James Anderson Portfolio by James Anderson

Reality is experienced independently, you don't kn what is really... real

Your reality is both altered and layered

My reality, isn’t... “reality”?

Academic Portfolio James Anderson Master of Architecture 2016-2018

Your “echo chamber” is your reality, there is much more out there...

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So Wow, so many of us Yea

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Contents 4

Critical Reflection

Spectres of Modernism and Utopia 8 28

Theoretical Basis Design

Imagine youâ&#x20AC;&#x2122;re in the early days of a better nation

Architecture+ 85

ARB

Theoretical Basis

105

Research

127

Design

152

Linked Research

158

Professional Practice report

160

Tools For Thinking

162

ARB Criteria Assessment

164

Bibliography

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3 GC6.1 .2 .3 GC7.1 .2 .3 GC8.1 .2 .3 GC9.1 .2 .3 GC10.1 .2 .3 GC11.1 .2 .3 GA2.1 .2 .3 .4 .5 .6 .7 2

religions followed. Those who are not religious or follow other religions still hold nature in high esteem. This is due to the northern location of the country, having short summers and long, cold winters. The importance of greenery and the natural environment is celebrated through festivals and events across the country so it is culturally appropriate to celebrate the natural environment in my proposal. Secondly, since my project is a centre for rehabilitation from addiction to augmented reality I needed to engineer a means of disrupting the augmented reality many addicts continually experience. Plain flat surfaces are easy to augment with overlays whereas, textured moving surfaces are difficult, so appear the same to people experiencing augmented reality. These are the surfaces of the natural environment. To further disrupt the augmentation, the natural environment engages multiple senses, which are not manipulated through augmentation in the way sight is. Sound, smell and texture underfoot all can be noticed and grab the attention of a passer by experiencing their individual augmented reality. Finally there are several emerging studies showing the correlation between access to the natural environment and expedient recovery from mental health illnesses, in particular recovery from addiction. For this reason also my project is centred around an urban garden with those undergoing rehabilitation having almost constant views to the natural environment and direct access to these outdoor spaces.

Themes Throughout One theme that has organically emerged through my projects has been using a narrative as a mode of representation, especially in comic form. In Imagine you’re in the early days of a better nation I was introduced to this idea in a workshop, here I represented a key tension in my scenario, the disconnect between drones and residents. I continued to use comic as mode of representation through the studio, creating moments of narrative to expand on ideas. This culminated in producing a graphic novel extract of the science fiction novel Cold Revolution Blues written by Ken Macleod, a narrative he produced based in the scenario we had developed. The principle image outlining my concept in Spectres of Modernism and Utopia is based around a narrative, rather than depicting a series of events it shows the project at 15 year intervals. Finally in Architecture+ I described my brief in comic form, showing the journey an individual would take through my proposal, I intended to use this form of representation to show the journey through my project once the design was finalised, unfortunately however, I was unable to. Looking to the future and considering the passage of time are themes which have developed in my projects. Considering the future was expected and deliberate, as I had a developed interest in Science Fiction before beginning my studies which has expanded after taking two studios, based in a future scenario, which have used Science Fiction as a means of generating ideas and underpinning concepts. Considering the passage of time however, has emerged as an interest in the latter two studios. A central theme of my proposal in Spectres of Utopia and Modernism is considering how my intervention changes over time. As a critique of UNESCO’s strict management of the Van Nelle Fabriek I proposed inserting an independent structure which isolated and preserved the key elements UNESCO deemed as worthy of ‘World Heritage Status’, whilst allowing the rest of the building to fall into ruin, since its function is no longer present. In the rehabilitation centre I used rewilding as a means to bring nature and greenery into the urban fabric. This involved incorporating derelict structures into the buildings fabric and considering their state of decay over time. Although this is not specifically considering the building at set intervals of time, as I did with the Van Nelle Fabriek, I was considering the state of derelict structures, how they would change over time, and could be incorporated into the proposal.

Architectural Development Categorising myself, considering the work I have produced, as a type of architect is difficult. Considering my personal beliefs and the architecture I have produced, I would consider myself to be a Critical Regionalist. I have a deep appreciation for Modernism and the International Style but I do think that architecture of this type can be problematic, as I have explored in Spectres of Modernism and Utopia. I am fascinated by the urban plans of great minds like Le Corbusier and the rationalism of his designs but I see the flaws, the impersonal, cold nature of these proposals and I am conflicted between the perfect ideal and the real world implications of this architectural style. I believe it is important to create architecture with a sense of place, each design should consider the location and culture, this is not to say it should blend in, or match the existing necessarily, but is should consider the local vernacular or landscape and respond accordingly. Furthermore architecture should facilitate an experience, as I explored in Architecture+. Crafting how the inhabitants or visitors feel when in each distinct space, I believe this to be an essential element of architectural design.

A theme to reflect on is the introduction of natural elements in urban settings. The first project can be considered as an extreme absence of this as it was a functioning industrial site without any humans present at all, the architecture was designed entirely for the non-human inhabitants, the drones and accompanying machinery. The second and third projects embraced the idea of bringing nature into the urban landscape. Firstly through allowing the Van Nelle Fabriek to fall into ruin the natural environment would eventually reclaim the site entirely. Small shrubs and trees would grow in nooks and cracks as they formed, accelerating the decay and collapse; once the structure had fallen soil would build around the rubble and nature would take hold leaving only the independent structure and walkway suspended above with the few preserved elements and ancillary spaces along the way. In Architecture+ a central design driver was bringing the natural environment into the urban landscape, this was for multiple reasons. Firstly it is because of the great value the natural landscape and trees in particular are to Estonians. Whilst Estonia has one of the highest percentages of atheists in the population, Paganism is one of the major

Considering the themes that have become visible in my portfolio of work I can conclude I still have an active interest in Science Fiction, which inspires subsidiary interests and passions, and I am interested in the passage of time in relation to architecture. I understand architecture does not exist in one moment in time but across a range of years into the future which can never be known. This challenge to design for a future which does not yet exist, which you can intrinsically never know fascinates me and is an aspect of design I relish. I appreciate the importance of a connection to the natural environment, even in an urban context and will continue to consider the role of nature in my future projects. I will continue to practice architecture as a Critical Regionalist, as I understand the term, but am not bound to this. I endeavour to keep an open mind to new architectural theories and ideas and will pursue new interests and themes appropriately as they are presented to me.

Critical Reflection

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3 GC6.1 .2 .3 This essay outlines my reflective thoughts on the work I produced across three studios over two years. It considers key themes self identified in my projects and thinking as well as reflecting on my interests over time and the type of Architect I consider myself to be.

GC7.1 .2 .3 GC8.1 .2 .3 GC9.1 .2 .3 GC10.1 .2 .3 GC11.1 .2 .3 GA2.1 .2 .3 .4 .5 .6 .7

Spectres of Modernism and Utopia

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3

The Van Nelle Fabriek is an exemplar factory expressing itâ&#x20AC;&#x2122;s modernist, functionalist design and is deservedly a UNESCO World Heritage Site. Its current use as an office is limiting for those who work there and does not sufficiently allow its cultural significance to be shared. I therefore propose creating the Van Nelle Fabriek Museum, wherein the factory becomes a museum of itself. Each element of cultural significance, as declared by UNESCO, is framed, preserving if for future generations whilst displaying it as a museum piece, whilst allowing the surrounding factory to naturally decay. My Thesis consists of an investigation into the concept of framing in art and architecture, as well as an investigation in preservation. I conclude that preservation can take many forms, even appearing destructive, and that it is impossible to frame anything neutrally. In application to the Van Nelle Fabriek, I therefore propose in the Van Nelle Fabriek Museum the elements UNESCO have selected as deriving itâ&#x20AC;&#x2122;s cultural significance should be perfectly preserved and framed to exemplify their cultural significance.

GC4.1 .2 .3 GC5.1 .2 .3 GC6.1 .2 .3 GC7.1 .2 .3 GC8.1 .2 .3 GC9.1 .2 .3 GC10.1 .2 .3 GC11.1 .2 .3 GA2.1 .2 .3 .4 .5 .6 .7

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nellefabriek Rotterdam, Nomination File, January 2013.

Van Nelle Fabriek - Leendert van der Vlugt

Van Nelle Concepts An investigative study into the defining concepts of the Van Nelle Factory in Rotterdam.

â&#x20AC;&#x2DC;Governed by gravity, the products moved down floor by floor with each stage of processing. The decrease in height of the three factories, for tobacco, coffee and tea respectively, is therefore explained from the number of processing stages for each of these products. The layout reads as if the production processes were directly transformed into material, as if the buildings are nothing more than industrial activity enclosed by a membrane of glass and steelâ&#x20AC;&#x2122;. - H.A.J, Henket, Back from Utopia

Henket, H. Back from Utopia: The Challenge of the Modern Movement (italics), 010 Publishers, Uitgeverij, 2002

The site layout facilitates the efficient transportation of raw materials to and through the factory, using the elevated conveyors to enter the main factory.

Columns - Van Nelle Fabriek

Van Nelle Concepts An investigative study into the defining concepts of the Van Nelle Factory in Rotterdam.

Adaptability was a key design element for the Van Nelle Fabriek, the columns contained a universal system for suspending almost any element between them. This system has proved so adaptable it is in use today in a multitude of ways, for example it housed adoptions to machinery brought about through modernisation, changing use and in itâ&#x20AC;&#x2122;s current use they house a number of electrics such as the WiFi routers.

New technology was not only embraced in the construction of the Van Nelle, it was displayed; the boiler-house boasted the same large windows as the main factory, displaying the then innovative new technologies contained inside, showing the progressive ethos of the Van Nelle Company.

Doule Helix Staircase - Van Nelle Fabriek

Van Nelle Concepts An investigative study into the defining concepts of the Van Nelle Factory in Rotterdam.

The Van Nelle Company employee ethos is partly enforced through the architecture. Double helix stairs separated male and female employees physically, but allowed them to communicate if they wished. All floors were accessed alongside employee wash-rooms, encouraging good personal hygiene standards.

The functionalist factory became so integral to the Van Nelle brand the building itself was displayed on their packets of tobacco before influencing the simply branded graphic.

Wikimedia Commons. File:Mezquita de Córdoba desde el aire (Córdoba, España).jpg, [online photograph], https://commons.wikimedia.org/wiki/File:Mezquita_de_C%C3%B3rdoba_desde_el_aire_ (C%C3%B3rdoba,_Espa%C3%B1a).jpg, (accessed 1 April 2017)

Mosque-Cathedral of Córdoba - 784 AD

The Concept of Preservation

‘The core lessons of preservation [are] that all things are constantly changing, and that once the damage is done, there’s really no return.’ -Peter Smithson

Otero-Pailos, J. Supplement to OMA’s Preservation Manifesto as found in Carver, J (ed.), Preservation is Overtaking Us, online, Columbia University Press, 2014.

A pertinent example of the ever-changing nature of architecture is the Mosque–Cathedral of Córdoba; inserting a Catholic Cathedral in the mosque’s centre in the 16th Century was an act of simultaneous destruction and preservation. It partly destroyed the mosque whilst facilitating the buildings continued use.

Riga Contemporary Art Museum Proposal - Rem Koolhaas/ OMA

OMA, as found in: e-architect, Latvian Architecture – Design Contest,[online photograph], http://www.e-architect.co.uk/riga/hotel-liesma-architecturalcompetition, (accessed 1 April 2017)

Koolhaas’ 2006 Riga Contemporary Art Museum proposal has a remarkable resemblance, with old and new inverted. Jorge Otero-Pailos claims this is ‘architecture posing as preservation’ as it completely transforms the outward appearance of the power-station it is based in, yet it can be perceived as an act of preservation akin to the Mosque-Cathedral of Córdoba.

Otero-Pailos, J. Supplement to OMA’s Preservation Manifesto as found in Carver, J (ed.), Preservation is Overtaking Us, online, Columbia University Press, 2014.

Hirst,D. The Physical Impossibility of Death in the Mind of Someone Living, 1991,[online photograph], http://www.damienhirst.com/the-physical-impossibility-of, (accessed 30 March 2017)

The Physical Impossibility of Death in the Mind of Someone Living - Damien Hirst

Ideology of the Frame An investigative study into role the frame plays in Art and Architecture. ‘The Frame is a mediator between viewer and... The design’ -William Bailey (framer and consultant to New York’s Museum of Modern Art) Bailey, W. As found in: Daoust, P., ‘Edge Trimming’, the guardian, 2 January 2003, https://www.theguardian.com/artanddesign/2003/jan/02/art.artsfeatures, (accessed 27 March 2017).

Not Art

Art

The act of framing an object changes how it is perceived.

Wikimedia Commons, File:Piss Christ by Serrano Andres (1987).jpg, [online photograph], https://en.wikipedia.org/wiki/File:Piss_Christ_by_Serrano_Andres_ (1987).jpg, (accessed 30 March 2017)

Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2017,[online photograph], http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573, (accessed 30 March 2017)

Immersions (Piss Christ) - Andres Serrano

Fountain - Marcel Duchamp

Not Art

Symbol with meaning

Art

How an object is displayed changes how it is perceived.

Symbol with changed meaning

The Piss Christ is a clear example of how framing an object is not neutral, in this case the original meaning associated with the symbolism of a crucifix is intentionally changed by the artist.

Calado. A, CONHECENDO O MUSEU DE ARTE DE SÃ&#x192;O PAULO (MASP),[online photograph], http://www.blogmundoa.com/2015/06/conhecendo-o-museu-de-arte-de-sao-paulo.html, (accessed 29 March 2017)

The Schoolboy (camille Roulin) - Van Gogh

Ideology of the Frame An investigative study into role the frame plays in Art and Architecture.

Vincent Van Gogh’s ‘The Schoolboy’ as displayed in MASP currently, framed and displayed in isolation, with no context surrounding it. How it has been framed over time shows how framing a piece can influence it’s perception.

Edited by the Author: MASP, ACERVO,[online photograph], http://masp.art.br/ masp2010/acervo_detalheobra.php?id=279, (accessed 29 March 2017)

Instituto Lina Bo e P.M. Bardi, Fotos da arquitetura original do Masp, [online photograph], http://www1.folha.uol.com.br/saopaulo/2015/02/1595925-duetoinedito-de-masp-e-osesp-une-musica-e-pintura-em-nove-espetaculos.shtml, (accessed 29 March 2017)

Van Gogh’s ‘The Schoolboy’, as displayed in the early 20th Century (reconstruction), framed to display wealth.

Van Gogh’s ‘The Schoolboy’, as displayed in MASP originally, framed in the context of other artworks.

Institution Lina Bo e P.M. Bardi, As found in: Martínez, G. Lina Bo Bardi, la arquitecta cultural de Brazil, [online photograph], http://archivo.eluniversal.com. mx/cultura/2015/impreso/lina-bo-bardi-la-arquitecta-cultural-de-brasil-76698. html, (accessed 29 March 2017)

MASP, ACERVO,[online photograph], http://masp.art.br/masp2010/acervo_ detalheobra.php?id=279, (accessed 29 March 2017)

Lina Bo Bardi displaying the work at the MASP construction site, having such a valuable work photographed in this dangerous and dirty environment displayed power.

Van Gogh’s ‘The Schoolboy’, as displayed in MASP online archive, framed in isolation without any context.

KYN L. Mona Lisa Original Painting, [online photograph], https://uk.pinterest.com/pin/304696731014325681/, (accessed 29 March 2017)

Mona Lisa - Leonardo da Vinci

Ideology of the Frame

Leonardo da Vinci’s ‘Mona Lisa’ as displayed in the Louvre currently, framed and displayed in isolation, with no context surrounding it. How it is, or could be, framed shows how framing a piece can influence it’s perception.

Wikimedia Commons. File:Musée du louvre mona lisa.jpg, [online photograph], https://commons.wikimedia.org/wiki/File:Mus%C3%A9e_du_louvre_mona_lisa.jpg, (accessed 29 March 2017)

Edited by the Author: KYN L. Mona Lisa Original Painting, [online photograph], https://uk.pinterest.com/pin/304696731014325681/, (accessed 29 March 2017)

As displayed in the Louvre, wider context displays the experience of visiting the work.

Alternate means of framing the Mona Lisa changes the perception.

