Constructing Simplicity: Making Without Rhetoric

Semester 1 2014

Constructing Simplicity: Making Without Rhetoric

Constructing Simplicity: Making Without Rhetoric

K14THS/ K14AUS Master of Architecture 2014/2015 Arch i t e c t u r e a n d t h e B u i l t E n v i r o n m e n t The University of Nottingham

Jamie Brown, Anthony Grout, Fahad Mohammad M a k i n g

A r c h i t e c t u r e

R e s e a r c h

S t u d i o

C o n t e n t s

Part I Rooms and Chairs

1.0.0 Introduction

1.1.0 Artefacts 2.0.0 Rooms and Chairs

2.1.0 The Upper Lawn Pavilion and The Smithson’s

2.1.1 Recording

2.1.2 Analysis

2.1.3 1:10 Model

2.1.4 The Making Process

2.2.0 The Roorkhee Chair

2.2.1 Recording

2.2.2 Analysis

2.2.3 1:1

2.2.4 The Making Process

2.3.0 Reflection

2.4.0 Rooms and Chairs - Chair Design

2.5.0 Initial Design Strands

2.5.1 Prototyping

2.5.2 Reflection

2.6.0 Testing

2.6.1 Final Chair Design

C o n t e n t s

Part II F i e l d Tr i p s a n d Wo r k s h o p s

3.0.0 Field Trip Research

3.1.0 Glasgow

3.1.1 Edinburgh

3.2.0 Randals Town and Derry

3.2.1 Causeway Coast Way

3.2.2 Belfast

3.2.3 Cork

3.2.4 Dublin

4.0.0 Workshops

4.1.0 Drawing Workshop

4.2.0 Paper Model Making Workshop

4.3.0 Print Making Workshop

5.0.0 Conclusions and Personal Reflections

5.1.0 Bibliography

5.2.0 Figure References

Te a m

J A M

1 .0.0

Introduction

E l i e l S a a r i nen, as quoted by Norman F o s t e r, F o s t e r Associates, 1981, Recorded b y M i c h a e l S tacey.

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F i g u r e 1 O p p osite: Team JAM. F i g u r e 2 To p : The Smithson’s Upper Lawn P a v i l i o n s h o wing the Roorkhee chair to the r ig h t i n t h e outdoor room.

F i g u r e 3 R i g ht: Alison Smithson working at t h e U p p e r L a wn Pavilion.

C o n s t r u c t i n g

S i m pl i c i t y :

M a k i n g

W i t h o u t

R h e t o r i c

Through the methods of making the w o r k , b u t m o r e s p e c i f i c a l l y t h e i r U p p e r L a w n P a v i l i o n i n Tisbury, of Peter and Alison Smiths o n i s r e c o r d e d , a n a l y s e d a n d c r i t i q u e d i n a n a i m t o f i n d t h e pavilions influences derived from t h e i r a d - h o c k f u r n i t u r e a n d t h e i n f l u e n c e s i t i m p o s e d o n t h e selection of the furniture. After ca r e f u l r e s e a r c h a n d s e l e c t i o n f o r t h e r o o m s a n d c h a i r s p r o j e c t , we chose the Roorkhee chair for th e b a s i s o f o u r u n d e r s t a n d i n g b e i n g t h e f i r s t o p e n s o u r c e collapsible chair used during the B o e r w a r.

“If you want to design a chair cons i d e r t h e r o o m , I f y o u w a n t t o d e s i g n a r o o m c o n s i d e r t h e house, if you want to design a hou s e c o n s i d e r t h e c i t y. ” 1 In addition to rooms and chairs th e r e s e a r c h w i l l b e a n a c c u m u l a t i o n o f t h e r e g i o n a l f i e l d t r i p s t o Glasgow, Edinburgh, Belfast, Dubl i n a n d C o r k i n a d d i t i o n t o a n u m b e r w o r k s h o p s c a r r i e d o u t o v e r the semester. Being comprised of a c a d e m i c r e a d i n g s , p e r s o n a l o b s e r v a t i o n s a n d r e f l e c t i o n s , a n d skills acquired from the workshops t h e r e p o r t i s a n i n t e g r a t e d l e a r n i n g p r o c e s s w i t h e a c h s e c t i o n feeding the others.

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1 .1.0

A rtefact

J u h a n i P a l l asmaa, The Eyes of the Skin ( We s t S u s s e x, England: Wiley & Sons, 2005).

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F i g u r e 4 & 5 Opposite and Right: Identical w h i t e c u b e s and ‘the black cube’.

F i g u r e 6 To p : 3 Identical white cubes which f r o m a p p e a r ance look the same in every w a y. O n l y o n ce you ‘look’ past the surface c a n y o u u n d erstand their differences.

F i g u r e 7 O v e rleaf: Physical interaction i n v o l v i n g m i nd and body to reconnecting b o t h t o f u l l y judge the sincerity and depth of the cube.

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E x p e r i e n c e

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B r o w n

“Instead of an existentially ground e d p l a s t i c a n d s p a t i a l e x p e r i e n c e , a r c h i t e c t u r e h a s a d o p t e d t h e psychological strategy of advertisi n g a n d i n s t a n t p e r s u a s i o n ; b u i l d i n g s h a v e t u r n e d i n t o i m a g e products detached from existentia l d e p t h a n d s i n c e r i t y. ” 1 The first task was to outline our o w n a r c h i t e c t u r a l s t a n d p o i n t t h r o u g h t h e c r e a t i o n o f a n ‘artefact’. By taking a human and s e n s o r y a p p r o a c h I w a n t e d t o c r e a t e s o m e t h i n g t h a t w o u l d appear a certain way but to be ful l y u n d e r s t o o d w o u l d r e q u i r e d a f u l l e n g a g e m e n t w i t h t h e objects of both mind and body. Aft e r a f e w i t e r a t i o n s I c r e a t e d 3 w h i t e c u b e s i d e n t i c a l , v i s u a l l y, in every way, dimension, colour, m a t e r i a l a n d t e x t u r e . O n l y o n c e t h e c u b e s c o m e i n t o c o n t a c t w i t h the body can their secrets be reve a l e d , t h e b o d y s e n s e s s o m e t h i n g b e y o n d w h a t t h e e y e c a n s e e .

Whilst all are created from cast re s i n t h e m e t h o d i n w h i c h t h e y a r e c a s t g i v e s t h e m t h e i r u n i q u e quality. The first is hollow achieve d b y p o u r i n g a s m a l l a m o u n t i f r e s i n i n t o a s e a l e d n e t w h i c h was then constantly rotated to coa t e a c h s u r f a c e u n t i l s e t . T h e s e c o n d i s j u s t a n o r m a l s o l i d r e s i n block, ‘the original or authentic bl o c k ’ . T h e t h i r d i s w e i g h t e d w i t h i n t h e c e n t r e w i t h m e t a l m a k i n g it significantly heavier than the pr e v i o u s t w o . I n t e r e s t i n g l y i m p e r f e c t i o n s b e c a m e a p p a r e n t w h e r e the weighting of the cubes was sl i g h t l y o f f c r e a t i n g a m o r e i n t e r e s t i n g i n t e r a c t i o n a n d p l a y w i t h the cubes in contrast to their appa r e n t p e r f e c t e x t e r n a l f o r m .

The Black cube is exactly the same a s o n e o f t h e w h i t e c u b e s , i n d i m e n s i o n a n d w e i g h t , a c t i n g a s a counterpoint relating to the imag e a n d h o w t h e s i m p l e u s e o f c o l o u r c a n m a k e o b j e c t s a p p e a r different. In this case smaller.

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1 .1.0

A rtefact

F i g u r e 8 O p p osite (clockwise from top l e f t ) : ( 1 ) S i m ple grid layout of frame with m a s s o f f s e t t o one side. (2) Asymmetrical l a y o u t t o f r a me linked by the mass. (3) S t u d y o n t h e expression of light by mass a n d f r a m e , l i ght and shadow. (4) The d i f f e r e n t e x p ression of the timber jo ints a l l o w e d t h e m to be inverted so a dif ferent r e l a t i o n s h i p with the ground could o ccur i.e m i n i m a l c o n t act in this arrangement.

F i g u r e 9 To p : Detail of acrylic finished c o n c r e t e f l u sh with supporting timber frame.

F i g u r e 1 0 R i ght: Contrast in the axis that t h e t w o c o n t rasting elements sit on.

L o n d o n

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A r t e f a c t

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A n t h o n y

G r o u t

With the task of creating an artefa c t t h a t a r t i c u l a t e d m y a p p r o a c h t o a r c h i t e c t u r e I d e c i d e d t o take a formal and material approa c h .

