometimes permanent architecture is not thought about and ends up not being enriching in the long term and often disregarded not all the time but in some cases."

HANEEN AL-SALEH, REGARDING CAPITALISM

CARIS COULTER / STAGE 2 INSIDE OUT

By temporary architecture, I imagine something that is out there as a seasonal structure such as a pavilion, a hut or an urban furniture. If this is what a temporary architecture represents, I view it as a beneficial item that adds to the quality of the urban environment, something that that adds an extra character to an urban area. Without such temporary monuments, the urban reality can look a bit dull. ANNA ANDREVA / QUB ALUMNI

When it comes to experimenting i’d want something sophisticated, it makes experimenting something to learn from and develop our understanding of concept. By returning to things we feel comfortable with building I feel like although we are able to replicate it more efficiently it doesn’t teach us a whole lot compared to something crazy and fun, so I do think temporary architecture is an opportunity, despite it consisting of small scale interventions it is a foundation to developing new technologies and design inspiration. HASAN UDDIN / STAGE 2 ARCHITECTURE AND MONTAGE