Wikimedia Commons. File:Marcel Duchamp Mona Lisa LHOOQ.jpg, [online photograph], https://en.wikipedia.org/wiki/File:Marcel_Duchamp_Mona_Lisa_ LHOOQ.jpg, (accessed 29 March 2017) Wikimedia Commons. File:Marcel Duchamp Mona Lisa LHOOQ.jpg, [online photograph], https://en.wikipedia.org/wiki/ File:Marcel_Duchamp_Mona_Lisa_LHOOQ.jpg, (accessed 29 March 2017)

Cafe Press, Cafe Press, [online photograph], http://www.cafepress. co.uk/+mona+flip-flops, (accessed 30 March 2017)

Marcel Duchamp’s ‘L.H.O.O.Q.’, altered and reframed making new art.

Alternate means of framing the Mona Lisa, could be interpreted akin to the ‘Piss Christ’.

Carver, J. Preservation is Overtaking Us, [online photograph], https://www.arch.columbia.edu/books/reader/6-preservation-is-overtaking-us#reader-anchor-3, (accessed 1 April 2017)

Ruhr Museum - Renovation, OMA - Lighting Design, Jonathan Speirs and Mark Major

Framing Architecture

‘Preservation was, for Mikhailovskii, the continuous framing and re-framing of a visitor’s aesthetic experience of architecture, such that they would come away with the sense that the building was culturally important.’ -Rem Koolhaas Koolhaas, R. As found in: Otero-Pailos, J. Supplement to OMA’s Preservation Manifesto as found in Carver, J (ed.), Preservation is Overtaking Us, online, Columbia University Press, 2014.

In designing Ruhr Museum inside an existing coal mine ‘OMA was commissioned not to change the buildings but to re-frame how the public perceived them.’ -Jorge Otero-Pailos Otero-Pailos, J. Supplement to OMA’s Preservation Manifesto as found in Carver, J (ed.), Preservation is Overtaking Us, online, Columbia University Press, 2014.

Verheij, D. Greater Venues, De populairste locaties van 2016,[online photograph], https://www.greatervenues.com/insight/de-populairste-locaties-van-2016/, (accessed 1 April 2017)

Van Nelle Factory Illuminated

Evgenii Mikhailovskii, soviet preservationist, explains that how a building is framed heavily contributes to his perceived cultural significance. Framing can take the form of adjacent buildings (or absence of buildings), night illumination, it’s representation online and in physical tours, literature published and its visibility from different viewpoints. UNESCO have implemented multiple strategies of these to either embellish or showcase the Van Nell Fabriek’s cultural significance. 22

imencyclopedia.com. Greek Architecture Parthenon, [online photograph], http://imencyclopedia.com/greek-architecture-parthenon-inside/greek-architecture-parthenon-inside-perfect-with-pictureof-greek-architecture-interior-in-gallery/, (accessed 20 April 2017)

Parthenon - Athens

Preserving Cultural SigniďŹ cance

A building of cultural value

An element to be preserved

The element removed

The element in a museum

Culturally valuable building reduced

Van Nelle Fabriek - Culturally Valuable element (as defined by UNESCO)

Preserving Cultural SigniďŹ cance

A building of cultural value

An element to be preserved

The element removed

The element framed in place

The element in a museum

The building is a museum of itself

Culturally valuable building reduced

Culturally valuable building preserved

Existing structure

Core

Walkway connection to core Walkway

Inserted structure Existing curtain wall

1:500

Walkway plan diagram

Plant room

Laboratory

Degradation laboratory

Foundation, framed

Entrance exhibition

Column, framed

Plant room Door, framed

Wash basin, framed

Curtain wall, framed

4 3

Plant room

8 6 8 6 Construction complete:

2020

Degradation and Ruin

Description

+15 years:

+30 years:

2035

2050

Windows - 2% rubber sealant failed causing a small number of panes to fall.

Windows - 6% rubber sealant failed causing panes to fall. Aluminium panels on curtain wall begin to fail due to water ingress.

Concrete - minor cracks around areas of water ingress, particularly along roof.

Concrete - rooftop structures of thinner, more exposed concrete begin to fail and cause major water ingress at these points.

Other - roof tar failing in significant patches.

Other - railings severely rusted begin to collapse along roof edge. Water pools on some internal floor plates.

The Van Nelle appears almost as it did in 2020, slightly untidy, a few panes are missing and the white render is water stained below windows and the roof line.

The factory looks derelict, enough windows and aluminium panels are missing to clearly disrupt the regular rhythm of the curtain walling. The silhouette appears rough as rooftop structures are beginning to collapse.

Integrated Section

Rubber fixing Slender frame Toughened glass, 15mm Ultra violet filter Vacuum Glass, 8mm 1:5

Frame detail

Sloped ‘roof’ to shed water

Mechanical ventilation

Managed environment

Sealed envelope on walkway

Inserted structure

Framed view

Preserved element

Inserted structure Down wall lighting

Exit valve

Argon gas supply Supported by inserted structure Frame diagram

Walkway diagram

Office Neon sign, framed

Plant room

Gift shop

Functionalist modernity, as developed in the Van Nelle Fabriek, is expressed in the form of the factory, its material technologies, and by the patterns of its original use. It utilises innovative construction methods, reflecting the intention that it be a factory for the future, able to accommodate future technological developments. The factory was designed to express its functions while being able to change as needed. Unfortunately, its listing as a UNESCO World Heritage site has frozen its development in a particular – idealized – moment in time, confirming its now defunct functionality. Thus, the restrictions placed upon the factory by UNESCO has actually suppressed the very modernity for which it is celebrated. In particular, the new functions associated with conservation are now hidden, rather than expressed, counter to its original functionalist aims: new uses are carefully fitted into the existing space to ensure that no change, however potentially enlivening, is made. My intervention facilitates an exaggerated version of UNESCO’s strict control of the building’s heritage status, through creation of a ‘Van Nelle Fabriek Museum’. It is a visitor museum where the exhibits are the parts of the Van Nelle Fabriek that UNESCO deems worthy of World Heritage Status, making it into a museum of itself, thereby doubly alienating it from its original purpose and psycho-social, spiritual, aims. The significance of the preserved elements is exaggerated by preserving them inside glass frames for future generations. Framing specific architectural elements in this way further emphasises the doubly alienating result of assigning the building World Heritage Status. By highlighting the irony of UNESCO’s preservation through exaggerated means, I have attempted to make explicit the building’s functional ethos and the lingering ghost of modernism it harbours. Stockroom

+45 years:

2065

+60 years:

2080

+75 years:

2095

Windows - 50% rubber sealant failed causing many panes and aluminium panels to fall. Frames collapse due to rust.

Windows - 97% rubber sealant failed, most of the curtain wall has collapsed, with only some aluminium panels and almost no glazing remaining.

Windows - No windows remain, collection of rusted steel and glass shards at the base of the factory

Concrete - minor structural failings, steel reinforcing bar exposed in several locations, partial roof collapse.

Concrete - major structural collapses, floorplates failing as columns degrade.

Concrete - most floors have collapsed entirely, some columns remain but are structurally unstable

Other - weather conditions begin to have a significant impact, inserted structure begin to have dominant visual impact. Van Nelle signage falls into the structure.

Other - internal non load bearing walls begin to collapse due to movement in floorplates and weather erosion.

Other - little remains above 2 storeys, collapse happens in large swathes in a domino effect.

The factory looks severely derelict, large gaps appear in the curtain wall and the window frames themselves are crooked and rusting. From a distance it is clear parts of the roof have collapsed and most of the famous ‘Van Nelle’ sign has fallen also.

The factory is almost unrecognisable, the inserted steel structure and concrete walkway are the most prominent visible remains in amongst the remaining floorplates. Upper storeys have collapsed onto the remaining lower floors, which are themselves structurally very unstable 28

The Van Nelle is a complete ruin, a few columns protrude through layers of concrete that were floorplates.

Plasterboard panels, or other material finish

Tell-the-tale detail Timber joist

The exploded isometric shows the typical build up of all the spaces added to the Van Nelle Fabriek. These include the walkway, ancillary spaces and amenity spaces. All have an independent closed envelope in preparation for the Van Nelle Fabriek to fall into ruin.

Floorboards

Van Nelle Fabriek Museum The Van Nelle Fabriek Museum is divided into two parts, those accessible to the public; the walkway and amenity spaces (the focus of this chapter), and those accessible only to staff, ancillary spaces. The different spaces and functions are briefly outlined below:

Timber joist Vapour membrane

Rigid phenolic insulation

Walkway: The main route through the Van Nelle which takes visitors past all the framed elements, and amenity spaces. Amenity spaces: Entrance exhibition: This is the beginning of the visitor journey and traditional part of the museum, it provides the visitor with information and insight into the history of the Van Nelle Fabriek. Laboratory: Here visitors learn about the physical structure of the Van Nelle in an interactive way, physically experimenting with concrete fragments to test their strength and durability. Amphitheatre: The Amphitheatre facilitates lectures and seminars about the Van Nelle Fabriek. Between and during these lectures the space can be used for contemplation and reflection of the Van Nelle Fabriek’s relationship to utopia. Neon sign replica gallery: Since the famous signage is best viewed at night, a replica of the framed ‘N’ is displayed in a dark room, here visitors learn about the branding of the Van Nelle and its significance globally. Cafe: Positioned on what was the 5th/6th floor, and extending outside the original curtain wall, the cafe is a place for visitors to rest and eat whilst enjoying the views. Giftshop: The giftshop is a place for visitors to buy a souvenir to remember their visit by. Ancillary spaces: Degradation laboratory: This laboratory manages the degradation of the Van Nelle Fabriek, here scientists, structural engineers and specialists experiment and test the structural properties of the Van Nelle in controlled conditions in order to accurately predict the failing points and means of collapse into ruin. With this information they can ensure the factory falls into ruin in a safe manner by removing elements and supporting parts where and when necessary. Office: This is where all day-to-day matters of the museum are managed. The office also facilitates the write up space for the laboratory workers. Here computer simulations of the Van Nell’s collapse are run, and all raw data collected from experiments analysed, as well as the data from careful monitoring of any movement within the Van Nelle’s structure. Stockroom: Stores supplies for the Giftshop and Cafe. Plant room: Contains air handling units.

Damp proof membrane In situ concrete

Steel form

Secondary I beam, 220x200mm

Primary I beam, 220x200mm

Steel truss

Plasterboard panels, or other material finish

Timber joist

Floorboards

Timber joist Vapour membrane Secondary I beam, 220x200mm Rigid phenolic insulation Damp proof membrane In situ concrete Steel form

Primary I beam, 220x200mm Steel truss

1 2

5 4

8 9

13 12 11

14 15

16 19 20

23 24 25 26

28 29

32 33

Tell-the-tale Detail - Curtain Wall

1:25

Section N .1 o

Steel truss

I beam, 110x110mm supporting framed element

Existing concrete floorplate

Concrete sill

I beam, 220x200mm

Screw, 6mm

Air duct, 300mm diameter

Aluminium panel finish, 4mm thick

Air duct, argon gas supply, 500mm diameter

Timber joist

Air supply duct, 150mm diameter

Vapour membrane

Argon gas supply pipe, 150mm diameter

Rigid phenolic insulation

Steel plate brace, 150mm diameter

Damp proof membrane

Fixing bolt

In situ concrete

Steel tie, 20mm diameter

Construction tolerance gap, 35mm approximately

Cable tray supplying walkway electrics

Existing floorplate

Existing curtain wall, framed

Steel form

Frame

Circular steel column, 80mm diameter, 9mm thickness

Integrated strip lighting

Valve for removing argon gas

Steel tie, 20mm diameter

Argon gas to frame, entry point

Double glazing

Cable tray supplying frame valves

Steel tie, 20mm diameter, crossbracing

3 1

2 4

8 7

14 15 16 17 18 19 20 21 22 23

27 29

Tell-the-tale Detail - Column

1:25

Section N .2 o

Air supply duct, 150mm diameter

Damp proof membrane

Air duct, 300mm diameter

Rigid phenolic insulation

Air duct, argon gas supply, 500mm diameter

Vapour membrane

I beam, 220x200mm

Timber joist

Steel truss

Concrete panel finish, 14mm thick

Air supply duct, 150mm diameter

Aluminium clip, screwed into timber joist

Steel tie, 20mm diameter

Double Glazing

Steel plate brace, 150mm diameter

Concrete panelled floor

Fixing bolt

Steel form

Cable tray supplying walkway electrics

Air to frame, entry point

Frame

Valve for removing argon gas

Existing column, framed

Custom steel support, supporting framed element

Integrated strip lighting

Circular steel column, 80mm diameter, 9mm thickness

Construction tolerance gap, 35mm approximately

Steel tie, 20mm diameter

In situ concrete

Steel tie, 10mm diameter, crossbracing

9 10

11 12 13

14 15 16

17 19 20 21

23 24 27

25 29

Tell-the-tale Detail - Self-closing Door

1:25

Section N .3 o

Existing concrete floorplate

Double glazing

I beam, 220x200mm

Varnished oak sill

Steel truss

Chipboard panel finish, 12mm thick

Air duct, argon gas supply, 500mm diameter

Timber joist

Air duct, 300mm diameter

Vapour membrane

Existing column

Rigid phenolic insulation

Air supply duct, 150mm diameter

Damp proof membrane

Existing curtain wall

In situ concrete

Frame

Construction tolerance gap, 35mm approximately

Steel tie, 20mm diameter

Existing floorplate

Cable tray supplying walkway electrics

Circular steel column, 80mm diameter, 9mm thickness

Steel plate brace, 150mm diameter

Circular steel column, 80mm diameter, 9mm thickness

Fixing bolt

I beam, 110x110mm supporting framed element

Integrated strip lighting

Pine timber floorboards

Existing heating system, on curtain wall

Steel form

Existing door, framed

Steel tie, 20mm diameter, crossbracing

4 5

6 8

7 9

10 14

18 19

20 21

26 28

22 29

24 25 32

36 35

Tell-the-tale Detail - Wash Basin

1:25

Section N .4 o

Steel truss

Rigid phenolic insulation

I beam, 220x200mm

Vapour membrane

Argon gas supply duct, 150mm diameter

Timber joist

Air duct, argon gas supply, 500mm diameter

Chipboard panel

Air duct, 300mm diameter

Grout

Air supply duct, 150mm diameter

Glazed tile finish, 8mm thick

Existing column

Glazed tile sill

Existing curtain wall

Existing floorplate

Steel tie, 20mm diameter

Steel tie, 10mm diameter, crossbracing

Steel plate brace, 150mm diameter

Argon gas to frame, entry point

Fixing bolt

Valve for removing argon gas

Cable tray supplying walkway electrics

Air to frame, entry point

Double glazing

Steel frame cross bracing, 20mm diameter

Frame

Circular steel column, 80mm diameter, 9mm thickness

Existing heating system, on curtain wall

Steel form

Existing wash basin, framed

Cable tray supplying frame valves

Integrated strip lighting

Circular steel column, 80mm diameter, 9mm thickness

In situ concrete

I beam, 110x110mm supporting framed element

Damp proof membrane

Steel frame cross bracing, 20mm diameter

3 4

5 6 7

8 9 10 11 12 13 16

14 15

23 21

Tell-the-tale Detail - Neon Sign

1:25

Section N .5 o

I beam, 220x200mm

Matt black painted plasterboard finish, 15mm thick

Steel tie, 20mm diameter

Existing neon sign, framed

Double glazing

Pine timber floorboards

Air supply duct, 150mm diameter

Steel form

Steel plate brace, 150mm diameter

I beam, 220x200mm

Fixing bolt

Steel truss

Frame

Existing roof light, single glazing

Integrated strip lighting

I beam, 110x110mm supporting framed element

Construction tolerance gap, 35mm approximately

Circular steel column, 80mm diameter, 9mm thickness

In situ concrete

Valve for removing air and argon gas

Damp proof membrane

Air to frame, entry point

Rigid phenolic insulation

Argon gas to frame, entry point

Vapour membrane

Existing roof light, single glazing

Timber joist

Existing column

1 2

4 5

6 7 8 12

9 10

11 14 15 16 17 18 19 26

20 21 22 23 24 25

27 28

Tell-the-tale Detail - Foundation Pile

1:25

Section N .6 o

Partial existing column

Construction tolerance gap, 35mm approximately

Cable tray supplying frame valves

In situ concrete

I beam, 220x200mm

Damp proof membrane

Steel tie, 20mm diameter

Rigid phenolic insulation

Custom steel support, supporting framed element

Vapour membrane

I beam, 220x200mm

Timber joist

Air supply duct, 150mm diameter

Screw, 6mm

Cable tray supplying walkway electrics

Steel tie, 9mm diameter

Steel tie, 20mm diameter

Stacked felt sheets, 5mm thick

Steel plate brace, 150mm diameter

Existing foundation pile, framed

Fixing bolt

Double glazing

Air to frame, entry point

Pine timber floorboards

Argon gas to frame, entry point

Circular steel column, 80mm diameter, 9mm thickness

Valve for removing air and argon gas

Concrete foundation slab, 350mm thick

Frame

Hard core

Integrated strip lighting

Steel frame foundation pile, concrete

Concrete retaining wall

Tell-the-tale Detail - Curtain Wall

â&#x20AC;&#x2DC;The full curtain wall... is a great mastery of construction materialsâ&#x20AC;&#x2122;

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nelle Fabriek Rotterdam, Nomination File, January 2013. pg.90

Argon Gas Flow Air Flow Electrical Services

Section No.1

The framed section of curtain wall is supported at one point, the section of floor it was originally attached to. It is suspended in its original position by an I beam connected to the inserted steel structure. The frame is independently supported at its base by another I beam. The curtain wall is surrounded by argon gas at a pressure of 10N/m2, the argon is non reactive so preserves the more delicate rubber sealant and the slight pressure ensures the seals around the glass are held in place. The pressure is monitored centrally and valves maintin the pressure.