My artefact consisted of two mate r i a l e l e m e n t s : a m a s s ( c o n c r e t e ) a n d a s e r i e s o f f r a m e s (timber). The mass was dimensione d t h r o u g h m y h a n d s p a n a n d g r i p s i z e . T h e f r a m e w a s dimensioned to fit around the mas s a n d p r o v i d e a g r i d o f 4 x 4 ( i n t e r m s o f s t r u c t u r e ) o r 3 x 3 ( i n terms of space). The frame has ex p r e s s e d j u n c t i o n s a n d i s e l e m e n t a l t o c r e a t e s p a c e w i t h i n t h e frame itself.

The intent of the artefact was the a l l o w n u m e r o u s i t e r a t i o n s a n d c o m b i n a t i o n s o f t h e r e l a t i o n s h i p between the mass and frames. Eac h o f t h e s e w o u l d c r e a t e v a r y i n g r h y t h m s o f s p a c e , e f f e c t s o f light and shadow and provide diffe r e n t r e l a t i o n s h i p s w i t h t h e g r o u n d . S o m e o f t h e s e i t e r a t i o n s have been documented here. I am i n t e r e s t e d i n t h e c o m b i n a t i o n o f a s e l e c t i v e n u m b e r o f materials in relation to what is ex i s t i n g t o a c h i e v e a n i m p a c t o n h u m a n e x p e r i e n c e .

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f o r m e r l y

o f

FAT

a r c h i t e c t s

“We’re moving into a post-digital p h a s e – o r p e r h a p s i t s h o u l d b e c h r i s t e n e d t h e r e a l d i g i t a l age.” For a while, he argues, “ther e ’s b e e n a r e a l o b s e s s i o n w i t h d i g i t a l t o o l s i n t e r m s o f w h a t they can technically do. Now I thin k w e ’ r e g e t t i n g o v e r t h a t . I n s t e a d w h a t w e ’ r e b e g i n n i n g to see is a kind of convergence of i n t e l l i g e n c e i n t h e d e s i g n p r o c e s s — t h a t c u l t u r a l , p h y s i c a l , representational, sociological issu e s a r e b e c o m i n g f a r m o r e e n t w i n e d i n t h e w a y w e c a n p i e c e things together. Just as all kinds o f i n f o r m a t i o n c o n v e r g e s o n o u r s c r e e n s , I t h i n k i t i s b e g i n n i n g to in the things we design. 1

1 .1.0

A rtefact

“ S a m J a c o b On The ‘Post-Digital Phase,’” A r c h D a i l y, a ccessed January 6, 2015, http:// w w w. a r c h d a i ly.com/572314/sam-jacob-ont h e - p o s t - d i g i tal-phase/.

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F i g u r e 1 1 To p: (left to right): (1) com pletely d i g i t a l ( 2 ) F i nding an process in which the a n a l o g u e i s reintroduced (3) The complete a n a l o g u e o r the material digital divide .

L o n d o n

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A r t e f a c t

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F a h a d

M o h a m m a d

Creating an artefact which represe n t s m y a r c h i t e c t u r a l s t a n d p o i n t w h e r e t h e b e g i n n i n g s o f my thesis research question. My a r c h i t e c t u r a l s t a n d p o i n t s t e m s f r o m a n u n d e r s t a n d i n g t h a t architecture is a critique. The arte f a c t l o o k s t o c r i t i q u e t h e d i v i d e b e t w e e n t h e d i g i t a l a n d materiality, which can also be see n a s a d i v i d e b e t w e e n t h e d i g i t a l a n d t e c t o n i c s . T h e c r i t i q u e is an observation of ‘Digital archit e c t u r e ’ b o t h b u i l t a n d u n b u i l t , a l s o a c r i t i q u e o f m y o w n architecture. The artefact is desig n e d a r o u n d t h e u n d e r s t a n d i n g t h a t t h i s d i v i d e a p p e a r s i n my work and also built projects. It l o o k s t o r a i s e q u e s t i o n s a s w h e t h e r a n a n a l o g u e p r o c e s s i s required to remove this divide or m o r e i n t e l l i g e n t d i g i t a l t o o l s t h a t r e s h a p e o u r m o d e o f p r a c t i c e is where the divide can be reduced .

The artefact is a single object whe n v i e w e d i n c e r t a i n a n g l e s i t r e s u l t s i n c o m p l e t e l y d i f f e r e n t view. Fig 1 represents the complet e d i g i t a l / p a r a m e t r i c a r c h i t e c t u r e , s u c k e d i n t o t h i s i d e a o f a n infinite variability. Image 2 begins t o s h o w a d i v i d e b e t w e e n t h e d i g i t a l a n d t h e a n a l o g u e - a n architectural process which is iter a t i v e . L a s t l y i m a g e 3 i s t h e a n a l o g u e o n l y - a c l o s e c o n n e c t i o n to materiality. A return back to the i n t i m a t e r e l a t i o n w i t h p r o p e r t i e s l i k e w e i g h t , t h r u s t a n d resistance which the digital often a p p e a r s t o n e g l e c t . O n e c a n a l s o l o o k t o i t a s a r e s u l t o f a n e w materiality in the digital or a new p h a s e i n t h e d i g i t a l w h i c h i s n o w m o r e m a t u r e r e f e r r e d t o b y Sam Jacobson as the post-digital p h a s e .

The questions that this artefact se t s u p a r e Where and how can the analogue a n d d i g i t a l o v e r l a p ?

Where the analogue and digital mu s t b e s e p a r a t e d ?

What does two much of one remov e f r o m t h e o t h e r ? ix

Rooms and Chairs

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2 .0.0

Rooms

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Ch a i r s

F i g u r e 1 2 O p posite: Upper Lawn Pavilion location plan.

F i g u r e 1 3 To p: The Smithson’s Upper Lawn pavilion.

F i g u r e 1 4 R i ght: Internal perspective of the U p p e r L a w n pavilion from first floor level.

T h e

S m i t h s o n ’s

U pp e r

L a w n

P a v i l i o n

The Upper Lawn Pavilion by Alison a n d P e t e r S m i t h s o n w a s d e s i g n e d a n d c o n s t r u c t e d b e t w e e n 1959 and 1962. It is located near Ti s b u r y, W i l t s h i r e , U n i t e d K i n g d o m o n t h e F o n t h i l l A b b e y e s t a t e .

The Pavilion is a lightweight, alum i n i u m , t i m b e r a n d c o n c r e t e f r a m e c o n s t r u c t i o n e n c l o s i n g a space around an existing stone wa l l . A f a r m s t e a d c o t t a g e w i t h i n a g a r d e n w a l l b e c a m e d e r e l i c t and was purchased by the Smithso n ’s t o b e u s e d f o r t h e i r o w n p r i v a t e h o l i d a y r e t r e a t .

Conceived as an idyllic enclave the s i m p l e p a v i l i o n h a d l i t t l e i n t h e w a y o f a m e n i t i e s a n d services, more akin to a tent stret c h e d a r o u n d t h e m a s s o f t h e s t o n e w a l l . L i f e a t t h e p a v i l i o n was recorded meticulously through p h o t o s a n d d i a r y e n t r i e s b y t h e S m i t h s o n ’s , a s p a r t o f t h e i r view of the house as a living expe r i m e n t .

“The Pavilion is an enclave in a do m a i n ; t h a t i s i m p o r t a n t t o t h i s s t o r y ; n o t t h e f o r m a l s o l u t i o n s which are very personal and alrea d y h i s t o r y ” A l i s o n a n d P e t e r S m i t h s o n , C h a n g i n g t h e A r t o f Inhabitation

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Rooms

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Ch a i r s

5 . S m i t h son, Alison Margaret. Changing t h e A r t o f I n habitation. London: Artemis, 1994.

2 6 . B r i t t a i n-Catlin, Timothy J. Bleak H o u s e s : D i s a ppointment and Failure in A r c h i t e c t u r e . Cambridge, Massachusetts: M I T P r e s s , 2 014.

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F i g u r e 1 5 O p posite Left: House for the Future F i g u r e 1 6 O p posite Right: The Put-Away Vi l l a F i g u r e 1 7 - 2 3 Overleaf: The Upper Lawn P a v i l i o n p l a n and section drawings.