Tell-the-tale Detail - Column

â&#x20AC;&#x2DC;The application of tapering mushroom columns [demonstrates] innovative and advanced construction methodsâ&#x20AC;&#x2122;

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nelle Fabriek Rotterdam, Nomination File, January 2013. pg.86

Argon Gas Flow Air Flow Electrical Services

Section No.2

The framed column is supported at the base by a steel plate, which is connected to an I beam that is itself connected to the steel structure. The column is made from concrete, which is robust, so can be surrounded by vapour free air at constant air pressure, the same as the air pressure at ground level. The pressure is monitored centrally and valves accurately allow more gas to enter and exit when necessary.

Tell-the-tale Detail - Door

‘Good hygiene was stimulated by situating washing facilities and... by the installation of selfclosing doors’

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nelle Fabriek Rotterdam, Nomination File, January 2013. pg.90

Argon Gas Flow Air Flow Electrical Services

Section No.3

The framed door and section of wall it is built into is supported by the original concrete floor slab, preserving the surface’s original laminate finish. This cut away section of the floor is supported by circular steel columns, which connect it to the inserted steel structure. The door has no gas supply because, due to the aluminium clad timber being preserved, still, uncirculating air is most beneficial. Consequently, there are no valves as air does not need to be let in or out, the door was sealed in the frame in climatically controlled conditions.

Tell-the-tale Detail - Wash Basin

‘A hight standard of hygiene... is particularly illustrative of the Van Nelle Fabriek as a dynamic “factory for the future” ’

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nelle Fabriek Rotterdam, Nomination File, January 2013. pg.58

Argon Gas Flow Air Flow Electrical Services

Section No.4

The framed wash basin is supported at one point, the section of floor it was originally attached to, like the door, the original surface finish, in this case tiled, is preserved. It is suspended in its original position by an I beam connected to the inserted steel structure. The basin is surrounded by predominantly non-pressurised argon gas with some typical air, the argon is non reactive so best preserves the more delicate ceramic but is not required in its pure form like the curtain wall. The pressure and air content is monitored centrally and maintaned by valves.

Tell-the-tale Detail - Neon Sign

â&#x20AC;&#x2DC;The clear and powerful design is, both aesthetically and cerebrally, closely connected with the modern technology and dynamics of the world port of Rotterdam and the Machine Ageâ&#x20AC;&#x2122;

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nelle Fabriek Rotterdam, Nomination File, January 2013. pg.90

Argon Gas Flow Air Flow Electrical Services

Section No.5

The framed neon sign is supported at two points, the section of roof it was originally attached to below the lettering, and the original steel supports behind. It is suspended in its original position by an I beam connected to the inserted steel structure, which cuts through the roof. The frame, like all frames is independently supported at its base by the same I beam. The sign is surrounded by a partial vacuum of -10N/m2 to protect the delicate glass of the neon lights, which is itself supports a vacuum. The partial vacuum of the frame is monitored and maintained.

Tell-the-tale Detail - Foundation pile

â&#x20AC;&#x2DC;With great mastery of construction methods that were experimental at the time, including the use of pre-fabricated foundation piles of reinforced concreteâ&#x20AC;&#x2122;

The Kingdom of the Netherlands (nomination by, for the UNESCO World Heritage List), Van Nelle Fabriek Rotterdam, Nomination File, January 2013. pg.90

Argon Gas Flow Air Flow Electrical Services

Section No.6

The framed foundation pile is supported by a concrete slab connected directly to the excavated ground below the foundation pile. The pile is surrounded by argon gas and air. Uniquely, moisture is allowed to enter the frame with air as water has seeped into the pile over time and it could therefore be detrimental to the preservation of the element to allow it to dry out entirely. A pressure of 25Nm2 is maintained to compensate for the weight of the removed earth. This pressure is monitored centrally and valves allow more gas to be pumped in and released.

Tell-the-tale Detail - Curtain Wall Section No.1

Opening Tall window allowing views to the framed section of curtain wall and unframed curtain wall extending above and to the sides. Materials Aluminium panelled interior surface, faceted with screws. The crisp, simple, metallic finish reflects the curtain wall construction- both its materiality and in the elegance of the simple construction detail.

Tell-the-tale Detail - Column Section No.2

Opening Complete glazed wall allowing the entire column to be seen, as well as the structural systems surrounding it. Materials Concrete panels fastened to the wall, and concrete slabs pave the floor. A direct reflection of the framed columns materiality.

Tell-the-tale Detail - Door Section No.3

Opening Small square window focuses views to the doors self-closing mechanism. Materials Interior finish is chipboard panels, a uniform backdrop, which focuses attention on the framed element, whilst being of the same material.

Tell-the-tale Detail - Door Section No.4

Opening Tall window, with sill allows views to see the wash basin in the context of the bathroom, the frame is small and close to the element, preserving much of the room it was in. Materials Glazed cream tiles, CMYK value 23, 15, 45, 0 to match the original bathroom tiles which surrounded the washbasin. 43

Tell-the-tale Detail - Neon Sign Section No.5

Opening Complete glazed wall allowing the neon sign to be seen in its rooftop context, extensive glazing facilitates views to the other neon letters and views of Rotterdam beyond. Materials Plasterboard walls, painted matt black, give emphasis to the brightness of natural daylight, or the non sign at night.

Tell-the-tale Detail - Foundation pile Section No.6 Opening Glazed wall under pitched roof, allows the large framed element to be seen in its entirety whilst maintaining an atmosphere of the subterranean. Materials Tactile wall of irregular layers of felt, the dark, uneven nature of the wall mimics excavation. It draws visitors to touch and interact with the surface.

Walkway Section No.7

Opening Ridge opened to allow natural daylight to fill the walkway and provide uninterrupted views of the sky. Materials When not alongside a framed element the walkway is finished with white painted plasterboard, acting as a ‘blank canvas’ between the frames.

Walkway Section No.8 Opening Sections of the walkway are glazed facilitating specific views to elements of the Van Nelle and interventions. This is one example, openings exist in a similar fashion 360° around the walkway at different points. Materials When not alongside a framed element the walkway is finished with white painted plasterboard, acting as a ‘blank canvas’ between the frames.

2 44

Vertical core Framed element Section Inverted section

Accessibility Strategy The walkway slopes between levels in accordance with the Building Regulations Document M, allowing full wheelchair access. At points the walkway meets vertical circulation cores, here both lifts and stairs are available to traverse the level changes. Fundamentally, the Van Nelle Fabriek Museum is accessible to all.

Ancillary Spaces

Sections

Plant room(s)

Key

Vertical circulation to ancillary spaces

Vertical circulation along walkway and amenities

Vertical circulation to ancillary paces, amenities and along the walkway

Laboratory space Section No.5 Section No.7

Frames and Amenities Neon Sign, framed

Curtain wall, framed Laboratory space Section No.1 Neon Sign Replica gallery Cafe, W.C. Amphitheatre Column, framed

Section No.2

Office space Wash basin, framed Self-closing door, framed

Section No.4 Section No.3

Office space

Section No.8 Entrance Foyer and exhibition space Gift shop Stockroom Section No.6

Active Exhibition space Foundation pile, framed

Level 10

Level 9

Level 8

Level 7

Level 6

Level 5

Level 4

Level 3

8 Level 2

6 Level 1

Service Strategy The servicing diagrammed adjacent consists of the argon gas supply to the frames (orange) and the air supply to the frames and inhabited spaces (red). Electrical and plumbing services are not shown - electrical is visible in all sections 1-8 and the plumbing simply connects to the ancillary spaces and select amenity spaces.

Ancillary Spaces

Sections

Plant room(s)

Key

Argon gas duct services

Argon gas duct services, behind

Air duct services

Air duct services, behind

Laboratory space Section No.5 Section No.7

Frames and Amenities Neon Sign, framed

Curtain wall, framed Laboratory space Section No.1 Neon Sign Replica gallery Cafe, W.C. Amphitheatre Column, framed

Section No.2

Office space Wash basin, framed Self-closing door, framed

Section No.4 Section No.3

Office space

Section No.8 Entrance Foyer and exhibition space Gift shop Stockroom Section No.6

Active Exhibition space Foundation pile, framed

Level 10

Level 9

Level 8

Level 7

Level 6

Level 5

Level 4

Level 3

8 Level 2

6 Level 1

Fire Strategy The servicing diagrammed adjacent details the fire strategy of the Van Nelle Fabriek Museum in accordance with the Building Regulations Document B. All occupied spaces are within a short distance of the tall fire cores cutting through the Museum, highlighted in red.

Ancillary Spaces

Sections

Plant room(s)

Key

Fire escape

Fire escape route

Fire escape route, behind Laboratory space Section No.5

Frames and Amenities

Section No.7

Neon Sign, framed

Curtain wall, framed Laboratory space Section No.1 Neon Sign Replica gallery Cafe, W.C. Amphitheatre Column, framed

Section No.2

Office space Wash basin, framed Self-closing door, framed

Section No.4 Section No.3

Office space

Section No.8 Entrance Foyer and exhibition space Gift shop Stockroom Section No.6

Active Exhibition space Foundation pile, framed

Level 10

Level 9

Level 8

Level 7

Level 6

Level 5

Level 4

Level 3

8 Level 2

6 Level 1

Amenity Spaces - Amphitheatre

Section No.2, extended

The Amphitheatre facilitates lectures and seminars about the Van Nelle Fabriek, these are incorporated into the experience the visitor receives. Scheduled at regular intervals, visitors can plan their journey along the walkway to arrive at this point at the scheduled times. Between and during these lectures the space can be used for contemplation and reflection of the Van Nelle Fabriekâ&#x20AC;&#x2122;s relationship to utopia. Positioned adjacent to one of the most advocated elements of the factory by UNESCO, the fluted column, visitors are able to reflect on itâ&#x20AC;&#x2122;s current means of preservation and the juxtaposition between the preserved column and those slowly degrading, visible behind and around the framed column. The Amphitheatre is mechanically ventilated independent from the adjoining walkway. Like all inhabited spaces, it is mechanically ventilated as for the first 35-45 years the Van Nelle Fabriekâ&#x20AC;&#x2122;s envelope will remain largely intact, preventing natural ventilation from being effective.

Amenity Spaces - Laboratory

Section No.6, extended

The laboratory space facilitates direct interaction with the Van Nelle Fabriekâ&#x20AC;&#x2122;s physical structure for the visitor. In this managed space visitors to the museum will be able to touch removed parts of the factory, with particular emphasis on the concrete structure, hence its location alongside the framed foundation pile. In this small laboratory, visitors will themselves be guided to test the durability of the concrete through applying pressure in vices, and through loads. One such experiment involving stacking weights on a concrete slab is visible on one of the lab benches below. The laboratory is mechanically ventilated independent from the adjoining walkway. Like all inhabited spaces, it is mechanically ventilated as for the first 35-45 years the Van Nelle Fabriekâ&#x20AC;&#x2122;s envelope will remain largely intact, preventing natural ventilation from being effective.

Imagine youâ&#x20AC;&#x2122;re in the early days of a better nation

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3

The Drone Distribution Centre is located in Heijplaat, a declining area of dockland in Rotterdam 70 years in the future, in 2086. It is the result of an imagined future scenario where technology has developed to facilitate its implementation and the economic situation allows schemes such as this to be implemented. Drones carry modular shipping containers significant distances, distribution centres such as this one are where drones charge and containers are sorted. This project explores the architectural and social implications of non-human architecture- architecture designed primarily for machine inhabitation.

GC6.1 .2 .3 GC7.1 .2 .3 GC8.1 .2 .3 GC9.1 .2 .3 GC10.1 .2 .3 GC11.1 .2 .3 GA2.1 .2 .3 .4 .5 .6 .7

Comic

As an introduction to graphic novels, we received tuition from a professional graphic novelist to create a short comic depicting a scenario in Newcastle, relating to our developing projects. It is centred around a riot or protest against a drone port.

Mapping

Mapping was undertaken as an investigative (as opposed to documentative) activity. I mapped movement in Heijplaat and observed the juxtapositions of human and industrial scales, as well as the differences between the natural and built environment.

2086 2082 2078 2074 2070 2066 2062 2058 2054 2050 2046 2042 2038 2034 2030 2026 2022 2018 2014

Masterplanning

A Drone Port is developed as part of the designed â&#x20AC;&#x2DC;historyâ&#x20AC;&#x2122; of Heijplaat. Outlined in the opposite timeline, and key events below Key dates: 2020 - Union strikes and increased unemployment due to increased automation of the Port 2022 - Amazon drone delivery now Europe wide 2023 - Netherlands exits the European Union 2036 - Severe flooding across Heijplaat and much of the Netherlands as climate change worsens 2040 - Artificial intelligence breakthrough by the Rotterdamsche Droogdok Maatschappij innovation centre (RDM) 2042 - Drone Highway Network Developed and Heijplaat distribution centre opened 2056 - Heijplaat Distribution centre expands accommodating more drones 64

Non-Human Inhabitants Non-human inhabitants in a post-human context. Traditionally in architecture context is responded to for the benefit of people inhabiting the architecture, this project raises the question of how to respond to a context when the inhabitants of the architecture are not human.

Long Range Distribution Drones

I propose this question is answered in two ways: â&#x20AC;˘ The architecture, as it would for humans, best provides for the non-human needs. â&#x20AC;˘ The architecture responds as much as is possible to humans nearby, that are not the inhabitants, but will be affected by the architecture.

Short Range Distribution Drones

With the development of artificial intelligence, all aspects of the drone distribution centre are automated; all machines operate autonomously, overseen by workers with the use of virtual reality glasses. A catalogue of all the non-human inhabitants is presented opposite.

Surveillance Drones

The hawks act as a secondary deterrent, alongside the surveillance drones, against hostile drones operating in illegal airspace. Hawks

Zone 5

Fork Lift Trucks

Drone Altitude: 350 - 400 meters

Speed: no limit

Restricted to highway routes, determined by the country they pass over. The routes may alter or close seasonally, accounting for migrating birds and are governed by different laws in some countries. Used exclusively for high speed, long distance delivery drones.

Self Driving Lorries

Zone 4 Drone Altitude: 280 - 330 meters

Speed: 80km/h

Restricted over distribution centres and below Zone 5 highways. Requires

Self Driving Freight Trains

drone operators licence. Mostly used for private photography drones. Vertical columns connect Zones 4 and 1 for leisure drone use; the closest to Heijplaat is over Pernisserpark. Zone 3 Cargo Ships

Drone Altitude: 190 - 250 meters

Speed: no limit

Restricted over drone distribution centres, requires licence, no manually operated drones may access Zone 3 and above airspace. Mostly used for inner-city deliveries. Zone 2

Container Cranes for Ships

Drone Altitude: 150 - 180 meters

Speed: 80km/h

Restricted over busy rivers, passenger railways and drone distribution centres. Requires drone operators licence for manually controlled drones. Manual and GPS/ Artificial Intelligence controlled drones share Zone 2, all drones in Zone 2 and above must have collision avoidance software. Mostly used for short distance and private delivery drones.

Container Cranes for Trains

Zone 1 Drone Altitude: 0 - 120 meters

Speed:50km/h

Restricted over busy rivers, passenger railways, and drone distribution centres. Used by anyone, no licence required to fly a drone in this area, bans implemented for dangerous flying or improper use. Mostly used for private drones, and delivery drones nearing their destination.

Drone Modularised Containers

Standard Containers

Airspace is divided into distinct Zones each for different drone use, with â&#x20AC;&#x2DC;bufferâ&#x20AC;&#x2122; space between each for safety.