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Alison and Peter Smithson were se e n a s i m p o r t a n t f i g u r e s w i t h i n a r c h i t e c t u r a l t h e o r y a n d practice in Britain, and the rest of t h e w o r l d , i n t h e s e c o n d h a l f o f t h e t w e n t i e t h c e n t u r y. M o s t renowned for their ‘New Brutalism ’ , t h e p r i n c i p l e s o f t h e i r w o r k w e r e t i e d t o t h e s o c i a l o b l i g a t i o n of architecture and a deep regard f o r h i s t o r y, n a t u r e , c l i m a t e a n d t h e t e c t o n i c e x p r e s s i o n o f material essences. All of these are c l e a r l y e x p r e s s e d i n t h e i r w o r k a t t h e U p p e r L a w n P a v i l i o n .

Much of their influence in the arch i t e c t u r a l c o m m u n i t y c a m e t h r o u g h t h e i r n u m e r o u s p u b l i c a t i o n s , unbuilt theoretical projects and in v o l v e m e n t w i t h g r o u p s s u c h a s Te a m X a n d t h e I n d e p e n d e n t Group. Perhaps their two most fam o u s b u i l t w o r k s a r e S m i t h s o n H i g h S c h o o l a t H u n s t a n t o n and the Robin Hood Gardens housi n g c o m p l e x i n E a s t L o n d o n . M a t e r i a l h o n e s t y a n d u n a s h a m e d expression of utility and structure w e r e a s t r o n g f e a t u r e o f H u n s t a n t o n S c h o o l . R o b i n H o o d Gardens are famed, despite the in t e n t i o n o f t h e a r c h i t e c t u r e , f o r b e i n g a n e x a m p l e o f t h e f a i l u r e of the ‘Streets in the Sky’ ideal pr e v a l e n t a t t h e t i m e . R a t h e r t h a n t h e s o c i a l i d e a l a n d u s e o f t h e designed spaces prescribed by the a r c h i t e c t u r e , c r i m e a n d a n t i - s o c i a l b e h a v i o u r w e r e c o m m o n .

The Smithson’s also designed seve r a l p r o p o s a l s f o r m a s s - p r o d u c e d h o u s i n g i n t h e v e i n o f e v o l v i n g the ideas of Le Corbusier. The App l i a n c e H o u s e g a v e s p e c i f i c s p a c e s f o r a p p l i a n c e s w h i c h i n t u r n gave structure and spatial definiti o n t o t h e r e s t o f t h e h o u s e w h i c h w a s f r e e t o b e a s a t y p i c a l house. The appliance spaces were f l e x i b l e t o a l l o w f o r t h e c h a n g i n g r e q u i r e m e n t s f o r u p d a t e d appliances. This was further devel o p e d f o r t h e H o u s e o f t h e F u t u r e f o r t h e D a i l y M a i l I d e a l H o m e Exhibition in 1956, a plastic house t h a t c o u l d b e e n t i r e l y m a s s p r o d u c e d i n o n e p i e c e r a t h e r t h a n parts. The Put-Away House followe d a s i m i l a r v e i n w i t h a c e n t r a l a r e a l e f t a s s t o r a g e f o r t h e owners possessions while the spac e s a d j a c e n t t o e x t e r n a l w a l l s w e r e l e f t f r e e f o r l i v i n g a n d t h e objects needed for it. 1 The Smithson’s’ views and architec t u r e w e r e n o t w i t h o u t i t s c r i t i c s , e v e n b e y o n d t h e p u b l i c condemnation of Robin Hood Garde n s . Ti m o t h y B r i t t a i n - C a t l i n i n h i s b o o k ‘ B l e a k H o u s e s : Disappointment and Failure in Arc h i t e c t u r e ’ a c c u s e d t h e S m i t h s o n ’s o f a g g r e s s i v e , p o l e m i c language, dismissive of other opin i o n s t h a t d i d n o t a l i g n w i t h t h e i r o w n . H e s t a t e s t h a t t h e y had claimed to want to impose a g r i t a n d m a s c u l i n i t y o f n o r t h e r n w o r k i n g c l a s s h o u s i n g o n t o delicate southerners for no good r e a s o n . I n s u m m a r y, h e s a y s t h a t t h e y c h a m p i o n “ r a w n e s s and honesty with no logic, no evid e n c e o f a n y t h i n g r e a l i s t i c b e h i n d i t . . . a n d n o r e l a t i o n s h i p t o how life is actually lived and expe r i e n c e d ” . J o h n M e a d e s a l s o s t a t e d t h a t i n t h e “ P a n t h e o n o f British Brutalists they come way d o w n . ” 2 I t i s i n t e r e s t i n g t h a t t h e S m i t h s o n ’s u n d o u b t e d l y h a d a humanist and social concern and y e t t h e r e w a s c o n s t a n t d o u b t o v e r w h e t h e r t h e i r a r c h i t e c t u r e achieved it.

A built precursor to the Upper Law n P a v i l i o n w a s t h e S u g d e n H o u s e , r e s t r i c t e d b y c o n s e r v a t i s m to be a pitched roof, brick walled h o u s e . T h e h o u s e h a d a c o m p a c t p l a n a n d a c l a r i t y o f f o r m a n d materiality, referencing the Englis h v e r n a c u l a r a n d t h e A r t s & C r a f t s m o v e m e n t . T h e c o m p o s i t i o n of windows in relation to light and c o n n e c t i o n w i t h t h e g a r d e n w a s v e r y d e l i b e r a t e l y c o n s i d e r e d with respect to the distribution an d f u n c t i o n o f s p a c e s . A s t h e S m i t h s o n ’s s t a t e d ‘ We s e e architecture as a direct result of a w a y o f l i f e .

7

2 . 1 . 1 T h e U p p e r Lawn Pavilion

8

9

10

11

12

13

15

16

2 .1.2

Rooms

and

Ch a i r s

F i g u r e 2 4 O p posite: Upper Lawn Pavilion c o n s t r u c t i o n sequence showing the as f o u n d o n s i t e elements and the supp orting c o n c r e t e f r a me.

F i g u r e 2 5 To p: Upper Lawn Pavilion under construction.

F i g u r e 2 6 R i ght: Upper Lawn Pavilion b a l l o o n f r a m e construction.

F i g u r e 2 7 & 28 Overleaf: Upper Lawn P a v i l i o n c o n struction sequence of balloon f r a m e a n d c l adding elements respectively.

O p e n

S o u r c e

C o n s t r u c t i o n

The Upper Lawn Pavilion is open s o u r c e . I t i s a s s e m b l e d f r o m a c a r e f u l l y s e l e c t e d c o m p o n e n t s that could have been arranged in m a n y o t h e r a l t e r n a t i v e w a y s . T h e n a t u r e o f t h e s y s t e m i s n o t reliant on specific components to w o r k . T h e p a v i l i o n i s n o t c o n c e r n e d w i t h c o n t e m p o r a r y m e t h o d s of production in the same way tha t t h e S m i t h s o n ’s w e r e w i t h t h e H o u s e f o r t h e F u t u r e . T h e balloon frame system employed is a s i m p l e , t r a d i t i o n a l w a y o f b u i l d i n g .

The balloon frame relies on a repe a t e d , a l m o s t m o d u l a r t i m b e r f r a m e a s s e m b l e d v e r y s i m p l y w i t h nails. It operates in one dimension a l o n g e a c h t h i n w a l l o f t h e U p p e r L a w n P a v i l i o n . U n t i l t h e plywood sheeting is fixed to the fr a m e i t i s p r o n e t o t w i s t a n d w a r p . T h e p l y w o o d i s k e y t o g i v e the frame structural stiffness. The u s e o f a n o p e n s o u r c e s y s t e m s u c h a s t h i s m e a n s t h a t t h e dimensions of the space are dictat e d b y p e o p l e . T h e w i n d o w s a r e a s t a l l a s t h e y a r e t o p r o v i d e views without the visual discomfo r t o f g l a r e . T h e w i d t h o f e a c h b a y o f t h e f r a m e s i z e s t h e window in such a way that the gla s s i s a c e r t a i n s i z e a n d d o o r s a t g r o u n d l e v e l a r e r e l a t e d t o t h e action of opening them.

17

18

19

2 . 1 . 2 T h e U p per Lawn Pavilion - Analysis

A Lived Experiment o f Archite cture for the E nglish Climate T h e U p p e r L awn Pavilion was seen by the S m i t h s o n ’s a s being an experiment. This e x p e r i m e n t was to test the feasibility of b u i l d i n g a h o use with predominantly glazed w a l l s t o t h e east, south and west in the E n g l i s h c l i m ate. 3 The ground floor has large a r e a s o f s l i d ing doors so that the bu ilding c a n c h a n g e as rapidly as the English weather.