View From the West

View From the East

Drone Highways

Suffolk Distribution Centre

Rotterdam

Brussels

Paris

Highways in red link to the wider Drone Highway Network shown above.

The moment above shows community tension around the drone port during construction. 68

Stuttgart

Oude Kerk, Delft

Der Rotterdam Erasmusbrug bridge

Distribution Centre as a Landmark The view displayed at the bottom of this image is taken from Delft, at the edge of the drone ports visibility, as indicated. At this distance the towers are visible as faint oblongs on the horizon, alongside landmarks including the Euromast and the Erasmusbrug bridge. The charging towers stand 100m tall at Heijplaat, forming a landmark that is visible to much of Rotterdam and the surrounding area. The map, left, indicates the area that the towers are visible from. 69

Distribution Centre Euromast

Site Plan

The daily extent of the charging towersâ&#x20AC;&#x2122; shadows on both a winterâ&#x20AC;&#x2122;s and summerâ&#x20AC;&#x2122;s day are shown above. The cylindrical form allows the seasonally changing prevailing winds to always exert the minimum load, and the key views from the heritage village (red) terminate at ever changing industrial buildings, as they have since the village was constructed.

Charging Tower Section This section is taken through a charging tower, revealing the key features: Paternoster-style lift housing the drone charging platforms. Drone charging platforms opening at the roof allowing drones to exit and enter. Ground floor with multiple entrances allowing access for fork lift trucks to charge. Service staircase allowing human observation and maintenance if necessary. 73

Charging Tower Section - Visitor Centre Charging towers can have multiple purposes, this example is a visitor centre located at the edge of the heritage village in Heijplaat. The main void functions in the same manner as a typical tower, except one of the paternoster-style lifts has been replaced with a viewing platform. The ground floor functions as the main visitor centre with exhibits and displays about drones and the distribution centre. 74

Charging Tower - Community Farm Located around Rotterdam along the Drone Highways, further towers can have multiple functions. This example serves as a community farm, compensating for the green space lost by its construction. Integrating elements of the Drone Highway Network with communities helps to dissuade negative feelings and distrust of otherwise imposing structures, housing autonomous drones.

The ground floor, no longer housing fork lift trucks, can be used in various ways; in the example shown the ground floor stores the gardening tools required for managing the farm, a warehouse for storing harvested crops, a farmers market selling produce, and a cafe selling food produced with the produce grown. 75

Graphic Novel The graphic novel depicts a section of the Science Fiction story Ken MacLeod has been developing within the 2086 scenario our studio developed. The storyâ&#x20AC;&#x2122;s narrative interacts with all our projects, and is a means of expressing architectural intent.

Your reality is both altered and layered

Architecture+

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3 This project is a rehabilitation centre for people addicted to augmented reality. It exists within a near future where technological advancements have allowed people to exist within individualised versions of reality; this is brought about by the transhuman implementation augmented reality to a quality so high many people are unaware of what is real and what is augmented. My project is to facilitate oneâ&#x20AC;&#x2122;s reconnection with the nature of reality, both in the sense of understanding the true nature of the world around them, and to understand the nature of the reality they exist within when experiencing an augmented reality.

GC6.1 .2 .3 GC7.1 .2 .3 GC8.1 .2 .3 GC9.1 .2 .3 GC10.1 .2 .3 GC11.1 .2 .3 GA2.1 .2 .3 .4 .5 .6 .7

Key Books Read in Full Novel Title

Author Key Themes

Key Books Read in Full Novel Title

Year of Publication

Author Key Themes

The Man That Was Used Up

The Three Stigmata of Palmer Eldritch

Edgar Allan Poe 1850 Progress, Technology, Humanity, Artificial Limbs, Taboo culture

The Time Machine

H. G. Wells Progress, Human evolution, Society, Culture

Philip K. Dick Escapism, Addiction, Questioning reality, Transhuman biological modification, Progress

Harlan Ellison 1967 Artificial Intelligence, The Singularity, Progress, Humanity, Consciousness.

Do Androids Dream of Electric Sheep?

H. G. Wells 1896 Progress, Human experimentation, Consciousness, Control

Mary Shelly Progress, War

When The Sleeper Awakes

H. G. Wells Progress, Technological development,

Yevgeny Zamyatin Privacy, Ideology, Progress

Philip K. Dick 1968 Escapism, transhuman biological modification, what it means to be human

The Ones Who Walk Away from Omlas

1826

Ursula K. Le Guin Utopia, Happiness, Society

High-Rise

1910

J. G. Ballard Society, Architecture, Community

The Dark Side of the Sun

1924

Terry Pratchett Consciousness, God, Transhumanism artificial bodies

Brave New World

The Hitch Hikers Guide To The Galaxy

Aldous Huxley 1932 Escapism, Addiction, transhuman biological modification, Happiness, Social class, Progress, Suppression

Nightfall One

Isaac Asimov Technological advancement, Progress, Civilisation

Nineteen Eighty-Four

George Orwell Privacy, Ideology, Surveillance, Language, Family

Douglas Adams The meaning of life, Intelligence, Computing

Enderâ&#x20AC;&#x2122;s Game

1941

Orson Scott Card War, Education, Military, Deception

The Handmaidâ&#x20AC;&#x2122;s Tale

1949

Margaret Atwood Progress, Religion, Sex, Gender equality

I, Robot

Isaac Asimov 1950 Morality, Robotics, Technological advancement, Progress

Green Patches

Isaac Asimov Consciousness, Individuality

1950

Fahrenheit 451

Ray Bradbury 1953 Progress, Society, Knowledge, Happiness, Entertainment

Kings of Space

Captain W. E. Johns 1954 Technological advancement, Progress, The role of humanity

Tiger! Tiger!

Alfred Bester Escapism

1965

I Have No Mouth, and I Must Scream

1895

The Island of Doctor Moreau

The Last Man

Year of Publication

1956

1973

1975

1976

1979

1985

1986

Key Books Studied (Not Read Fully) Novel Title

Author Key Themes

Key Theory Texts Read Essay/Book Title

Year of Publication

Author Occupation(s) Key Themes

Frankenstein

Twelve Cautionary Tales for Christmas

Mary Shelly 1818 Progress, Creation, What it means to be human, Life, Role of science

The Drowned World

J. G. Ballard Society, Climate Change, Extinction

Superstudio (Piero Frassinelli) 1971 Architecture Firm (Architect, Architectural Journalist/ Theorist). Urban Trends, Utopia, Control, Technology, Society

Progress Versus Utopia; or, Can We Imagine the Future?

1962

Fredric Jameson 1982 Literary Critic, Marxist Political Theorist Progress, Technology, Achievability of Utopia, Capitalism

Crash

A Cyborg Manifesto

An Overload

Simulacra and Simulations

Donna Haraway 1984 Professor of the History of Consciousness and Feminism Studies. Feminism, Science Fiction

J. G. Ballard 1973 Society, Transhumanism, Machines, Sex, Fetishism, Risk, Simulation, Simulacra

Barrington Bayley 1973 Progress, Urbanism, Society, Control, Human Adaptation, The City

The Female Man

Joanna Russ Feminism, Gender equality, war, Family, Architecture

Neuromancer

William Gibson Cyberspace, Questioning reality, Personhood

Year of Publication

Jean Baudrillard 1988 Sociologist, Philosopher, Cultural theorist, Political commentator. Nature of the copy, Authentic and Inauthentic

The End of History?

1975

Francis Fukuyama Political scientist, political economist, and author Westernisation, Political Liberalism, Society

Simulacra and Science Fiction

1984

Jean Baudrillard 1991 Sociologist, Philosopher, Cultural theorist, Political commentator. Nature of the copy, Authentic and Inauthentic

Diaspora

Ballardâ&#x20AC;&#x2122;s Crash

Altered Carbon

Elements of Rythmanalysis

High Society

The Eyes of the Skin Architecture and the Senses

Oryx and Crake

Progress, The Moth-Eaten Musical Brocade

Greg Egan 1997 Progress, Consciousness, Artificial Intelligence, Immortality, Augmentation of humanity

Jean Baudrillard 1991 Sociologist, Philosopher, Cultural theorist, Political commentator. The inauthentic, Transhumanism, Fetishism

Richard Morgan 2002 Progress, Consciousness, Artificial Intelligence, Immortality, Virtual space, Nature of Reality, Digitization of memory

Henri Lefebvre Marxist Philosopher, Sociologist Rhythm, Space, Everyday-life, Music, Media, Politics

Ben Elton 2002 Drug Use, Societal constructs, addiction, law enforcement, government control

Juhani Pallasmaa Architect, Professor, Dean Senses, Experience, Reality

Margaret Atwood 2003 Progress, Genetic Engineering, What it means to be human

The Girl-Thing who Went Out for Sushi

Pat Cadigan Progress, Genetic Engineering, Exclusion, Adaptation to climate

1989

John Gray Political philosopher Progress, Control of Technology

1992

1996

2004

Biotechnology and the Post-Human Future

John Gray 2004 Political philosopher Progress, Technology, Biotechnology, Genetic Engineering

2012

The right to the city and beyond

Andy Merrifield Marxist Urban Theorist Urban Trends, Henri Lefebvre, Culture, Policy

Why Architects Should Read Pulp Science Fiction, Now!

2011

Amy Butt 2017 Architect, Lecturer, Design Tutor, Independent Researcher Utopia, Science Fiction, Progress

Progress Development towards an improved condition; the movement towards utopia.

Transhumanism Transhumanism is considering technology as an extension of the body. It is the evolved functional capacity of a human organism which allows it to remould its own image and individual conception of reality.

‘The Three Stigmata of Palmer Eldritch’ Philip K. Dick’s novel ‘The Three Stigmata of Palmer Eldritch’ explores many themes. The Role of technology and drug use, these surpassing God and becoming a subject of worship. In the novel the potent effects of the mushroom-like drugs ‘Can-D’ and ‘Chew-Z’ are so significant an atheist turns to God to find an explanation for his experience whilst conversely a Neo-Christian looses her faith after the experience of ‘Can-D’ surpasses all previous religious experience. This is an exploration of Dick’s concern of the role of religion in the future and the continuing influence it possesses. Potential new technologies are investigated including ‘E-Therapy’, the directed evolution of humans bettering their cognitive ability and physically adapting their bodies to suit the worsened climactic conditions on Earth. The impact of potential future technologies in society is explored through emerging social segregation between those who can afford E-Therapy and those who can’t, a reflection of many privileges and casts embedded in society. Dick explores the types and nature of escapism, physical escapism of leisure activities or escape from Earth is juxtaposed against non-physical escape into the subconscious and experiences through drug use. The intrinsically individual nature of experienced reality is explored through the multiple realities the characters experience through drug use. Through ‘Can-D’ consciousness is lost and individuals seemingly inhabit a preprepared miniature world akin to a dolls house set, this questions the importance of architectural space when experience can be so internal and personal. Through ‘Chew-Z’ individuals inhabit a world created in their own mind, the author of this world is however, ambiguous, leading the protagonist to doubt the reality he exists within and realities he experiences. The portrayal of existing within multiple realities with ill-defined boundaries reflects Dicks’s concerns abound our existing individualised realities (in the 1960s), which has since worsened in modern times. Furthermore, the inhabitation of multiple personal realities raises the question of consciousness, where and what is it? When it seemingly can be moved from one perspective to a 1/12th scale doll or another part of the solar system instantaneously. Critically, ‘The Three Stigmata of Palmer Eldritch’ forces the reader to consider the shared ‘reality’ we inhabit, how we choose to escape to other realities, and how our individual experienced reality is warped and altered through our collected experiences and increasingly technologically dependant transhumanism lives. The banner image (right) is a representation of the key themes and ideas expressed by Philip K. Dick in ‘The Three Stigmata of Palmer Eldritch’. Alongside that are representations of architectural space in the novel, the nature of individual personal realities and transcendence between architectural space and non literal space are depicted through real people occupying a miniaturised scene.

‘The Three Stigmata of Palmer Eldritch’ - Philip K. Dick, Visualised

Representation of architectural space in ‘The Three Stigmata of Palmer Eldritch’

Representation of architectural space in ‘The Three Stigmata of Palmer Eldritch’ 88

Alice Jackson

Ayesha Lavin 1,280

Ayesha Lavin

98 921

Mohammed Atiyeh 8,137

Sam

David Gilmore -250 Alex

Primer Scenario Building The studio is embedded in a created future, these banner comics illustrate elements of the scenario being created. Each comic strip depicts a similar walk to a pub by three characters, Prisha, Jayesh and Jason, each however experiences different realities. In the created scenario ‘happiness’ is commodified. Most people live life with the intention of experiencing high levels of happiness, this leads to disparity between their ‘genuine happiness’ and the commodified ‘happiness index’ which responds to the consumption of ‘happiness providing’ goods and services. The first strip depicts Prisha’s reality, her view down Grey street is polluted with augmented information about other people including their level of supposed happiness, whilst her own ‘happiness index’ is displayed at ‘74’. As she moves down the street businesses become visible and information about her personal experiences in those places is displayed. She arrives at the pub where targeted advertising informs her about the place. The final panel is a photograph of her entering the pub, showing ‘external reality’ Jayesh follows a similar route, his ‘happiness index’ is only ‘18’, he spends £60 to artificially boost his index by 40 percentage points before entering. His personal happiness doesn’t change but others perception of his ‘happiness index’ will show the inflated score. Again the pub is covered with augmented targeted advertising, before the final panel reveals ‘external reality’. Jason approaches past many businesses so sees more augmented advertising, products in a shop window advertise their potential impact on his ‘happiness index’. Again the pub is covered with augmented targeted advertising, before the final panel reveals ‘external reality’. The disparity between their realities is fully illustrated on the following page where a moment in time showing all three’s individual ‘reality’ against ‘external reality’ is displayed. These individualised realities are what we will need to escape from to a united reality we equally experience.

Robert Carr 148

Marsha

Last visit: +3% -4

Last visit: +2% -3.60

Last visit: -2% -24.30

Last visit: +4% -11

Prisha Patel Journey to the Pub

1,280

Last visit: +6% -26

Last visit: +4% -11

Bram Bussen 921

Emergency Services

Last visit: +3% -4

1.69 up to 6% increase 2 up to 5% increase

Last visit: +6% -26

Last visit: -2% -24.30

Jayesh Malhotra Journey to the Pub

Jason Reddy Journey to the Pub

‘External Reality’

58 Jayesh Malhotra

1,465

Perceived ‘Reality’ for Prisha Patel 91

Jason Reddy 1,465

Prisha Patel

704

Perceived ‘Reality’ for Jayesh Malhotra

Jayesh Malhotra 1,465 Prisha Patel

Bruce Walliams

704

Perceived ‘Reality’ for Jason Reddy 92

6,010

Escape from ‘Reality’ through Creativity The workshop image concludes the previous comics; it is a proposed response to the created future scenario in Newcastle; a proposal to unite individual ‘realities’ through communal creativity. This can potentially take many forms, taking inspiration from ‘The Three Stigmata of Palmer Eldritch’ perhaps miniatures are created, which through the use of technology can be inhabited to facilitate a further level of escapism.

Primer Display The primer display showed each students visualisation of a text and below it a representation of architectural space in the novel. Central is a map showing the locations of our proposed responses in Newcastle. 93

Augmented Reality Display In keeping with our individual future scenarios key themes, each ‘icon’ on the map triggered an augmented display that could be viewed through ipad’s, Mine was a videotized render of the comics displayed previously. 94

Manifesto of ‘The Three Stigmata of Palmer Eldritch’

Reality is Subjective The page from The Three Stigmata of Palmer Eldritch used to create this poem is an extract in which Martian colonists are discussing the effects of the drug ‘Can-D’. It consists of semi-sentences, deliberately not fully coherent, a reflection of the confusion of the narrative and questioning nature of the realities inhabited by the users of ‘Can-D’. Amongst these are selected key words and phrases conveying the emotion and atmosphere of the text. All the other text is blacked out with concentric rings imitating the realities existing simultaneously to different people and within one another.

Manifesto of Philip K. Dick

Reality is Corruptible The graphic depiction of the author’s manifesto uses text from another novel as a base, Huxley’s ‘Brave New World’. Pages from Dick’s ‘The Three Stigmata of Palmer Eldritch’ containing descriptions of Palmer Eldritch and his transhuman aspects; cyborg arm, steel teeth, and laser eyes (his three stigmata), have been overlaid. This is a physical manifestation representing the author’s concerns around the potential possibility of controlling reality. In the way that Palmer Eldritch (might) influence, manipulate or even control the drug induced realities, the reality of another text is disrupted by Palmer Eldritch.

My Manifesto

Reality is Escapable Each of us embody different realities, this has been the case throughout human history. A lifetime of collected experience and stimulus shapes each individualâ&#x20AC;&#x2122;s perception of reality: You can never know exactly how another perceives reality. Furthermore, we each embody multiple realities, both simultaneously and consecutively; our perception of reality shifts based on countless stimuli from how well rested we are, to our last meal: Your experience of reality is continuously changing. In recent years, our embodied reality is becoming increasingly individual as data is harvested to target advertising, news is presented based on stories most likely to keep the news app open the longest and social media is a collection of posts tailored by artificial intelligence with the goal of increased engagement: Your experience of reality is increasingly individual and increasingly controlled by external sources. This is scary, and at times we all need to escape from our reality. Escape from reality is achievable in many ways at many scales; reading, going for a walk or chatting with friends are forms of escapism; as are travelling, experiencing a sensory deprivation pool, or going offline for a time. Escape is always to another individual reality as everyone always inhabits an individual reality. However, with the increasingly transhuman aspects of our collective technological dependency, our forms of escape keep us increasingly isolated in our individual realities, further and further removed from the realities experienced by others. We need forms of escapism from our individual reality to realities that are similarly experienced by others: You need to escape to a collective perception of reality.

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The relationship between reality and the simulation visualised.

101

Jean Baudrillard Representational Analysis Baudrillard’s Simulacra and Simulations discusses many of the key themes relating to the nature of reality, and escapism. Particularly in relation to the idea that it is impossible to experience true reality but rather we all experience an individualised perception of it. The image opposite expresses the relationship Baudrillard describes between reality and the simulation. Since it is impossible to isolate the process of producing a simulation, it is equally impossible to isolate the process of the ‘real’. Since we live in a world with simulation, the true nature of reality can never be understood and we can never know what is truly reality. This is represented in the duplication of the key quote expressing this point, it is impossible to know which was cut from the text, and since it has been cut from the text, the text is permanently changed.

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The nature of simulation is a degrading of reality - visualised.

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Jean Baudrillard Representational Analysis This visualised concept is the idea that the nature of simulation is a degrading of reality. The act of creating a simulation threatens the understanding of what is real and what is not real (simulated). The key quote has been cut from a page of the essay, and copied many times, each time it degrades and is damaged until it is illegible. It began as ‘real’ and through simulation, became degraded, or ‘not real’.

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Sonography

1450 1500 1550 1600 1650 1700 1750 1800 1850 1900

1910

1920

Pacemaker

1950

This mapping illustrates the development of haptic technology, including significant examples of tactile information transfer which were a precursor to electronic haptic feedback. It also maps causes and treatments of nerve damage (the means of receiving haptic information). Key events are documented chronologically alongside the mapping.

1960

1970

Intermuscular Electrodes Artificial Brain Stimulation Prosthetics with Nerve Connections

Anti - Lingu - 1 Nerver Repair Synthetic Tissue CNTF

Vitamin B12 Deficiency Peripheral Neurotherapy

Mapping - Technology Haptic Feedback and Tactile Surfaces

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1940

Prosthetics

Diabeties Treatment Tactile Paving

Atlas For the Blind Braille 3D Printed â&#x20AC;&#x2DC;Pictureâ&#x20AC;&#x2122; Books 3D Printing

Medical Treatment Hologram Acoustic Radiation Pressure

LRA Actuator Wearable TEchnology Personal Computer

ERM Actuator

Gaming

Mobile Phone

Piezoelectric actuator

Ammassalik Wooden Maps

1930

1980

1990

2000

2010

Haptic Feedback Technology Tactile Technology Supporting Technology Transhuman integrated Haptic Data

c.450 Type 1 and 2 Diabetes identified by Sushruta and Charaka

1792 Luigi Galvani demonstrated that electricity could initiate muscle contraction

1880 Ammassalik maps discovered, carved wooden maps used by Eskimos

1880 Jacques and Pierre Curie learn the concept behind the Piezoelectric Actuator

1808 Charles Barbier invents Sonography to communicate silently without light

1821 Sonography is abandoned by the French military as it’s too complex

1824 Louis Braille developed a code for the French alphabet after being blinded

1829 Louis Braille publishes his system of writing for the blind

1837 Louis Braille publishes his revised binary form of writing, modern Braille

1837 New Institute for the Education of the Blind produce a tactile atlas of USA

1849 Emil Bois-Raymond recorded electrical activity in voluntary muscle contraction

1889 John MacWilliam causes heart contractions using electrical impulses

1917 Sonar accelerates the Piezoelectric Actuator in WW1

1921 Frederick Banting and Charles Best isolated insulin for treating Diabetes

1922 Joseph Erlanger used an oscilloscope to show electrical signals in muscles

1926 portable early pacemaker developed by Mark Lidwill 1928 Edwin Cohn prepared liver extract over 50 times more potent than natural liver produces, (this was later discovered to be Vitamin B12) 1932 Albert Hyman created a hand cranked electrical ‘artificial pacemaker’

1947 Mary Shorb discovers Vitamin B12

1950 John Hopps built first external pacemaker

1954 Wilder Penfield discovers the connection between touch and the somatosensory cortex in the brain

1956 Dorothy Hodgkin determine the chemical structure of Vitamin B12 1958 clinical implementation of a pacemaker

1965 Tactile street paving invented to aid the partly sighted and blind in navigating 1967 Tactile paving first installed in Okayama City, Japan

1973 Patent granted for the first tactile telephone for the blind 1976 Sega’s ‘Fonz’ game integrated haptic feedback into handlebars 1980s Widespread use of modern tactile maps for the blind

1980 Electrodes integrated into human muscles to artificially cause contractions

1984 Alain Le Méhauté patented for the stereolithography process (3D Printing)

1989 The game Earthshaker! was the first pinball machine with haptic feedback

1990 Piezoelectric actuator used in medical equipment

1993 Solidscape produce a high-precision polymer jet fabrication system

1994 Aura Interactor, first commercially available haptic suit, to be used with gaming

1995 first patented haptic watch with a bluetooth connection to a mobile phone

1995 Mechanical imaging using sensors developed as a medical diagnosis tool

1997 Eccentric Rotating Mass (ERM) Actuator developed

1997 Nintendo 64 controller integrated haptic feedback

1998 Cells are available for engineering as materials such as telomeres are extended

2004 nerve-cuff electrode Nerve cuff electrodes are designed for recording and/or stimulation of any peripheral nerve

2001 Tactile paving design is internationally standardised 2007 Samsung launched first phone with haptic feedback

2007 Novint released the Falcon, the first consumer 3D touch device with high resolution threedimensional force feedback; allowing the haptic simulation of objects

2008 Apple’s MacBook and MacBook Pro incorporating a “Tactile Touchpad” design with button functionality and haptic feedback incorporated into the tracking surface

2009 Acoustic radiation allows haptic feedback, pressure sensation, from holograms

2009 Artificial nerve cells are created

2011 3D printed ‘picture’ book for children produced with textured images depicted

2012 Linear Resonant Actuators LRA Actuator developed

2013 Air Vortex Rings developed by Microsoft allowing non-contact haptic feedback

2013 Ultrahaptics create haptic feedback in free space using ultrasound technology

2014 Surgeons remotely perform operations using haptic feedback as an aid

2014 First wired pressure sensors in the fingers of an artificial hand to sensory nerves

2015 DARPA is creating prosthetics with the ability to feel with touch Interfaces

2015 Apple watch released using haptic feedback to convey information from phone

2015 The TPaD Tablet uses an ultrasonic technology to modulate the slipperiness of a glass touchscreen, as if the users finger is on a moderated cushion of air

2015 Diabetes discovered as a cause of Peripheral Neurotherapy, treatment of Diabetes can lessen the nerve damage

2015 Vitamin B12 deficiency discovered as a cause of Peripheral Neurotherapy, increased intake of Vitamin B12 can lessen the nerve damage

2015 Anti-LINGO-1 used to treat Multiple Sclerosis repairs damaged myelin (fatty substance which protects nerves and allows them to grow)

2016 Ciliary neurotrophic factor (CNTF) enhances motor neuron survival

2016 Light activated synthetic tissues created which mimic nerves electrical signalling

2017 Nintendo Switch has the most precise haptic feedback of any game controller

2017 Braille integrated into new British Banknotes

2017 Braille maps produced using ink which expands under heat from contact

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Printing Press

Relation aller Erbauliche FĂźrnemmen und Monaths gedenckwĂźrdigen Unterredungen Historien Novorum Librorum quos Nundinae Atumnales

Electromagnetic Waves

Cathode Rays deflected Colour Transmission

1450 1500 1550 1600 1650 1700 1750 1800 1850 1900

Electrical Television

Mechanical Television

Books

Transistor

Hearing Aid Headphones Music

1910

1920

1930

Radio

1940

1950

Magazines

1960

1970

Mobile Phone

Digital Camera Walkman

1980

Mapping - Issue Increasingly Individualised Experience of Reality This mapping illustrates the development and relationship between technologies which contribute to people peoples individualised experience of reality. Line thickness indicates the proliferation of the technologies use at specific times through history. The thicker the line, the more widespread the technology. Key events are documented chronologically alongside the mapping. 107

2000

DVD Blueray

Facebook

Social Media TV Streaming

E-Magazines Photography Internet

E-Journals

E-Newspapers

E-Books

Music i phone

1990

Film Rental Television Video Tapes

Chat-Room

Blockbuster

Smart Phone

Telephone

Transistor Radio

Journals

Newspapers

Earbud headphones

Technology used very little

Technology used throughout society

2010

1440 Johannes Gutenberg invented the printing press 1605 First weekly newspaper, Holy Roman Empire, Relation aller Fürnemmen gedenckwürdigen Historien

1564 First journal, Augsburg, Novorum Librorum quos Nundinae Atumnales, Francoforti Anno und 1663 First Magazine, Germany, Erbauliche Monaths Unterredungen

1860 Johann Philip Reis converts sound into electrical impulses

1864 James Clerk Maxwell showed mathematically that electromagnetic waves could propagate through free space

1895 Miller Reese Hutchinson invents the electric hearing aid ‘akouphone’

1896 Guglielmo Marconi began building a wireless telegraphy system based on Hertzian waves (radio) then developed it into a commercial communication system

1897 J. J. Thomson deflected cathode rays 1900-1920 progressive era mass media is born with many new magazines (particularly in USA)

1909 Georges Rignoux and A. Fournier demonstrate live transmission of still images

1914 World War I accelerated the development of radio for military communications

1910 Nathaniel Baldwin developed the first successful set of headphones

1919 Brandes develop sensitive headphones for early radio work 1920 commercial radio broadcasting began

1926 Kenjiro Takayanagi demonstrated a TV with a Cathode Ray Tube (CRT) display

1926 John Logie Baird transmitted of the image of a face in motion by radio

1928 WRGB, then W2XB, was started as the world’s first television station

1928 Blattnerphone tape recorder invented utilising reel-to-reel format

1929 Baird and Bernard Natan of Pathé established the first television company

1936 The first regular “high-definition” television service

1937 First live television broadcast, of the King laying a wreath at the Cenotaph

1946 RCA 630-TS, the first mass-produced television set is sold

1947 transistor invented from headphone technology

1951 first video tape captured live TV images 1954 Regency TR-1 earbud headphones invented from hearing aid technology

1958 John C. Koss produced the first stereo headphones

1958 RCA develop the full size cassette for home use

1962 Philips develop the compact cassette

1967 Harry Levitt used BLODI to simulate a hearing aid on a digital computer 1970s targeted advertising exists only in the placement of physical adverts 1973 PLATO System at the University of Illinois is the first internet chat room 1876 Alexander Graham Bell awarded a patent for the electric telephone 1979 the Sony Walkman personal cassette player is released 1979 Kane Kramer invented the ‘IXI’, the first digital audio player 1980 internet chatrooms popularised

1984 The Discman, Sony’s first portable CD player

1990s web developers began tracking HTML calls that their websites were receiving 1993 Webtrends founded the first commercial web analytic solution

1994 The first display ad appeared in as a banner ad for AT&T on HotWired 1996 pay per click programs offered by Open Text search engine

1996 AT&T developed the FlashPAC digital audio player

1997 Saehan Information Systems launch the first portable MP3 player

1997 Netflix founded as a video rental service

1998 GoTo.com is first company to provide a pay-for-placement search service

1997 DVD invented

2000 Google also began to offer advertisements on search results pages

1999 The Samsung SPH-M2100 is the first mobile phone with built-in MP3

2003 my space and Facebook (TheFacebook) social media launched

2001 Apple Computer unveiled the first generation iPod

2006 Blue-ray Disk invented

2005 YouTube launched

2011 Facebook redesigned its ‘newsfeed’ targeting specific posts to users

2009 Network Advertising finds that targeted advertising returns 2.7x the revenue 2013 Netflix becomes a digital streaming service

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1910

Opium

Cocaine

1450 1500 1550 1600 1650 1700 1750 1800 1850 1900

1920

1940

Gambling

1950

1960

Ecstacy

Nicotine

Heroin

Morphine

Marijuana

Alcohol

Radio

1930

1970

1980

1990

Social Media

Mobile Phones

Internet

Video Games

Television

2000

Mapping - Society Addiction Drug used but not understood Drug studied/ understood Help available for addicts Legislation implemented restricting drug use

This mapping illustrates addiction throughout history, focussing on the most prolific addictive substances in the 20th Century. Each addiction is represented as a vertical column its thickness represents the prevalence of that addiction at a specific point in time. Addictive drugs and other things generally go through four stages as indicated by colour .The stages do not always

2010

Addictive substance is uncommon

occur in order and some have not occurred in certain addictions, so not every column goes through the four colours sequentially. Line thickness indicates the proliferation of the drugs/ addictive activities use at specific times through history. The thicker the line, the more people addicted to the drug/activity.

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Addictive substance is Widespread

Alcohol

Opium

Alcohol is possibly the most commonly used recreational drug in the world. Considered socially acceptable in most societies, it features in multiple religious rituals and social conventions, yet excessive consumption can cause significant damages to individuals health and well-being.

Opium is one of the oldest recreational drugs, and has politically been used to manipulate entire populations in the Opium Wars and has lead to the development of Morphine and Heroin c.3500BC Opium extracted from poppy seeds by ancient Sumarians

c.450BC Plato writes of proper alcohol drinking behaviour: Avoid excessive drinking

1839 First Opium War, between the British and Chinese to control opium supply

625 Islamic Prophet Muhammad directed his followers to abstain from alcohol

1805 Purified Morphine first extracted from Opium

c.1000 Simeon Seth, wrote that drinking to excess caused inflammation of the liver

1864 The New York State Inebriate Asylum treats Opium, and other, addictions

1606 English Parliament pass an act to repress the sin of drunkenness

1926 UK first criminalises Opium use

1743 John Wesley founds the Methodist Church, a stance against drunkenness

1926 Opium addicts can receive controlled doses of Opium from doctors in UK

1750 ‘Sobriety Circles’ formed in many Native American Tribes

Morphine

1784 Dr. Benjamin Rush published a pamphlet declaring alcoholism a disease

Morphine is widely used for pain relief in medical practices, but historically was used recreationally. Recreational use is almost non existent as addicts have shifted to more easily available drugs

1810 Dr. Benjamin Rush calls for the creation of a ‘sober house’ to care for drunks 1830 Dr. Samuel Woodward calls for creation of inebriate asylums 1849 Magnus Huss describes a disease resulting from chronic alcohol consumption

1805 Purified Morphine first extracted from Opium

1864 The New York State Inebriate Asylum treats alcoholism and other addictions

1817 Morphine sold as pain medication and treatment to alcohol and opium addiction

1870s New alcoholic mutual aid societies - the Ribbon Reform Clubs are formed

1864 The New York State Inebriate Asylum treats morphine addiction

1879 Dr. Leslie Keeley announces that “Drunkenness is a disease and I can cure it.”

1870 University of Chicago learn of the addictive nature of Morphine and its effects

1907 USA enforces mandatory sterilisation of alcoholics

1925 Robert Robinson determined the structural formula of Morphine

1940 First issue of Journal ‘Studies on Alcohol’ is published

1971 UK Misuse of drugs act bans Morphine for recreational use

1914 UK pubs serving hours restricted for fears of alcoholism impacting the war effort

Heroin Cocaine

Heroin was historically mis-sold as a non-addictive substance to be used to treat addiction. This resulted in widespread addiction and societal problems. These were alleviated through treatment and now Heroin is a less used recreational drug which is highly legislated against in most countries.