A l i s o n S m i t h son recorded the family’s e x p e r i e n c e s in the house in the form of a d i a r y, n o t i n g weather conditions, the pavilions e n v i r o n m e n t and the growth of the garden. 4 D e s p i t e s o m etimes being overly hot in summer a n d c o l d i n winter the Smithson’s were testing t h e i d e a t h a t loss of thermal comfort was m i t i g a t e d b y their experience and innate u n d e r s t a n d i n g of climate and place. 5 ‘A r c h i t e c t s ’ own house’ in Architectural R e v i e w, Vo l . 133, Alison and Peter S mithson, 1 9 6 3 , p g . 1 3 5-136 4 A r c h i t e c t u r e and Climate : An Environmental H i s t o r y o f B r itish Architecture 1600-2000, Dean H a w k e s , 2 0 1 2, pg. 235-239 5 T h e P o l i t i c s of Making, Jonathan Hi ll, 2007, pg. 191 3

F i g u r e 2 9 To p: Replenishment Image - Alison Smithson.

F i g u r e 3 0 R i ght: A lived experiment of a r c h i t e c t u r e for the English climate.

21

As

Found

W i t h i n t h e F onthill Abbey estate sat 18th c e n t u r y, a n d earlier, farmstead cottages; it is w i t h i n a n d a round one of these cottages that t h e U p p e r L a wn Pavilion was constructed. 6 A l i s o n a n d P eter Smithson criticised Jean P r o u v é f o r d esigning buildings that are “ u n g e n e r o u s , seem to isolate themselves from t h e i r s u r r o u n dings, sit uncomfortably, be not c a p a b l e o f j oining”. 7 As such it can be said t h a t t h e S m i t hson’s were particularly conscious o f t h i s i n t h eir work. This was achieved at the U p p e r L a w n Pavilion by using the materials a n d b u i l d i n g elements “as found” on site.

T h e p a v i l i o n straddles one gable wall of the p r e v i o u s c o t tage, while the other terminates t h e g a r d e n ’s patio, paved with the existing f l o o r s t o n e s . 8 The two window seats, both i n t e r n a l a n d external, were windows in the o r i g i n a l c o t t age. Peter Smithson described t h e p a v i l i o n as “a true Brutalist work” 9 where “ B r u t a l i s m b egins when you are trying to u n c o v e r t h e brickness of brick”. 1 0 The pavilion u n c o v e r s t h e qualities of the existing place in i t s s e l e c t i v e response to what was found. “ N e w B r u t a l i sm...finds its closest affinities n o t i n a p a s t architectural style, but in peasant d w e l l i n g f o r ms, which have a style and are s t y l i s h b u t w ere never modish: a poetry w i t h o u t r h e t oric” 1 1 T h e C h a r g e d Void: Architecture, Alison and P e t e r S m i t h s on, 2002, cited in note 1 7 P e t e r S m i t h son: Conversations with Students, C a t h e r i n e S p ellman and Karl Unglaub, 2005 p g . 1 1 , c i t e d in note 6.

8 P e t e r S m i t h son: Conversations with Students, C a t h e r i n e S p ellman and Karl Unglaub, 2005, pg.77 9 P e t e r S m i t h son: Conversations with Students, C a t h e r i n e S p ellman and Karl Unglaub, 2005, pg. 24 10 W i t h o u t R h etoric - An Architectural Aesthetic 1 9 5 5 - 1 9 7 2 , Alison and Peter Smithson, 1973, pg. 6 11 Ibid 6

F i g u r e 3 1 R i ght: As Found.

22

Select & Arrange Technique P r e v i o u s l y r e ferred to as the ‘Eames Aesthetic’ b y t h e S m i t h son’s, the ‘Select and Arrange’ t e c h n i q u e u s es things for what they are. By a r r a n g e m e n t each object is enhanced and s p e a k s m o r e clearly of itself. 1 2 This links c l o s e l y w i t h the nature of Brutalism and w h a t t h e c o u ple described as the intellectual a p p r a i s a l o f materials. 1 3 The Upper Pavilion h a s a s m a l l number of materials: the found s t o n e , c o n c r ete, timber, glazing, plywood, i n s u l a t i o n , a luminium. Each material performs a c l e a r f u n c t ion and contributes to the b u i l d i n g ’s n a rrative. The heavy mass of the e x i s t i n g w a l l s, complimented with a floor s l a b a n d s i m ple frame of concrete provide a b a s e t h a t r oots the pavilion to the site.

U p o n t h i s s i t s a lightweight insulated timber b a l l o o n f r a m e stiffened with plywood to e s t a b l i s h t h e building’s enclosure, or, perhaps m o r e r e l e v a n tly, its openings. The openings t h e m s e l v e s a re teak framed with the first f l o o r h a v i n g fixed windows, with the ground f l o o r f r a m e s opening into the walled garden.

T h e l a r g e a r eas of glazing were intended to a l l o w m a x i m um solar gains in cooler months, c o m p e n s a t e d by the large openable area for s u m m e r. F i n ally the aluminium clad the opaque a r e a s i n a m aterial, like the teak window f r a m e s , t h a t would respond to the variations in E n g l i s h c l i m ate.

W i t h o u t R h etoric - An Architectural Aesthetic 1 9 5 5 - 1 9 7 2 , A lison and Peter Smithson, 1973, pg. 47 13 W i t h o u t R h etoric - An Architectural Aesthetic 1 9 5 5 - 1 9 7 2 , A lison and Peter Smithson, 1973, pg. 6 12

F i g u r e 3 2 R i g ht: Select and arrange.

23

P icturesque B e y o n d r e s p onding to the immediate site ‘as f o u n d ’ , t h e Upper Lawn Pavilion draws on i d e a s o f t h e Picturesque in its response to t h e w i d e r c o ntext of both the landsc ape and t h e l i v e s o f t he Smithson family. The ruin o f t h e n e o - G othic Fonthill Abbey, located d u e n o r t h o f the pavilion on the Fonthill E s t a t e , i t s e l f contributes towards the ideas o f t h e p i c t u r esque in stimulating memory and i m a g i n a t i o n . 1 4 The pavilion itself off ers long v i e w s a c r o s s the estate through the existing w i n d o w i n t h e spine wall at ground floor a n d l a r g e g l a zed areas in the upper room. In a d d i t i o n t o s ituating itself and its users in the l a n d s c a p e t h e Upper Lawn Pavilion also sits on t h e b o u n d a r y of its own walled garden, with t h e l a r g e o p enings creating a single space at g r o u n d l e v e l . Even in travelling to Fonthill, A l i s o n S m i t h son describes the landscapes en r o u t e a n d t h eir contribution to establishing a c o n t e x t f o r l ife in the pavilion. 1 5 T h e P o l i t i c s of Making, Jonathan Hill, 2007, pg. 185 15 - T h e P o l i t ics of Making, Jonathan Hill, 2007, pg. 187

14

F i g u r e 3 3 R i g ht: Picturesque.

24

Camping

Out

W i t h a t h i n building fabric and its placement i n t h e l a n d s c ape, it is clear why the Smithson’s d e s c r i b e d t h eir visits to the Upper Lawn P a v i l i o n a s ‘ camping out’. 1 6 With lim ited m o d e r n a m e nities, dinners by candle-light a n d r o l l e d o u t mattresses for beds 1 6 , a form o f “ l i g h t - t o u ch inhabitation” 1 7 was formed.

S i g n i f i c a n t l y, the paved area to the east of the p a v i l i o n , b e t ween the two gable end walls of t h e f o r m e r c ottage, was viewed as “ in essence, a r o o m ” . 1 8 T he large open fireplace, shuttered w i n d o w t o t h e landscape beyond and south f a c i n g a s p e c t 1 8 created an external mirror i m a g e o f t h e ground floor of the pavilion itself.

T h i s i d e a o f ‘camping out’ was extended by A l i s o n S m i t h son who described life at the U p p e r L a w n Pavilion as ‘Jerome-ing’ 19 making r e f e r e n c e t o St. Jerome who was depicted in R e n a i s s a n c e artworks either in his s tudy, the d e s e r t o r a c ave in the wilderness 1 9 . Alison S m i t h s o n s a i d that these “habitats can also b e t h o u g h t o f allegories for the restorative p l a c e i n n a t u re” 1 9 , that “desert and study a r e c o m p l i m entary means to learning” 19 and “ w i t h d r a w a l to desert and asceticism become a n i n t e g r a l p art of a productive academic l i f e ” . 20 A r c h i t e c t u r e and Climate : An Environmental H i s t o r y o f B r itish Architecture 1600- 2000, Dean H a w k e s , 2 0 1 2, pg 234, 17 T h e P o l i t i c s of Making, Jonathan Hill, 2007, pg. 191 18 A r c h i t e c t u r e and Climate : An Environmental H i s t o r y o f B r itish Architecture 1600- 2000, Dean H a w k e s , 2 0 1 2, pg. 232 19 T h e P o l i t i c s of Making, Jonathan Hill, 2007, pg. 190 20 S t . J e r o m e , Alison Smithson, pg. 228.