Cocaine has a similar history to Heroin, wrongly used to treat addiction its addictive nature was understood soon after. It is widely banned, yet is one of the most common illegal recreational drugs used in the UK.

1874 Charles Romley Alder Wright was the first to synthesize Heroin from Morphine

c.1000 Native South Americans chew the leaves of Erythroxylon coca, which is later refined into cocaine

1897 Felix Hoffmann finds Heroin is up to twice as potent as Morphine

1860 Albert Niemann isolates Cocaine from Erythroxylon coca

1897 Heroin sold as the ‘non-addictive’ alternative to Morphine

1879 Cocaine began to be used to treat morphine addiction

c.1900 Many Professionals noted the addictiveness of Heroin and its consequences

1880s Cocaine widely marketed as pain relief medicine and for other ailments

1910 Bellevue Hospital treats the first case of Heroin dependency

1880s Cocaine recommended by Sigmund Freud to treat Alcoholism

1914 USA bans Heroin from recreational use

1914 USA imposes taxes on recreational Cocaine use

1916 UK first restricts Heroin consumption through legislation

1926 UK first criminalises Cocaine use

Nicotine (Tobacco)

1926 Cocaine addicts can receive controlled doses of Cocaine from doctors in UK

Smoking Tobacco developed from chewing Tobacco and like many other drugs its adverse effects were little understood. Smoking was promoted through most of the 20th Century for it’s health benefits before being understood as the leading cause of Lung Cancer. From this point stricter restrictions have been placed on the sale of cigarettes ans and their popularity is declining worldwide.

1970 USA banns recreational consumption of Cocaine 1995 An American representative banned the publication of a Cocaine study by the United Nations Interregional Crime and Justice Research Institute

Marijuana

c.0 Tobacco is used by Native Americans

Marijuana has had its medicinal pain relieving properties known since ancient times, it remained a commonplace and socially acceptable recreational drug until the beginning of the 20th Century. Current opinion is polarised with some countries permitting its use whilst others outlaw it entirely, there are significant cases where political organisations have prevented scientific study into its potential medical uses.

1829 Nicotine isolated from Tobacco leaves 1912 ‘Journal Der Tabakgegner’ publishes health warnings about smoking 1933 UK restricts the sale of cigarettes to persons under the age of sixteen 1954 UK government confirm the link between smoking tobacco and lung cancer

2737BC First documented reference to Marijuana in Ancient China

1965 50% of men and 33% of women addicted to smoking in the West

c.1200 Marijuana usage spread throughout Asia and Europe

1990s UK government launches anti smoking adverts warning of the health risks

1920 prohibition in the USA popularises Marijuana as an alternative to Alcohol

2007 UK restricts the sale of cigarettes to persons under the age of eighteen

1926 UK first criminalises Marijuana use

2007 UK bans smoking in public buildings to reduce the second-hand smoke impact

1926 Marijuana addicts can receive controlled doses of Marijuana from doctors in UK

2012 UK launches NHS ‘Smoke Free’ campaign

1850 Marijuana listed in the USA’s Pharmacopoeia, used primarily for pain relief 1942 Marijuana removed from the USA’s Pharmacopoeia, no longer used to treat ills 1970 Marijuana use is outlawed in the USA 1972 Netherlands class 30g or less of Marijuana as a misdemeanour, non criminal 2017 Marijuana is legalised in some states in USA

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1450 1500 1550 1600 1650 1700 1750 1800 1850 1900

1910

1920

1930

1940

1950

1960

1970

1980

1990

2000

2010

Mapping - Conclusions The overlaid mappings of Addiction and Increasingly Individualised experience of reality over time allow for a comparison between levels of addiction in society and the numerousness of potential addictive substances or activities, with the rate of our increasingly individualised perception of reality. The means of creating individualised perceptions of reality become more prolific at the beginning of the 20th Century, this coincides with the creation of new addictive substances which are, at that time, little understood. Both

these increases are primarily a result of technological advancement. From the 1980s however, the number of means of experiencing reality individually increases, this coincides with an increase in the number of people becoming addicted to existing addictive substances. This effect is further worsened by the development of new addictive activities being invented and becoming prolific. From this relationship, it can be concluded: Addiction is often a symptom of isolation though experiencing an individual perception of reality. 111

Society Mapping Issue Mapping

Mapping - Society (Continued) Ecstasy (MDMA) Ecstasy is a relativity modern drug with a lower addictiveness than Opioids, Cocaine and Marijuana, It was to be legalised in the USA however the supreme court overruled the judges decision. It gained popularity in night clubs and raves before declining in popularity in the 21st Century. 1912 Ecstasy first synthesised as an appetite suppressant 1960 Biniecki and Krajewski publish first paper on MDMA 1970 First used to facilitate psychotherapy in USA 1970 Restricted use through ‘Scheme 1’ categorisation in the USA 1980s Ecstasy becomes popular at illegal ‘raves’ in the UK 1986 Ecstasy upgraded to ‘Scheme 3’ in the USA, a blanket ban on its use

Gambling Gambling pre-dates writing and has met varying levels of acceptance through history. It has often been an exclusive or illegal activity, heavily state restricted. Through the 20th Century its proliferation has increased and been more accepted by society. Laws limiting gambling have been relaxed or revoked. There is some but not much help available for gambling addicts, most independently ‘help themselves’ in small groups. c.6000BC First evidence of gambling exists 1638 First gambling establishment equitable to a modern casino opens in Venice 1774 First casino closes,the city government felt it was impoverishing the local gentry 1961 Casinos legalised in UK but limited to 10 machines (liberalised in 1968) This allowed previously illegal gambling practices to be regulated 2005 UK enforces age restrictions in places for gambling 2007 Step based therapy clinics to help gambling addiction open in the USA 2013 UK relaxes laws restricting gambling television adverts

Technology Technological advancements in the 20th Century have been followed by concern but rarely have any restrictions or laws been implemented to restrict or ban their use. This is despite the fact that a 2009 study found altered brain structures of internet addicts which were comparable to those of substance addicts brains. 1930s Some individuals considered to be addicted to radio broadcasts 1960s Television addiction noted, particularly prevalent in low income households 1981 Attempted bill in UK parliament to ban ‘Space Invaders’ due to its addictive properties, the bill was only narrowly beaten 114 to 94 votes 1994 First mass media coverage of potential internet/ internet gaming addiction 1995 ‘Internet Addiction Disorder’ coined as a satirical hoax but has been adopted as a genuine disorder in recent medical studies

2002 James Katz raises concern over the lack of study on the impact of mobile phones

2008 36% of males aged 16-19 in Japan were found to have no interest in sex due to internet pornography addiction 2011 South Korean government prohibits children under the age of 16 from playing online games from 12am-6am 2013 the American Psychiatric Association dismiss internet gaming as an addiction due to lack of evidence, but recommend the subject for further study 2013 Journal of Behavioural Addictions proposes ‘television addiction’ should be formally recognised as a treatable addiction 2018 Video Game disorder to be recognised as a disease in the 11th Addition of the International Classification of Disease

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Tallinn, Estonia

113

Why Tallinn? There are a multitude of reasons for establishing this project in Tallinn. The historical context, Tallinn’s prominence in the commercial and defensive confederation of merchant guilds, the Hanseatic League established it as an influential trading city, the port carries 9.3million passengers annually and is the fifth busiest in Europe. Tallinn has been part of many counties though History and still retains influence from Sweden, Germany and the USSR creating a unique architectural landscape. Tallinn, is the loci of the Estonian Government’s focus on investing in and embracing new technology. The state has continuously invested in new technologies since Estonian democracy and independence was reestablished in 1991. Citizens have embraced the establishing of Tallinn as the ‘Silicone Valley of Europe’ by actively engaging in the use of driverless cars and autonomous delivery robots.

Tallinn Embracing Technology Estonia declared internet access a basic human right (2000). Estonia has the fastest global broadband connection speed. Self driving cars and autonomous delivery robots are legal and used. Over half of transactions take place online in Tallinn.

UNESCO World Heritage

Väike-Õismäe

Technopol Science Park This soviet era housing estate was designed by two Estonian born architects who worked for the USSR during the Soviet Union’s occupation of Estonia. It embodies typically soviet mass housing design ideals, but uniquely incorporates the golden ratio in much of its planning, and was designed as ‘an environment for living’ with an emphasis on a connection to the natural landscape. This estate embodies the still prevalent dichotomy between the era of Soviet occupation and Estonian culture.

“Tehnopol is a research and business centre for start-up and emerging technology companies. Tehnopol has more than 200 companies, Tallinn University of Technology and IT College.” -Technopol This Government financed project invests €100million annually into start-up companies making Tallinn the home of many new technology bases companies. This demonstrates the embracing nature of Tallinn in terms of new and experimental technologies.

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“The Outstanding Universal Value of the Historic Centre (Old Town) of Tallinn is demonstrated in its existence as an outstanding, exceptionally complete and well preserved example of a medieval northern European trading city that retains the salient features of this unique form of economic and social community to a remarkable degree.” -UNESCO UNESCO as an institution intends to preserve sites of cultural and natural global significance. Their means of preservation is however, often criticised for ocularcentrism and a bias to preserving physical objects as opposed to traditions and processes. This disparity in UNESCO’s means of preservation can act as a catalyst in designing within the vicinity of World Heritage Sites.

EU Dashboard Cocaine

Cannabis

Last year prevalence among young adults (15-34 years)

Age distribution of drug induced deaths in Estonia and the EU

22.1 %

1.3 %

13.6 %

1.3 % 0.2 %

0.4 % FR IT CZ DK ES NL HR AT IE EE FI DE UK SI BE LV PL SK NO BG SE LT PT CY HU RO TR EL LU MT

UK NL ES IE DK FR NO IT HR EE DE LV SI FI HU AT CY PL PT BG CZ LT SK RO BE EL LU MT SE TR

Amphetamines

MDMA

Last year prevalence among young adults (15-34 years)

Last year prevalence among young adults (15-34 years) 3.1 %

6.6 %

2.5 %

2.3 %

2.5 %

2.3 % 0.1 %

0.1 % NL IE CZ UK BG FI EE FR HU HR DE ES NO SK AT IT PL LV SI DK PT CY LT RO TR BE EL LU MT SE

NL EE FI HR CZ DE DK HU BG ES AT UK SK SI FR LV IE IT LT PL NO CY PT RO TR BE EL LU MT SE

Opioids

Drug-induced mortality rates

High-risk opioid use (rate/1 000)

National estimates among adults (15-64 years)

102.7

8.1

102.7

No data

cases/million

Country Drug Report 2017 — Estonia Country Drug Report 2017 — Estonia 0.3

1.6

UK MT AT IT FR PT LV FI SI HR DE NO CY EL ES CZ NL PL HU TR BE BG DK EE IE LT LU RO SK SE

HIV infections

EU Dashboard EU Dashboard

HCV antibody prevalence Cannabis National estimates among injecting drug users Last year prevalence among young adults (15-34 years) Cannabis

83.5 % 22.1 %

25 25 41.9 20 cases/million 20 15 15 10 10

41.9

Newly diagnosed cases attributed to injecting drug use

44.3

EE SE NO IE UK LT DK FI LU MT AT DE SI HR NL CY ES LV TR PL BE EL IT SK FR PT CZ HU BG RO

Last year prevalence among young adults (15-34 years)

13.6 % 13.6 % 0

0.2 %

PT ES EL NO IT DK HU LV CY SI IE TR MT AT CZ BE BG HR EE FI FR DE LT LU NL PL 0.4 RO SK%SE UK

%EL LU MT SE TR UK NL ES IE DK FR NO IT HR EE DE LV SI FI HU AT CY PL PT BG CZ LT SK0.2 RO BE

FR IT CZ DK ES NL HR AT IE EE FI DE UK SI BE LV PL SK NO BG SE LT PT CY HU RO 0.4 TR EL%LU MT FR ITsingle CZ DK ES NL HR AT IEas, EE for FI DEexample, UK SI BE LVdifferences PL SK NO BG SEmay LT PTbe CY due HU RO to TR reporting EL LU MT NB: Caution is required in interpreting data when countries are compared using any measure, practices. Detailed information on methodology, qualifications on analysis and comments on the limitations of the information available can be found in the EMCDDA Statistical Bulletin. Countries with no data available are marked in white.

UK NL ES IE DK FR NO IT HR EE DE LV SI FI HU AT CY PL PT BG CZ LT SK RO BE EL LU MT SE TR

Amphetamines Amphetamines

MDMA MDMA

Last year prevalence among young adults (15-34 years)

Last year prevalence among young adults (15-34 years) 3.1 %

6.6 % 6.6 %

3.12.5 % %

2.3 % 2.3 %

0.1 %

EU Dashboard EU Dashboard

NL IE CZ UK BG FI EE FR HU HR DE ES NO SK AT IT PL LV SI DK PT CY LT RO TR BE EL LU MT SE

NL EE FI HR CZ DE DK HU BG ES AT UK SK SI FR LV IE IT LT PL NO CY PT RO TR BE EL LU MT SE

8.1 4% 8.1 0

22.1 %

NL EE FI HR CZ DE DK HU BG ES AT UK SK SI FR LV IE IT LT PL NO CY PT RO0.1 TR BE % EL LU MT SE

Last year prevalence among young adults (15-34 years)

NL IE CZ UK BG FI EE FR HU HR DE ES NO SK AT IT PL LV SI DK PT CY LT RO0.1 TR BE % EL LU MT SE

Cannabis Last year prevalence among young adults (15-34 years) Cannabis

Drug-induced mortality rates Drug-induced mortality rates

Opioids Opioids Cocaine High-risk use (rate/1 000) Last yearopioid prevalence among young adults (15-34 years) Cocaine High-risk opioid use (rate/1 000)

National estimates among adults (15-64 years)

102.7 102.7

Last year prevalence among young adults (15-34 years)

No data No data 1.3 % 1.3 %

22.1 %

13.6 % 13.6 %

1.3 % 1.3 %

0.4 % FR IT CZ DK ES NL HR AT IE EE FI DE UK SI BE LV PL SK NO BG SE LT PT CY HU RO 0.4 TR EL%LU MT FR IT CZ DK ES NL HR AT IE EE FI DE UK SI BE LV PL SK NO BG SE LT PT CY HU RO TR EL LU MT

MDMA Last year prevalence among young adults (15-34 years) MDMA

Last year prevalence among young adults (15-34 years)

2.3 % 2.3 % 2.3 % 2.3 %

cases/million

0.3

1.6 EE SE NO IE UK LT DK FI LU MT AT DE SI HR NL CY ES LV TR PL BE EL IT SK FR PT CZ HU BG1.6 RO

UK MT AT IT FR PT LV FI SI HR DE NO CY EL ES CZ NL PL HU TR BE BG DK0.2 EE IE% LT LU RO SK SE

EE SE NO IE UK LT DK FI LU MT AT DE SI HR NL CY ES LV TR PL BE EL IT SK FR PT CZ HU BG RO

HIV infections HIV infections Amphetamines 44.3 Amphetamines 41.9 44.3

HCV antibody prevalence HCV antibody prevalence

UK NL ES IE DK FR NO IT HR EE DE LV SI FI HU AT CY PL PT BG CZ LT SK RO BE EL LU MT SE TR

Newly diagnosed cases attributed to injecting drug use Newly diagnosed cases attributed year prevalence toLast injecting drug use among young adults (15-34 years)

41.9

National estimates among injecting drug users National estimates among injecting drug users 83.5 %

Last year prevalence among young adults (15-34 years)

3.12.5 % %

2.5 %

41.9 41.9 cases/million 2.5 % 2.5 %

83.5 %

15.7 %

LV EE LU LT IE RO EL PT BG UK AT ES IT DE NO SE DK BE FI CY PL FR SK SI HR CZ HU TR NL 0 MT

0.1 % NL IE CZ UK BG FI EE FR HU HR DE ES NO SK AT IT PL LV SI DK PT CY LT RO TR BE EL LU MT SE

EMCDDA Statistical Bulletin. Countries with no data available are marked in white.