16

F i g u r e 3 4 R i g ht Top: Camping Out. F i g u r e 3 5 B o ttom Left: St. Jerome’s Study.

F i g u r e 3 6 B o ttom Right: St. Jerome’s cave in the desert.

25

2 .1.2

Rooms

and

Ch a i r s

F i g u r e 3 7 To p Left : Experiencing the English climate.

F i g u r e 3 8 To p Right: Simple recording of family life.

F i g u r e 3 9 R i ght: The internal and external environment.

T h e

U p p e r

L a w n

P a v i l i o n

-

P o e t r y

W i t h o u t

R h e t o r i c ?

Given the above principles, does t h e U p p e r L a w n P a v i l i o n c o n v e y a p o e t r y w i t h o u t r h e t o r i c ?

The lived experience of English cli m a t e , w h i l e i n t e r e s t i n g , i s a v e r y s p e c i f i c i d e a l a l l o w e d f o r in the pavilion. Experience of very h i g h a n d l o w t e m p e r a t u r e s , a l t h o u g h a r e f l e c t i o n o f t h e external environment, cannot be re m o v e d f r o m d i s c o m f o r t a n d s u i t a b i l i t y f o r u s e . T h e e x p e r i m e n t for the Upper Lawn Pavilion would n o t t r a n s l a t e t o a n y u s e o t h e r t h a n i t s o w n . O n e m a y a l s o argue that architecture at its basi c l e v e l s h o u l d d i f f e r e n t i a t e b e t w e e n t h e i n t e r n a l a n d e x t e r n a l environment.

The qualities of ‘As Found’, ‘Selec t & A r r a n g e Te c h n i q u e ’ a n d t h e ‘ P i c t u r e s q u e ’ a r e a l l a d m i r a b l e qualities concerned with a deep u n d e r s t a n d i n g o f c o n t e x t , c a r e f u l s e l e c t i o n o f m a t e r i a l s i n t e r m s of space, place and construction a n d t h e h i s t o r i c a l c o n t e x t o f t h e E n g l i s h l a n d s c a p e r e s p e c t i v e l y.

However there is a rhetoric in the r e f e r e n c e s t o S t . J e r o m e ( a n d t h e i n e v i t a b l e u s e o f d e Messina’s painting in his study). W i t h c r i t i c i s m a n d r e f l e c t i o n c o m e s a c e r t a i n a m o u n t o f r h e t o r i c with meaning and intent applied t o t h e a r e a o f s t u d y. I m p o r t a n t l y h o w e v e r, t h e l e a s t a m o u n t o f rhetoric in the pavilion is seen in t h e f a m i l i e s s i m p l e r e c o r d i n g o f t h e i r l i v e s t h e r e .

27

2 .1.2

Rooms

and

Ch a i r s

A l v a r A a l t o Museo. “Muuratsalo E x p e r i m e n t a l House.” Alvar Aalto M u s e o , 2 0 1 1 . http://www.alvaraalto.fi/ e x p e r i m e n t a l house.htm.

21

F i g u r e 4 0 O p posite: The enclosed courtyard w i t h b r i c k t e xture experiments.

F i g u r e 4 1 To p: A plan of the house.

F i g u r e 4 2 R i g ht: The courtyard wall rendered w h i t e o n t h e exterior.

M u u r a t s a l o

E x p e r im e n t a l

H o u s e

-

A l v a r

A a l t o

Alvar Aalto’s own summer holiday h o m e m a k e s a n i n t e r e s t i n g p o i n t o f c o m p a r i s o n w i t h t h e U p p e r Lawn Pavilion. Also a secluded idy l l i c e n c l a v e , A a l t o ’s h o u s e w a s a l s o a n p l a c e f o r e x p e r i m e n t i n g with architecture, albeit more con t i n u o u s l y t h a n a t t h e U p p e r L a w n P a v i l i o n . O n a s i t e o f 53,650m 2 the house, like the Uppe r L a w n P a v i l i o n g i v e s s p a c e t o t h e l a n d s c a p e b y o c c u p y i n g a small corner of the site. Rather t h a n s i t w i t h i n a n e x i s t i n g w a l l e d g a r d e n , t h e h o u s e c r e a t e s its own outdoor room in the brick w a l l e d c o u r t y a r d . S t a r k - w h i t e r e n d e r e d b r i c k i s u s e d o n t h e external walls but the internal wa l l s w e r e u s e d f o r e x p e r i m e n t a t i o n w i t h d i f f e r e n t b r i c k p a t t e r n s , textures and pointing. 21 The house was also intended by Aa l t o t o b e u s e d f o r e x p e r i m e n t i n g w i t h b u i l d i n g w i t h o u t foundations, free form columns, fr e e f r o m b r i c k c o n s t r u c t i o n a n d , m o s t r e l e v a n t l y t o t h e U p p e r Lawn Pavilion, with solar heating. H o w e v e r t h e e x p e r i m e n t s i n s o l a r h e a t i n g n e v e r m a t e r i a l i s e d .

As such the most compelling comp a r i s o n w i t h t h e t w o p r o j e c t s a r e t h e u s e o f a r c h i t e c t u r e a s a lived experimental learning tool an d t h e m e a s u r e d r e l a t i o n s h i p t o t h e s i t e . 2 1

29

2 .1.3

Rooms

and

Ch a i r s

F i g u r e 4 3 O p posite: Crafted joining i n t e r f a c e b e t ween the pavilion and t he e x i s t i n g o l d cottage wall.

F i g u r e 4 4 To p: The Upper Lawn Pavilion 1:10 model.

F i g u r e 4 5 R i ght: Concrete column detail i n t e r s e c t i n g the stone wall.

U p p e r

L a w n

P a v i l io n

-

1 : 1 0

M o d e l

Being unable to visit the Upper La w n P a v i l i o n w e f e l t i t n e c e s s a r y t o g i v e o u r s e l v e s a c l o s e understanding of how the Upper La w n P a v i l i o n w a s c o n s t r u c t e d t o e m b o d y t h e p r i n c i p l e s discussed above. The most efficie n t w a y t o d o t h i s w a s t o b u i l d a 1 : 1 0 M o d e l o f a s e c t i o n o f the pavilion and its ‘outdoor room’ . R a t h e r t h a n b e m e r e l y a v i s u a l r e c r e a t i o n o f t h e p a v i l i o n w e chose to build the model as closel y t o t h e c o n s t r u c t i o n m e t h o d s u s e d a s p o s s i b l e . I t i s a s m u c h an attempt to recreate the process a s t o c o p y t h e o b j e c t .

The use of plaster to mimic the ex i s t i n g s t o n e w a l l c r e a t e d d i f f i c u l t t o l e r a n c e s w i t h w h i c h t o build the pavilion around. Using ce m e n t f o r t h e c o n c r e t e e l e m e n t s h i g h l i g h t e d i s s u e s o f f o r m w o r k and finish. The floor build-up cont a i n s t h e p l y w o o d c e i l i n g , j o i s t s a n d f l o o r b o a r d s o f t h e a c t u a l pavilion. The joists remain unseen i n t h e c o m p l e t e d m o d e l , b u t b u i l d i n g i t t h i s w a y h i g h l i g h t e d the issues of fixing them to the wa l l a n d c o n c r e t e b e a m , a n d c a u s e d u s t o c a r e f u l l y p l a n t h e sequence with which the model wa s b u i l t .

Of all the Smithson’s principles sh o w n i n t h e p a v i l i o n , b u i l d i n g a m o d e l a t 1 : 1 0 g a v e u s t h e m o s t intimate understanding of the ‘Sel e c t & A r r a n g e ’ t e c h n i q u e .

31

F i g u r e 4 6 O p posite: Roorkhee chair i n the o u t s i d e r o o m adjusting to the as fou nd p a v i n g c o n d i tion.

F i g u r e 4 7 R i ght: Facade revealing the e x i s t i n g c h i mney stack intersecting the pavilion.

F i g u r e 4 8 O p posite: The inside room window s e a t s i n t h e wall.

F i g u r e 4 9 R i ght: View towards the pavilion f r o m t h e E a s t.

35

F i g u r e 5 0 O p posite: First floor views over t h e g a r d e n wall.

F i g u r e 5 1 R i ght: Ladder spanning living and sleeping.

F i g u r e 5 2 O p posite: View away from the p a v i l i o n t o t he opposite chimney sta ck d e n o t i n g t h e end of the outside room.

F i g u r e 5 3 R i ght Top: Concrete beam detail.

F i g u r e 5 4 R i ght Bottom: Detail junction b e t w e e n p a v ilion and cottage.

F i g u r e 5 5 O p posite: Solar exposure at The U p p e r L a w n Pavilion.

F i g u r e 5 6 R i ght Top: Considered pavilion f a c a d e r h y t h ms.

F i g u r e 5 7 R i ght Bottom: View back towards pavilion.

2 . 1 . 4 T h e U p p e r Lawn Pavilion - The Making Process

F i g u r e 5 8 : To make the garden wall of the p a v i l i o n w e laser cut formwork wit h the i n t e n t i o n o f using plaster of paris to create t h e m a s s o f the existing stone walls found b y t h e S m i t hson’s.

42

Figure 59: The mould was create d i n t w o halves. Due to the fact that plas t e r o f paris sets very quickly the cast w a s p o u r e d in many successive pours. This c r e a t e d a subtle striated effect on the fini s h e d c a s t .

F i g u r e 6 0 : To e m p h a s i s t h e r e l a t i o n s h i p between the pavilion itself and the ‘outdoor room’ to its east we decided to model only a section of the pavilion and the entirety of the ‘outdoor room’. The finished casts were joined and transferred to a plywood baseboard.

F i g u r e 6 1 : To c o m p l e t e t h e ‘ a s f o u n d ’ elements in plaster of paris we laser cut a mould of the garden paving and cast each individual paving stone that creates the surface of the ‘outdoor room’.

F i g u r e 6 2 : O nce set the plywood mould was c a r e f u l l y r e moved, leaving a relief of the e x i s t i n g p a v ing stones at the Upper Lawn P a v i l i o n . T h e fracturing of some pieces r e f l e c t s t h e ‘found’ nature of the paving and h o w t h i s w a s used by the Smithson’s.

Figure 63: The primary concrete e l e m e n t o f the pavilion is the column and be a m , w h i c h we decided to model as closely a s p o s s i b l e using cement. The concrete plint h t h e pavilion sits on the concrete win d o w l i n t e l s were made of greyboard to help e m p h a s i s e the column and beam.

Figure 64: A balloon frame was used by t h e S m i t h s o n ’s f o r t h e t h i n w a l l s o f t h e pavilion. As such we decided to build this frame and the timber joists and beams as accurately as possible for the purposes of the 1:10 model.The intention that it would be as similar to the real construction sequence as possible.

Figure 65: The first floor build up has timber joists which span between the stone wall and cantilevers across the concrete beam.

This was the first element of the timber frame modelled.

43

F i g u r e 6 6 : The ceiling finish of the ground f l o o r o f t h e pavilion is plywood and as such, p l y w o o d w as cut to shape and fixed to the u n d e r s i d e o f the timber joists, around the c o n c r e t e b e am.

44

Figure 67: Plywood strips were u s e d t o mimic the 200mm wide timber fl o o r b o a r d s used as the floor finish at first f l o o r.

Figure 68: The timber ladder used to ascend to the first floor was assembled using timber as in the pavilion itself.

F i g u r e 6 9 : To b a l l o o n f r a m e a t f i r s t f l o o r l e v e l w a s c o n s t r u c t e d s e pa r a t e l y a s a f r a m e before being erected and stiffened using plywood. Again this closely follows the way a traditional balloon frame is built and w o r k s s t r u c t u r a l l y.

F i g u r e 7 0 : T he first floor window frames w e r e f i x e d t o the external face of the b a l l o o n f r a m e before inserting the glazing ( m a d e f r o m acrylic) behind the frames.

Figure 71: Once the glazing was f i x e d w e could apply the final areas of ply w o o d to the balloon frame to ensure th e w h o l e frame was stiff. The rear wall wa s l e f t unfixed so that the roof build up c o u l d m o r e easily be built.

Figure 72: Grey card was to represent the aluminium cladding. The use of card meant that we could achieve the detailed way in which the aluminium is shaped on the Upper Lawn Pavilion. In particular the slight outturns pictured which would divert rainwater away from the facade.

Figure 73: The final stage of the construction of the model was the roof build up which included cutting and fixing the ceiling finish of plywood, fixing a roof finish and finishing the aluminium cladding to the parapet.

45

46

2 .2.0

Rooms

and

Ch a i r s

F i g u r e 7 4 O p posite: Exploded axonometric of R o o r k h e e c h air.

F i g u r e 7 5 To p: Conservationist LieutenantC o l o n e l J i m Corbett in Dhikala, India, c, 1937.

F i g u r e 7 6 R i ght: Disassembled Roorkhee c h a i r - K i t o f parts.

T h e

R o o r k h e e

C h a i r

The Roorkhee chair was one of the f i r s t c o l l a p s i b l e c h a i r s , c r e a t e d i n I n d i a d u r i n g t h e B o e r Wa r.

It was crafted by Indian carpenters a s a c a m p a i g n c h a i r f o r L i e u t e n a n t s i n t h e f i e l d . A s a r e s u l t of the requirements unique to the c o n d i t i o n s i n t h e f i e l d t h e c h a i r w a s b u i l t t o b e f u n c t i o n a l a s well as comfortable. The chair wa s f i r s t l y d i s a s s e m b l a b l e m a k i n g i t e a s y t o t r a n s p o r t a n d f a i r l y easy to construct in a short space o f t i m e . T h e a b i l i t y t o b e d i s a s s e m b l e d a l l o w e d e l e m e n t s t o b e replaced if broken by an on site ca r p e n t e r. T h e m o r t i s e a n d t e n o n j o i n t s u s e d i n i t s c o n s t r u c t i o n again work in two ways. When ass e m b l e d t h e j o i n t s e a s i l y s l o t t o g e t h e r a n d w h e n w e i g h t i s applied they naturally tighten stre n g t h e n i n g t h e c h a i r ( i f c r e a t i n g a n u n s e t t l i n g c r e a k i n g s o u n d ) .

This also allows the chair to be se l f l e v e l l i n g a n d a d a p t t o u n e v e n t e r r a i n a s t h e j o i n t s c a n m o v e positioning the feet upon the floor. A s y o u s i t y o u c a n f e e l a n d h e a r t h e w o o d s h i f t i n g a n d m o v i n g to adjust and adapt to the person a n d t h e e x i s t i n g c o n d i t i o n s o f t h e t e r r a i n .

Then chairs design also utilises te n s i o n a n d c o m p r e s s i o n f o r c e s t o k e e p t h e c h a i r i n o n e p i e c e .

The most noticeable of which are t h e l e a t h e r a r m r e s t s s p a n n i n g b e t w e e n t h e f r o n t a n d b a c k l e g s .

The proportions of the chair feel s o m e w h a t s m a l l b u t w h e n s a t i n y o u r e a l i s e t h a t t h i s c h a i r was designed for resting in the fie l d , n o t a t a t a b l e w h i c h m o s t c h a i r s a r e d e s i g n e d f o r. T h i s i s reinforced by the low slung reclini n g p o s i t i o n m o r e c o m m o n l y f o u n d i n m o d e r n g a r d e n l o u n g e r s .

47

48

2 .2.1

Rooms

and

Ch a i r s

F i g u r e 7 7 O p posite: Roorkhee chair t imeline.

F i g u r e 7 8 To p: The Roorkhee chair at the u p p e r l a w n p avilion.

F i g u r e 7 9 R i ght: The Smithson’s original R o o r k h e e c h air.

Ti m e

l i n e

E x p l a n a t i o n

The Roorkhee chair began life in In d i a i n t h e 1 9 t h c e n t u r y a n d w a s u s e d b y t h e B r i t i s h A r m y u p until the Second World War. The a d d i t i v e l a n g u a g e o f f r a m e a n d s t r e t c h e d s e a t s a n d b a c k r e s t s was developed using contemporary m a n u f a c t u r i n g m e t h o d s i n t h e e a r l y 2 0 t h c e n t u r y i n i c o n i c chair designs such as Le Corbusier ’s B a s c u l a n t a n d B r e u e r ’s Wa s s i l y C h a i r.