8.1

High-risk opioid use (rate/1 000)

15.7 % PT ES EL NO IT DK HU LV CY SI IE TR MT AT CZ BE BG HR EE FI FR DE LT LU NL PL RO SK SE UK

LV EE LU LT IE RO EL PT BG UK AT ES IT DE NO SE DK BE FI CY PL FR SK SI 0.1 HR CZ PT ES EL NO IT DK HU LV CY SI IE TR MT AT CZ BE BG HR EE FI FR DE LT LU NL PL RO SK SE UK %HU TR NL MT NL Caution EE FI HR CZisDErequired DK HU BG ESinATinterpreting UK SK SI FR LVdata IE IT when LT PL NOcountries CY PT RO0.1 TR are BE LU MT SE NB: using any single measure, as, for example, differences may be due to reporting % ELcompared practices. Detailed information on methodology, qualifications on analysis and comments onmeasure, the limitations the information available candue be found in the NB: using any single as, forof example, differences may be to reporting NL Caution EE FI HR CZisDErequired DK HU BG ESinATinterpreting UK SK SI FR LVdata IE IT when LT PL NOcountries CY PT RO TR are BE ELcompared LU MT SE EMCDDA Statistical Bulletin. Countries with no data available are white. practices. Detailed information on methodology, qualifications on marked analysisinand comments on the limitations of the information available can be found in the

Drug-induced mortality rates Drug-induced mortality rates

Opioids Opioids High-risk opioid use (rate/1 000) 8.1

No data No data

cases/million

NL IE CZ UK BG FI EE FR HU HR DE ES NO SK AT IT PL LV SI DK PT CY LT RO0.1 TR BE % EL LU MT SE

102.7 102.7

%EL LU MT SE TR UK NL ES IE DK FR NO IT HR EE DE LV SI FI HU AT CY PL PT BG CZ LT SK0.2 RO BE

3.1 %

6.6 %

National estimates among adults (15-64 years)

cases/million

UK MT AT IT FR PT LV FI SI HR DE NO CY EL ES CZ NL PL HU 0.3 TR BE BG DK EE IE LT LU RO SK SE

6.6 %

2.5 % 2.5 %

2.5 %

2.3 % 2.3 %

Country Drug Report 2017 — Estonia Country Drug Report 2017 — Estonia

13.6 % 13.6 %

1.3 % 1.3 %

15.7 %

LV EE LU LT IE RO EL PT BG UK AT ES IT DE NO SE DK BE FI CY PL FR SK SI HR CZ HU TR NL MT

Last year prevalence among young adults (15-34 years)

No data 13.6 % 13.6 %

22.1 %

Cocaine Last year prevalence among young adults (15-34 years) Cocaine

National estimates among adults (15-64 years)

102.7 102.7

Drug use statistics for Estonia 115

National estimates among adults (15-64 years)

102.7

Addiction in Estonia The problems in Estonia surrounding addiction, namely Estonia possessing the highest induced drug mortality rates in Europe, like the embracing of new technology, can be extrapolated into the future and shape an architectural response to this problem. Furthermore a number of nearby site constraints such as the Old Town World Heritage Site, and the Soviet Era Housing development are available to explore and may have a significant impact on any new architectural interventions. Tallinn is an ideal city to explore the implications of hypothetical, technological, transhuman, extrapolations because of its proven embracing nature of new technology, both at the Government and citizen level. The rich architectural landscape with an extensive diverse history, provides a rich context to respond to in producing an architectural project, and the social issues in the city and county at large reflect my preliminary expectations from the conducted research into addiction and experiencing increasingly individualised realities. The drug-induced mortality rate among adults aged 15-64 years was 102.7 deaths per million in 2015, considerably higher than the European average of 20.3 deaths per million. Furthermore, as illustrated above, a higher percentage of Estonians killed by overdoses and poisonings are aged 25-39, a higher percentage than the EU average. The five most used illicit drugs in the EU are: Cannabis, MDMA, Cocaine, Amphetamines and Opioids. Estonia has the highest average addiction rate of any EU country and is in the top 50% of all EU countries for each drug individually. Notably Estonia has the second largest number of Amphetamine addicts in the EU. 102.7 deaths per million in Estonia are drug induced, the highest rate in Europe (No data is available for Opioid use in the EU or Estonia). The bar charts opposite illustrate the prevalence of each drug discussed in Estonia, compared to all other European countries. The pie charts illustrate the percentage of the population engaged in using each addictive substance. To Summarise, Estonia suffers from a greater number of drug addictions and drug-induced deaths than the European Union average, particularly the generation born in the 1990â&#x20AC;&#x2122;s, those who have experienced rapid technological advancements in childhood, through new technology being developed, but also through the influx of previously unseen technology into Estonia following the fall of the USSR.

European Monitoring Centre for Drugs and Drug Addiction, Estonia Country Drug Report 2017, Luxembourg, Publications Office of the European Union

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Social Life 117

Echochamber A metaphorical description of a situation where ideas, information and beliefs available to an individual are increasingly limited due to external forces. Adjacent is a representation of the worsening echochamber effect. As external sources which shape one’s perception of reality become more prevalent in society one is less able to learn about ideas, information and beliefs they don’t already know about. This is represented by the circles containing ‘external information sources’ which shape our perception of the world around us increasing in size and reducing the amount one is able to perceive the nature of reality for themselves.

Echochambers and individualised Realities In the scenario I’m building echo chambers are much more extensive than today. Through the transhuman implementation of augmented reality the world people perceive is unique to the individual. Two people can look at the same view and physically see different things. This is explored through the scenarios below.

‘Isn’t it amazing how UNESCO perfectly preserve sight-lines to the Old Town?’

‘Well... I guess so’

‘Wow, soviet era cinema, must be a bit controversial, considering the history’

‘What... how?’

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Reality is experienced independently, you don't know what is really... real

Your reality is both altered and layered

My reality, isn’t... “reality”?

Your “echo chamber” is your reality, there is much more out there...

Erm... hi Hi So... how did you see reality? Wow, so many of us Yea

there is so much I didn’t know... so much that I couldn’t ever know... It was hidden from me... outside of my “preferences”...

I’m learning so much now!

Comic 119

Well this place looked totally different at first!

Brief Visualisation Through Comic Form The context this brief sits within is explored and explained through the adjacent comic, and preceding research. It exists within a near future where technological advancements have allowed people to exist within individualised versions of reality; this is brought about by the transhuman implementation augmented reality to a quality so high many people are unaware of what is real and what is augmented. My project is to facilitate one’s reconnection with the nature of reality, both in the sense of understanding the true nature of the world around them, and to understand the nature of the reality they exist within when experiencing an augmented reality.

You

Authority Figure

This character is you. A typical citizen in the future society envisioned. You exist within your own personal reality, and an echo chamber limits your available sources of information.

This character helps you. He understands the reality you exist within and the extent of your echo chamber. He helps you to learn the nature of reality, and understand the way technology shapes your reality.

Comic Walk-through The comic begins with four panels exposing the unclear nature of reality, each scene is exposed in turn as being only part of a smaller scene, with the final panel, cyclically, being part of the first. The character throughout these scenes is then shown them, by an authority figure, this is him realising that reality is not clearly defined. Following this, he needs time and space to comprehend what he has learnt, the fact that his perception of reality is not the same as ‘external reality’ or how others perceive reality. He is then informed of the extent of his ‘echo chamber’ and ideas, subjects and concepts outside his knowledge are brought to light. This happens alongside socialising and spending time with other people who are also being rehabilitated and learning about the nature of reality. They engage with each other and experience reality first hand through communal activities which stimulate the senses.

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Passenger Ferry Port

LasnamĂ¤e Sleeping District Old Town Centre

Node Route Through

Residential

Leisure Rotermann Quarter

Original Buildings

Derelict

Physically Augmented

Augmentation in the Rotermann Quarter

121

Digitally Augmented

Work

Rotermann Quarter site analysis This area is diverse in its functions, combining residential flats, with office space and numerous leisure activities including shopping, dining, and a multiplex cinema. As well as being a popular destination on Tallinn, it is a common thoroughfare between the Old Town and busy passenger ferry terminals. Amongst these buildings are a number of derelict buildings (white) many of which are scheduled to be redeveloped in a similar fashion. These buildings are potential sites to base this project.

Augmentation in the Rotermann Quarter Through renovation in the Rotermann Quarter buildings the existing derelict buildings have been augmented. Planning policy in Estonia allows significant changes to the built fabric to be made. Since the area is an exemplar of physical augmentation of buildings it would be a logical place to explore digitally augmented architecture, its relation and comparison to physically augmented architecture, and site a project which is to help people understand this augmentation and appreciate unaugmented reality.

122

Existing physically augmented buildings in the Rotermann Quarter

123

Project Site - Rotermann Quarter The project is a centre for reconnecting people to reality so should be in a highly visible location with lots of passing footfall. The Rotermann Quarter lies between the Old town and passenger ferry port and is a along the route between the large LasnamĂ¤e residential region and the Old Town. As well as a common thoroughfare, the Rotermann Quarter is a popular destination its self. It combines shops and leisure facilities with housing, hotels and offices meaning many people visit and use the Quarter daily. Furthermore the Rotermann Quarter has a history of architectural augmentation.

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1 2 3 4 5 6 7 8 9 10 11 12

‘We admitted we were powerless over alcohol - that our lives had become unmanageable.’

‘Came to believe that a Power greater than ourselves could restore us to sanity.’

‘Made a decision to turn our will and our lives over to the care of God as we understood Him.’

‘Made a searching and fearless moral inventory of ourselves.’

‘Admitted to God, to ourselves and to another human being the exact nature of our wrongs.’

‘Were entirely ready to have God remove all these defects of character.’

‘Humbly asked Him to remove our shortcomings.’

‘Made a list of all persons we had harmed, and became willing to make amends to them all.’

‘Made direct amends to such people wherever possible, except when to do so would injure them or others.’

‘Continued to take personal inventory and when we were wrong promptly admitted it.’

‘Sought through prayer and meditation to improve our conscious contact with God as we understood Him, praying only for knowledge of His will for us and the power to carry that out.’

‘Having had a spiritual awakening as the result of these steps, we tried to carry this message to alcoholics and to practice these principles in all our affairs.’ Unspecified, AA Success Rates, [website], https://luxury.rehabs.com/12-step-programs/aasuccess-rates/. (accessed 24/03/2018)

Alcoholics Anonymous 12 step Programme 125

Prepare to experience reality unaugmented.

Experience reality unaugmented.

Come to believe that we can understand, to a greater extent, the nature of reality.

Decide that it is better to understand what reality is, as opposed to how we perceive it augmented, and understand our individual perception of reality, through a city tour.

Make an inventory of things we perceive differently to reality.

Confess the differences between my reality and external reality to others going through the same process, as a means of admitting the differences to ourselves.

Be ready to embrace reality. Seek solace in unaugmented reality through nature.

List people weâ&#x20AC;&#x2122;re disconnected from because we see reality differently.

See reality their way, understand how they experience reality and connect to them.

Live with both augmented reality and reality, aware of the technology around us and its influence. Learn about reality from multiple viewpoints.

Live with both augmented reality and reality, aware of the technology around us and its influence. Through creating art, appreciate unaugmented reality.

Live with augmented reality aware of its influence, tell others of the difference between reality and their perception of reality.

Adapted Programme for Addiction to Augmented reality 126

1 2 3 4 5 6 7 8 9 10 11 12

Folded Section The logic of the building programme is a space for each stage of the rehabilitation process. A person undergoing rehabilitation will pass through each of these spaces in turn. The Folded section illustrates the journey an individual will take through the project and through each stage.

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Plans The plans highlight the relevant rooms at each stage of the rehabilitation process. They can be read alongside the complete floorplans included after the expansion of each stage of the rehabilitation process.

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Level 1

Level 0

Visitors are greeted at reception and advised. They may begin the rehabilitation process and go upstairs to remove their contact lenses, arrange to undergo the process at another time or visit the public art gallery.

Welcome and preparation, removing the contact lenses.

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Level 3

1 5min

11min

Visitors traverse a winding space which engages all senses through creaky floorboards, reclaimed from demolished parts of the site to varying textures on the walls. Strategically placed windows give calculated views to hint at what will be visible in Stage 2.

Prepare to experience reality unaugmented.

22min

45min

1hour 30min

3hours 130

6hours

12hours

1day

2day

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Level 5

2 5min

11min

After experiencing sensations from all senses the visitor is abruptly confronted with an ocularcentric experience. Panoramic views across the old town, to the port and sea are presented,unaugmented, a shock to those addicted to augmented reality.

Experience reality unaugmented.

22min

45min

1hour 30min

3hours 131

6hours

12hours

1day

2day

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Level 1

3 5min

11min

Following the unease of having unaugmented reality uncompromisingly presented, patients retreat to a reflective space where the textures of a rough stone wall are illuminated by a skylight. Here they can discuss the experience of stage 2 with a professional.

Come to believe that we can understand, to a greater extent, the nature of reality.

22min

45min

1hour 30min

3hours 132

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Housing by Joseph Stalin

Housing by Lenin

Soviet cinema in the historic old town

Medieval town hall

Soviet war memorial

Aleksander Nevski katedraal

4 5min

11min

Those undergoing rehabilitation now explore the city on a guided tour, seeing their home town as it really exists. A guide will tell them about places that are typically highly augmented (examples above) and engage their curiosity, encouraging them to explore the city further.

Decide that it is better to understand what reality is, as opposed to how we perceive it augmented, and understand our individual perception of reality, through a city tour.

22min

45min

1hour 30min

3hours 133

6hours

12hours

1day

2day

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Level 0

5 5min

11min

Visitors return to a semi-private space lit by dappled daylight with views to the courtyard garden, here they write a list of things they have seen which are different to how they once perceived them when using augmented reality.

Make an inventory of things we perceive differently to reality.

22min

45min

1hour 30min

3hours 134

6hours

12hours

1day

2day

4day

6 5min

11min

Level 0

Now patients meet with others undergoing the same process. They discuss and learn about how differently they each perceived the world with augmentation in a space partly divided by a ruined brick wall, yet united with views to the sky, something constant in everyoneâ&#x20AC;&#x2122;s reality.

Confess the differences between my reality and external reality to others going through the same process, as a means of admitting the differences to ourselves.

22min

45min

1hour 30min

3hours 135

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7 5min

11min

Level 0

A ceremony is held, in the garden by a beautiful old tree. Patients take a seed from this tree and plant it, a symbol of their journey so far a token to take with them as a reminder. This symbolises the commitment to living in reality, not an individualised distorted version of it.

Be ready to embrace reality. Seek solace in unaugmented reality through nature.

22min

45min

1hour 30min

3hours 136

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1day

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Level 0

Before Stage 8 patients can visit the public art gallery, and handle some sculpture. Physically engaging with art helps to both prepare people for strong emotional experiences and heal, particularly from mental health issues such as addiction.

Gallery Visit, and handling of artworks and artefacts.

5min

11min

22min

45min

1hour 30min

3hours 137

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Level 0

8 5min

11min

Here visitors undergo an intense emotional experience, they are to make a list of the people theyâ&#x20AC;&#x2122;re disconnected from because of their addiction. Water runs down the black slate wall reflecting light from the skylight, with the sound resonating off the smooth concrete walls.

List people weâ&#x20AC;&#x2122;re disconnected from because we see reality differently.

22min

45min

1hour 30min

3hours 138

6hours

12hours

1day

2day

4day

9 5min

11min

Those undergoing the rehabilitation process try to make amends with the friends and family they are disconnected from because of augmented reality. The patient should make them aware of the process they are undergoing and commit to mending bonds which are weakened or broken.

See reality their way, understand how they experience reality and connect to them.

22min

45min

1hour 30min

3hours 139

6hours

12hours

1day

2day

4day

Level 0

10 5min

11min

At this ponint the stages become more flexible, the patient should regularly visit the education center which hosts letures, a small libruary and workspaces. Here they can learn about the echochamber created by their augmented reality, and fill in some key gaps in their knowledge.

Live with both augmented reality and reality, aware of the technology around us and its influence. Learn about reality from multiple viewpoints.

22min

45min

1hour 30min

3hours 140

6hours

12hours

1day

2day

4day

Level 1

11 5min

11min

By creating art, those undergoing this process can learn to appreciate unaugmented reality. Producing art forces them to look at and consider some part of the world, when reproducing it in any medium either literally or conceptually.

Live with both augmented reality and reality, aware of the technology around us and its influence. Through creating art, appreciate unaugmented reality.

22min

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1hour 30min

3hours 141

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At the final stage patients can leave but are welcome to return, the rehabilitation process likely took several days or weeks and they may wish to visit the education centre or art gallery. They will have their sapling as a reminder of the changes they have undergone rehabilitating.

Live with augmented reality aware of its influence, tell others of the difference between reality and their perception of reality.

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Level 0 These plans can be read alongside the folded section and accompanying plans. The plan for each stage is located on these plans Level 0 shows Stages 0, 5-8 and 10.