Danish designer Kaare Klint then s e e m e d t o a p p r o p r i a t e t h e d e s i g n o f t h e R o o r k h e e , w i t h a f e w minor adjustments and his own spe c i f i c l e g d e s i g n . T h e d e s i g n w a s e s s e n t i a l l y a R o o r k h e e c h a i r but to be sold as a designer item, t h e ‘ S a f a r i C h a i r ’ , a s i t s t i l l i s t o d a y. H o w e v e r t h e s i m p l i c i t y of the design means that the chair i s r e a s o n a b l y s t r a i g h t - f o r w a r d t o m a n u f a c t u r e b y h a n d a n d therefore derivatives of the design a r e c o m m o n . P h o t o e v i d e n c e s u g g e s t s t h a t t h e S m i t h s o n ’s owned at least two Roorkhee Chai r s w h i c h t h e y u s e d i n t h e i r ‘ o u t d o o r r o o m ’ a t t h e U p p e r L a w n Pavilion. Our own derivative of the R o o r k h e e u s e s a c o m b i n a t i o n o f f o r m a n d t e c h n i q u e s g a t h e r e d from both the Roorkhee and Safari C h a i r.

Being a well recorded and plagiari s e d c h a i r t h e i n i t i a l d i m e n s i o n s o f t h e c h a i r w e r e e a s y t o f i n d and consistent across all models. W i t h t h e b a s i c d i m e n s i o n s w e b e g a n b y m a k i n g a 1 : 1 0 m o d e l o f the chair using accurate construct i o n t e c h n i q u e s t o g e t a n i d e a f o r t h e p r o p o r t i o n s , l o o k a n d f e e l for how the chair worked.

49

F i g u r e 8 0 O p posite: 1:10 Roorkhee chair m o d e l u s i n g the same construction t e c h n i q u e s a s the original.

F i g u r e 8 1 R i ght Top: Close-up mortis e and t e n o n j o i n t a nd leather wrapping around the timbers.

F i g u r e 8 2 R i ght Bottom: A show of scale.

2 . 2 . 2 T h e R o o r k h ee Chair - Analysis

Camping

Out

B e i n g o n e o f the most popular chairs used in B r i t i s h A r m y camps from the end of the 19th C e n t u r y t o t he beginning of World War II, the R o o r k h e e C h air was designed with portability i n m i n d . W i t h the structural flexibility t o a l l o w t h e frame to sit level on uneven g r o u n d , t h e c hair was appropriate to take i n t o a n y e n v i ronment. Quick to assemble and d i s a s s e m b l e , the chair could be easily packed i n t o a s m a l l bag and moved to the next site 22 .

I t i s p e r h a p s for these reasons that the S m i t h s o n ’s c hose to use at least two Roorkhee c h a i r s a t t h e Upper Lawn Pavilion. Being a p r e c u r s o r t o modern camping chairs, the t r a d i t i o n , e l e gance and utility of the Roorkhee c h a i r w o u l d have appealed to the Smithson’s i n t e r e s t i n ‘ a poetry without rhetoric’ 23 .

- T h e S e a t of Modern Design, Anna R o h l e d e r, F o rbes, 2001, http://www. forbes. c o m / 2 0 0 1 / 0 8 /15/0815pow.html 23 - W i t h o u t Rhetoric - An Architectural A e s t h e t i c 1 9 55-1972, Alison and Pet er S m i t h s o n , 1 9 73, pg. 6 22

F i g u r e 8 3 R i g ht: Camping out.

52

Select & Arrange Technique T h e R o o r k h e e Chair is composed of three e l e m e n t s o f three materials: the frame of t i m b e r, t h e s upports of leather and t he fixings o f m e t a l . E a c h of these elements is chosen and s o a r r a n g e d as to achieve the key intentions o f p o r t a b i l i t y, adaptability and comfort. The t i m b e r f r a m e of ten individual and easily a s s e m b l e p i e ces not only transfer the body w e i g h t o f t h e user through to the ground but h a v e t h e f l e x ibility to allow the chair to adapt t o u n e v e n s u rfaces. Between the timber frame, t h e l e a t h e r, i n tension, provides a comfortable m a t e r i a l t o r est on that ties the timber frame t o g e t h e r a n d distributes forces equa lly. The m i n i m a l m e t al fixings provide the adjustments n e c e s s a r y t o the leatherwork and backrest to m a i n t a i n t h e tensile strength and co mfort. No e l e m e n t o r material is extraneous, and those u s e d e m p h a s ise their qualities through their a p p l i c a t i o n . The simplicity of the material p a l e t t e a n d l ack of permanent fixing s means t h a t s h o u l d o ne element fail, a replacement c a n e a s i l y b e fabricated and substituted.

F i g u r e 8 4 R i ght: Select and arrange.

53

Legibil ity “ We s h o u l d l ike to be aware how such a thing w o r k s , b u t n ot necessarily to see it work, f o r i n o u r v i e w the invention of the formal m e a n s , w h e r eby, without display or rhetoric, w e s e n s e o n l y the essential presence of the m e c h a n i s m s � . 24 T h e R o o r k h e e Chair clearly conveys to the u s e r h o w i t works. The exposure of the t a p e r e d m o r t is and tenon joints, both when d i s a s s e m b l e d and assembled, speak of the f l e x i b i l i t y i n the joint. The fact that you can h e a r t h e t i m ber frame shift and creak, when p r e s s u r e i s a pplied, expresses the structural a c t i o n . T h e l eather seat records the stretching c a u s e d b y r e peated weight applied over t i m e . T h e a c t of assembly lends a gr eater u n d e r s t a n d i n g of the position of eac h element and its role.

W i t h o u t R h etoric - An Architectural Aesthetic 1 9 5 5 - 1 9 7 2 , A lison and Peter Smithson, 1973, pg. 14

24

F i g u r e 8 5 R i g ht: Legibility.

54

As

Found

I n t h e s a m e way that the Upper Lawn Pavilion r e s p o n d s v e r y specifically to the site as found, t h e R o o r k h e e Chair’s mechanics allow it to a d a p t t o u n e ven ground such that the seat r e m a i n s l e v e l. Given the chair was designed i n R o o r k h e e , India 2 5 , it is likely this technique w a s d e r i v e d from the traditional Indian charpoi ( b e d ) . A s t h e Roorkhee chair was used in v a r y i n g l o c a t ions from India to South Africa, a n d t h r o u g h out Europe up until World War I I 2 5 , t h e a b i l i ty to adapt to varying terrain was e s s e n t i a l i n the chair being indispensable as a p i e c e o f c a mpaign furniture for the British A r m y f o r a l m ost half a century.

T h e S e a t o f Modern Design, Anna R o h l e d e r, F o rbes, 2001, http://www. forbes. c o m / 2 0 0 1 / 0 8 /15/0815pow.html

25

F i g u r e 8 6 R i g ht: As found.

55

P recursor Chairs

to

Modern i s t

T h e R o o r k h e e Chair is said to have influenced M o d e r n i s t c hairs such as Marcel Breuer’s Wa s s i l y C h a i r 2 6 and Le Corbusier’s Basculant C h a i r. H o w e ver, whether these exam ples s h o w a d e v e lopment of the same principles t h a t d r o v e t h e design of the Roorkhee Chair i s d e b a t a b l e . Beyond progress of the formal l a n g u a g e a n d the use of bent aluminium e x t r u s i o n s t o achieve this, the Modernist c h a i r s d o n o t respond to a need in the way t h a t t h e R o o rkhee Chair did. The chairs became d e s i g n e r c h a irs for designed rooms. Arguably t h i s r u n s c o u nter to the Smithson’s intent o f d e s i g n i n g a “poetry without rheto ric” 27 , p e r h a p s e x p l aining the Roorkhee Chair as their c h a i r o f c h o i ce for the Upper Lawn Pavilion.

- T h e S e a t of Modern Design, Anna R o h l e d e r, F o rbes, 2001, http://www. forbes. c o m / 2 0 0 1 / 0 8 /15/0815pow.html 27 - W i t h o u t Rhetoric - An Architectural A e s t h e t i c 1 9 55-1972, Alison and Pet er S m i t h s o n , 1 9 73, pg. 6 26

F i g u r e 8 7 R i g ht: Precursor to modernist chairs.

57

2 .2.2

Rooms

and

Ch a i r s

F i g u r e 8 8 To p: Non extraneous design born o f u t i l i t y.

F i g u r e 8 9 R i ght: Appropriate use of t e c h n o l o g y.

T h e

R o o r k h e e

C h a i r

-

P o e t r y

w i t h o u t

R h e t o r i c ?

As the above analysis illustrates, t h e R o o r k h e e C h a i r a n d t h e U p p e r L a w n P a v i l i o n s h a r e s i m i l a r characteristics that make their com b i n a t i o n p a r t i c u l a r l y a p p r o p r i a t e . A l t h o u g h t h e r e i s n o evidence to support this, we suspe c t t h a t t h e u s e o f t h e R o o r k h e e C h a i r w a s a d e l i b e r a t e c h o i c e by the Smithson’s as they would ha v e r e c o g n i s e d t h e e v i d e n t p o e t r y w i t h o u t r h e t o r i c t h a t t h e Roorkhee Chair expresses.