143

Level 1 Level 1 shows the plans for Stages 0, 3 and 11

144

Level 3 Level 3 shows the plan for stage 1, the route which winds up to the viewing platform.

145

Level 5 Level 5 is the viewing platform for Stage 2.

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Green Radials â&#x20AC;&#x2DC;Green radialsâ&#x20AC;&#x2122; extend from the site, these are ribbons of trees and planting, with grasses, mosses and flowers. They disrupt the augmentation residents perceive as a means of catching their attention

147- Tallinn Site map

1:5000

Site Context The â&#x20AC;&#x2DC;Green Radialsâ&#x20AC;&#x2122; converge at the rehabilitation centre, people will notice the non- urban landscape and soon realise the converge at a point. This is a means of allowing the rehabilitation centre to be discovered by some people who constantly inhabit a heavily augmented reality. 148 Site Plan - Green Radials

1:1000

Rewilding Rewilding is incorporated for three reasons. Firstly it is because of the great value the natural landscape and trees in particular are to Estonians. Whilst Estonia has one of the highest percentages of atheists in the population, Paganism is one of the major religions followed. Those who are not religious or follow other religions still hold nature in high esteem. Secondly, since my project is a centre for rehabilitation from addiction to augmented reality, plain flat surfaces are easy to augment with overlays whereas, textured moving surfaces are difficult, so appear the same 149

Rewilding to people experiencing augmented reality. To further disrupt the augmentation, the natural environment engages multiple senses, which are not manipulated through augmentation in the way sight is. Sound, smell and texture underfoot all can be noticed and grab the attention of a passer by experiencing their individual augmented reality. Finally there are several emerging studies showing the correlation between access to the natural environment and expedient recovery from mental health illnesses, in particular recovery from addiction. 150

Gagliato

A framework for future growth

James Anderson, Emma Kingman & Rob Wills January 2018

Report

151

Linked Research

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3 The report was created to be a guide for sustainable regeneration in the town of Gagliato or other similar marginalised towns. It is the result of the 2017 design workshop hosted by the Comune di Gagliato, run by the nonprofit organisation NUATI1 as well as a follow up visit to the town. It was structured in five chapters: Understanding the Context of Gagliato, Gagliato: The Town, NUATI1 Creative Towns Workshop, The Way Forward, and Reflective Recommendations. The following pages contain small extracts from â&#x20AC;&#x2DC;The Way Forwardâ&#x20AC;&#x2122; chapter which suggests ways of regenerating the town sustainably.

GC6.1 .2 .3 GC7.1 .2 .3 GC8.1 .2 .3 GC9.1 .2 .3 GC10.1 .2 .3 GC11.1 .2 .3 GA2.1 .2 .3 .4 .5 .6 .7

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Key views to the church and across the town capture many of the colours of Gagliato.

There are many colours to be found in the roofscape of the borgo.

These colours have already been selected and used by the residents in gagliato.

Colouring the Town Views that typify Gagliato have been selected and investigated. From these views colours that embody the essence of that view have been chosen and displayed with each image. This simple colour palette can become the basis for new restorations in the Town. If restored buildings use colours from this palette the towns identity will be strengthened. 153

Colour detail above windows, following established practices in Gagliato

Align edge of render with bottom edge of window

Colouring the Town The complex and intricate urban fabric of Gagliato can be revealed and showcased through careful interventions and minor alterations throughout the town. Restoring the facade of a selection of buildings through render and paint lifts the image of the town as a whole, improving the public spaces in Gagliato. 154

Coloured render can be used to accentuate a gable end

Revealing the stonework at the base grounds the building and reveals the structure beneath the render

Inregrate the Il Frantoio into the urban fabric of the borgo

Marble edge denotes steps down to lower level

Raised planting can create seating spaces

Entrance to Il Frantoio can be exposed creating a new public piazza

Build upon the already established greenery in Gagliato, such as citrus, fig, chestnut, oleander, olive and so on

Nano Borgo

Street as existing, before the proposed ‘Il Frantoio’ entrance.

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Since the activities of the Academia di Gagliato are based in the lower part of Gagliato, a plan was elaborated with the municipality and discussed in open forums with the population to create a ‘NanoBorgo’, an organic transformation of this degraded part of town where new private homes will share space with new local economic ventures, infrastructures and services to meet the demands of its expanding role as ‘Town of the NanoSciences’. Once completed, Il Frantoio will facilitate lectures and creative activties in Gagliato as part of NanoPicola and other festivals or events. In the long term, this building could form part of the town’s Learning Campus.

Introduce greenery into the new piazza

Open the view out, remove gate posts and replace concrete wall with iron railing

A change of paving helps zone a different activity and slow passing traffic

Repainting the church will reinforce its identity in the town

Visual Link to second piazza

Church and Piazza The adjacent image shows what the space could look like and how it might be used by locals. Taking a small amount of space from the churchâ&#x20AC;&#x2122;s storage space, around the corner creates the extra space needed to allow more activities to exist in the piazza. That then connects to the piazza shown above, which has been opened up to the beautiful view across the valley. Church of San Nicola as existing.

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Introduce seating to encourage places to dwell and gather in the piazza

One element of high value, as defined by the Client, is incorporating the derelict structures onsite. This is likely to be a requirement of receiving planning approval. Appendix 2 is a collection of photographs of the existing buildings onsite, Appendix 3a and 3b highlight in plan the key walls and roof to be maintained and areas scheduled for demolition; Appendix 3c shows the areas to be demolished in a 3D model. Acting as Designer under the client appointment, as defined in the standard RIBA appointment role description1, 2 and Contract Administrator, I will appoint a Structural Engineer when nearing the completion of Stage 2 in the RIBA Plan of Works3, the Structural Engineer will be contracted to perform a number of duties which will minimise the risk of design complications at later stages relating to the structural condition of the existing buildings and the integration of the new structure. As the Contract Administrator, I will sub contract a Site Surveyor to work alongside the Structural Engineer to undertake a topographical survey. The Site Surveyor will work under the Royal Institute of Chartered Surveyors (RICS) following their guidance on Conservation and Restoration,4 Inspection5 and other relevant documentation6 to find any unknown obstacles such as existing cabling or pluming on site, unstable ground or contamination (as the site is post-industrial). The Site Surveyor’s final task will then be to produce accurate drawings of the existing buildings onsite to allow detailed design to progress. Using the drawings produced by the Site Surveyor, the Structural Engineer will lead the survey of the existing buildings, analysing their structural integrity. The Structural Engineer will then work alongside me as the Designer under the client appointment, as defined in the standard RIBA appointment role description,7 to produce a structural strategy for the project which encompasses the design ambition, maintains the appropriate parts of the existing structure and is structurally efficient, completing Stage 2 of the RIBA Plan of Works.8 After Stage 39 is completed, the Structural Engineer will again work alongside me to complete the Technical Design10, 11. At this stage, acting as the Contract Administrator, I will appoint the Principal Contractor who will sub contract additional services such as the Mechanical and Electrical

Engineer, who will have their systems approved by the Structural Engineer as being compatible with the structural design. The project will be completed to Building Information Modeling (BIM) Level 3,12 fully integrating the 3D models of the Structural Engineer, Mechanical and Electrical Engineer, the Architect and others, this BIM model will minimise the risk of conflict between trades onsite as the exact location of all structure and services will be fully 3D modeled, allowing any incompatible elements or conflicts to be resolved prior to any construction. Partially integrating the existing structure into the design facilitates the partial destruction of the terrace and warehouse buildings. This must be completed in a careful and controlled manner to be safe for the demolition workers, leave the existing party wall undamaged with no interference for the adjacent casino and preserve the desired parts of these buildings to be integrated into the proposal. Multiple measures will be implemented to reduce the risk of damaging adjacent properties or elements of the derelict buildings to be integrated. If adjacent properties were to be damaged, compensation will be required and if elements of the onsite buildings to be integrated are damaged, the fundamental design will have to be altered, increasing the overall project cost. Not only will these costs delay the project, but depending on who is at fault for the errors the Client may have to, wholly or in part, pay for these damages. The first means of mitigating risk is to ensure that no demolition can take place until the site has been assessed by the Site Surveyor and Structural Engineer and the plans finalised to Stage 4.13 Once the plans are finalised, the Principal Contractor will appoint a Demolitions Expert who will produce a strategy to demolish and remove from site only the required elements of the warehouse and terrace, leaving the party wall and required elements intact. This process will be observed by the Structural Engineer and myself as the Principal Designer, following the statutory responsibilities of the Designer as described in the CDM Regulations.14 Once the required demolition has been satisfactorily completed Stage 5 can begin. 15

References 1. Royal Institute of British Architects, Standard Agreement 2010: Schedules (2012 revision - RIBA Plan of Work 2013 compatible version), p.11 2. Speaight, Architect’s Legal Handbook: the law for architects, p.309, 5.01-5.04 3. Ostime, RIBA Job Book, p.134, 2.5.5 4. RICS, Assessment of Professional Competence Building surveying, London, RICS, August 2017, as found at https://www.rics.org/Global/20102%20-%20RICS%20APC%20Pathway%20Guide%20-%20 Building%20surveying-Aug%202017-WEB.pdf, p.18 5. Ibid, p.28 6. Speaight, Architect’s Legal Handbook: the law for architects, p.39, 6.01 7. Royal Institute of British Architects, Standard Agreement 2010: Schedules (2012 revision - RIBA Plan of Work 2013 compatible version), p.11 8. Ostime, RIBA Job Book, p.129, 2.1 9. Ibid, pp.153-154, 3.1 10. Ibid, p.186, 4.5.5 11. Ibid, p.188, 4.5.5.9 12. Mordue, S, Explaining The Levels of BIM, July 2016, [website], http://www.bimplus.co.uk/ management/explaining-levels-bim/, (accessed 23/03/2018) 13. Ostime, RIBA Job Book, pp.177-178, 4.1 14. The Construction Industry Training Board, Construction Design and Management Regulations [website], (accessed 01/04/2018) 15. Ostime, RIBA Job Book, pp.225-226, 5.1

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Professional Practice Report

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3 The Professional Practice Report was divided in two parts,the first was a plan of works intended to be completed in order to complete the thesis project. The main section is an academic study of how the thesis project could be further developed to Stage 4 of the RIBA plan of works. It considers the situation in which the project could be realised, including feasible client, site constraints, legislation and budget. Opposite is an extract detailing the process that would be undertaken in preserving derelict structures on site. Appendixes are referred to but are not included in this portfolio.

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Le Corbusier, Plan Voisin, Paris, France, 1925, [online photograph], http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=13&IrisObjectId=6159&sysLanguage=en-en&itemPos=2&it emCount=2&sysParentName=Home&sysParentId=65, (accessed 18 January 2017)

Abstract

Conclusion

Le Corbusier’s Plan Voisin is an influential urban plan which has inspired countless architects and urban planners, yet considering the immense collective works discussing Le Corbusier’s influence, there are limited sources dedicated to understanding Le Corbusier’s inspiration. This essay explores the inspiration behind Le Corbusier’s Plan Voisin; it first details the components of and reasoning behind Plan Voisin and Le Corbusier’s justification of these. It then focuses on his changing opinion of the relationship between architecture, nature and geometry, analysing the influence of Charles L’Eplattenier’s teachings and Le Corbusier’s insight gained from visiting the Parthenon. This essay investigates Le Corbusier’s opinion of Georges-Eugène Haussmann and others who have implemented alterations to Paris’ built fabric and significant figures who have impacted his early life and during his travels, including his parents, the Perret brothers and Peter Behrens. Key primary sources include Le Corbusier’s book Urbanisme and some of his other works, as well as Nicholas Weber’s biographical account, Le Corbusier A Life. Due to readily available analytical works on these subjects, this essay does not consider his fascination with modern inventions including aeroplanes, cruise ships and automobiles, nor does it assess Le Corbusier’s response to the condition of cities at the beginning of the twentieth century.

Le Corbusier was undoubtedly a man of many original and innovative ideas, no one before him had imagined such immense changes to the way cities should be organised and the architecture they are composed of. However, three of the four principles Le Corbusier outlined that form the basis for his Plan Voisin can be traced beyond Le Corbusier. Le Corbusier’s fundamental principles for Plan Voisin: ‘We must de-congest the centres of our cities’ and ‘We must increase the means for getting about’1 were also fundamental ideals held by Haussmann and others when remodelling Paris. Le Corbusier’s fourth principle: ‘We must increase parks and open spaces’2 was shared by Haussmann, but it is intrinsically linked to L’Eplattenier’s teaching’s, which also contribute to Le Corbusier’s love of geometry and its implementation in Plan Voisin. His parents played a key role though inspiring him to aim for greatness in seeking their approval over his favoured brother, and the elevation of their social standing. Finally, the technology fundamental to constructing such enormous skyscrapers was introduced to Le Corbusier by Grasset and learnt from the Perret brothers. Le Corbusier’s Plan Voisin is an original planning concept, but the ideas and ideals Le Corbusier held when creating the urban plan were inspired, in part, by the world around him and a collection of individuals.

References 1. Le Corbusier, The City of To-Morrow and its Planning, trans. F. Etchells, Urbanisme, 8th edn., New York, Dover Publications Inc, 1987, p.170. 2. Ibid, p.170.

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Tools for thinking

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This essay explores the inspiration behind Le Corbusierâ&#x20AC;&#x2122;s Plan Voisin; it first details the components of and reasoning behind Plan Voisin and Le Corbusierâ&#x20AC;&#x2122;s justification of these.

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Spectres of Modernism and Utopia

Imagine youâ&#x20AC;&#x2122;re in the early days of a better nation

Architecture+

Linked Research

Professional Practice report

Tools For Thinking

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ARB Criteria Assessment

GC1.1 .2 .3 GC2.1 .2 .3 GC3.1 .2 .3 GC4.1 .2 .3 GC5.1 .2 .3 The ARB Criteria describe the subject material that must be covered by students gaining qualifications that are prescribed by ARB at Part 1 and Part 2 levels. Alongside each double page the ARB criteria headings are displayed, with the criteria that are met highlighted. A comprehensive table displaying where each of the ARB criteria are met is opposite. Some criteria are expanded on in sections not included in this portfolio, namely, the fifth year portfolio, Linked Research Document, Professional Practice Report and Tools for thinking Essay.

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P. Byeongsu, D. Hyun Han and S. Roh, ‘Neurobiological findings related to Internet use disorders’, Psychiatry and Clinical Neurosciences, 2017, no. 71, as found on https://onlinelibrary. wiley.com/doi/pdf/10.1111/pcn.12422, (accessed 24/03/2018) P. K. .Dick, The Three Stigmata of Palmer Eldritch, United States, Mariner Books, Reprint edition, 2011 RICS, Assessment of Professional Competence Building surveying, London, RICS, August 2017, as found at https://www.rics.org/ Global/20102%20-%20RICS%20APC%20 Pathway%20Guide%20-%20Building%20surveyingAug%202017-WEB.pdf

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R. LaRose , C. Lin and M. Eastin, ‘Unregulated Internet Usage: Addiction, Habit, or Deficient Self-Regulation?’, Media Psychology, Volume 5, Issue 3, 2003

A. Strugatsky and B. Strugatsky, Roadside Picnic, London, Gollancz, 2012

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American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 5th edition, 2003 as found on https://www.psychiatry. org/File%20Library/Psychiatrists/Practice/DSM/ APA_DSM-5-Internet-Gaming-Disorder.pdf

Koolhaas, R. As found in: Otero-Pailos, J. Supplement to OMA’s Preservation Manifesto as found in Carver, J (ed.), Preservation is Overtaking Us, online, Columbia University Press, 2014

R. Staricoff, Arts in Health, Arts Council, 2004, as cited in M. Balshaw, J. Daniel, P. Mount and D. Regan, How Museums and Galleries can Enhance Health and Wellbeing, [E-Book], http://www. healthandculture.org.uk/publications/issuu-testpost/

Amy Butt, why Architects should read pulp science fiction now Bailey, W. As found in: Daoust, P., ‘Edge Trimming’, the guardian, 2 January 2003, https:// www.theguardian.com/artanddesign/2003/ jan/02/art.artsfeatures, (accessed 27 March 2017).

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D. Harroway, A Cyborg Manifesto,1984, as found on https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fictionnownarrativemediaandtheoryinthe21stcentury/ manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_ the_....pdf

M. Lehman, Multi-sensory design – creating healthier public spaces, December 2016, [website] http://www.arcc-network.org.uk/health-wellbeing/feeling-good-in-public-spaces/multi-sensory-design-creating-healthier-public-spaces/, (accessed 24/03/2018)

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