The Roorkhee’s poetry comes from t h e e l e g a n t s i m p l i c i t y t h a t i t s r e q u i r e d f u n c t i o n s i m p o s e d upon the design. No element is ex t r a n e o u s o r d e c o r a t i v e . Wo v e n i n t o t h i s i s t h e n a r r a t i v e t h a t produced the need of the chair ori g i n a l l y. T h e f a c t t h a t t h e d e s i g n o f t h e c h a i r w a s b o r n o u t o f utility rather than as a design obje c t m e a n s t h a t i t a v o i d s i m p l y i n g r h e t o r i c .

The Roorkhee Chair was not design e d t o b e a d - h o c , o r ‘ f o r t h i s ’ , i n t h e c o n t e x t o f t h e U p p e r L a w n Pavilion but due to their shared qu a l i t i e s i t c a n b e v i e w e d a s s u c h .

59

2 .2.3

Rooms

and

Ch a i r s

F i g u r e 9 0 O p posite: Legibility of all c o m p o n e n t s working together.

F i g u r e 9 1 To p: Final Roorkhee chair.

F i g u r e 9 2 R i ght: Final Roorkhee chair.

R o o r k h e e

C h a i r

-

1 : 1

To truly understand the chair we c r e a t e d a 1 : 1 r e p l i c a t o e x p e r i e n c e t h e m a k i n g p r o c e s s a n d t h e act of assembling and sitting in th e c h a i r. T h r o u g h o u t t h e p r o c e s s w e c a m e a c r o s s d i f f i c u l t i e s o f how to create the chair even with a f u l l w o r k s h o p a n d s t a f f a t o u r d i s p o s a l . T h e m a i n i s s u e w a s creating the tapered mortise and t e n o n j o i n t . W h a t w o u l d h a v e o n c e b e e n a s t a n d a r d d e t a i l e a s i l y achievable by carpenters the joint i n t h e p r e s e n t d a y s e e m e d t o b e f a i r l y s p e c i a l i s t r e q u i r i n g specialist tools to create. The rest o f t h e c h a i r w a s a l o t e a s i e r i f t a k i n g a l o n g t i m e t o c o n s t r u c t .

Each element took time to craft an d w h i l s t e a c h e l e m e n t c o u l d b e r e p l a c e d t h e n a t u r e o f t h e elements made the chair a relative l y c l o s e s o u r c e s y s t e m .

Once all of the parts where made t h e c h a i r a s s e m b l e d i n c r e d i b l y q u i c k l y m e a n i n g o n e p e r s o n could assemble the chair in just a f e w m i n u t e s . H o w e v e r a g a i n t h e r e w a s a s p e c i f i c m e t h o d a n d assembly sequence to the chair me a n i n g p r i o r k n o w l e d g e w a s r e q u i r e d t o a c h i e v e t h e d e s i r e d result in this time.

Once assembled we could easily se e a n d e x p e r i e n c e a l l o f t h e k e y c h a r a c t e r i s t i c s p i n p o i n t e d b y our analysis and recording. The ch a i r w a s i n c r e d i b l y c o m f o r t a b l e d e s p i t e o u r i n i t i a l s c e p t i c i s m a t its small size, holding the sitter in a l o w s l u n g r e l a x e d p o s i t i o n . T h e a d d e d c o m f o r t c a m e t h r o u g h the self levelling system where th e l e g s a n d j o i n t s w o u l d c r e a k u p o n i n i t i a l a p p l i c a t i o n o f w e i g h t adjusting to the floor and user. It w a s a m u s i n g t o w a t c h o t h e r s u s e t h e c h a i r a n d t h e f e a r t h e y experienced at the noises the chai r p r o d u c e d . B u t o n c e s e t t l e d t h e c h a i r a c c o m m o d a t e d t h e m comfortably responding differently t o e a c h u s e r.

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F i g u r e 9 3 O p posite: Mortise and tenon joint d e t a i l a n d l e ather riveting.

F i g u r e 9 4 R i ght Top: Backrest, leg and a r m r e s t j u n c tion detail.

F i g u r e 9 5 R i ght Bottom: Adjustable backrest fixing.

F i g u r e 9 6 O p posite: Adjusting to a c c o m m o d a t e the as found and human conditions.

F i g u r e 9 7 R i ght Top: Close-up of the armrest j u n c t i o n w i t h the oak leg.

F i g u r e 9 8 R i ght Bottom: Self levellin g.

F i g u r e 9 9 O p posite: Camping out enjoying t h e v i e w.

F i g u r e 1 0 0 R ight Top: Material distortion r e m e m b e r i n g each sitting.

F i g u r e 1 0 1 R ight Bottom: Tightened mortise a n d t e n o n j o i nts and stretched leath er.

2 . 2 . 4 T h e R o o r k hee Chair - The Making Process

F i g u r e 1 0 2 : Having sourced a 100x100mm s e c t i o n o f oak we had to saw and plane the t i m b e r i n t o the 40x40mm square sections r e q u i r e d f o r the Roorkhee chair legs. The h e i g h t o f t he original legs was 570mm, as s u c h w e c u t the oak sections to 580mm a t f i r s t t o allow for tolerance in the m a n u f a c t u r ing process.

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Figure 103: As a form of prototyp i n g , w e first used 25mm pine dowels saw n t o 580mm lengths for the purposes o f t h e chairs stretchers. We did this to t e s t t h e process of creating the tapered e n d s f o r the tapered mortis and tenon join t u s i n g a disc sander. It meant that the joi n t w i t h t h e prototype pine leg could be trial l e d b e f o r e the final oak chair.

F i g u r e 1 0 4 : To a c h i e v e t h e t a p e r a n d transition from a square section to a circular section, we first used a band saw to cut the taper as a square section.

F i g u r e 1 0 5 : O n c e c u t t o t he s h a p e t h e f a c e t e d o a k l e g s w e r e r a sp e d t o o u t l i n e the transition from a the upper square section to the lower circular sections. In the most recessed areas near the feet the o a k w a s a l s o f i l e d t o a c h ie v e t h e r o u n d n e s s required.

F i g u r e 1 0 6 : The final process in achieving t h e s h a p i n g of the lower portion of the l e g w a s t o use a electric sander to remove a n y b l e m i s hes in the surface from previous p r o c e s s e s and to achieve a satisfactory roundness.

Figure 107: The round profiled to p o f t h e legs (round which the armrests w r a p ) w a s achieved by simply using a disc s a n d e r.

Figure 108: The first stage in manufacturing the tapered mortis in the legs for the tenon of the stretchers was to drill a 20mm hole using the pillar drill. Being the smallest dimension of the taper this would allow us to increase the dimension of the hole from o n e f a c e o f t h e l e g t o t h e o t h e r.

F i g u r e 1 0 9 : To b e t t e r u n d e r s t a n d t h e processes that would go into crafting the Roorkhee chair legs we started off by making a more economical pine wood test p i e c e . T h i s h i g h l i g h t e d p ot e n t i a l i s s u e s t o be avoided in the final manufacture scarring t h e w o o d w h i l e u s i n g t h e b a n d s a w, n o t using the bobbin sander to achieve the rounded section due to the uneven finish and finding an alternative technique to filing the taper for the mortis and tenon joint.

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F i g u r e 1 1 0 : To make the back rest supports t h e s e c t i o n shape was sawn and sanded out o f a p i e c e of oak. This was then sawn to the c o r r e c t t h i c kness and sanded to achieve the s a m e f i n i s h as the oak legs.

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Figure 111: As a necessary econo m y w e decided to use faux leather for t h e s e a t a n d back rest. The nature of the mat e r i a l m e a n t that it stretched easily without h a v i n g t h e elasticity to the return to its orig i n a l s h a p e .

This raised concerns about its su i t a b i l i t y t o work in tension as an element of t h e c h a i r.

F i g u r e 1 1 2 : To s o l v e t h i s i s s u e w e l a m i n a t e d the faux leather with a layer of cotton sheet which was provide the stiffness and stop the faux leather from stretching through u s e . We t e s t e d n u m e r o u s c o m b i n a t i o n s o f layering the material and how to adhere the layers. Ultimately the chair has a layer of cotton sandwiched between two layers of f a u x l e a t h e r. T h e y a r e a d h e r e d u s i n g w o o d glue.

F i g u r e 1 1 3 : To c r e a t e a n e a t e d g e t o t h e layers of the laminated materials we decided to use a colour matched thread to s e w t h e e d g e s t o g e t h e r. We t e s t e d t h r e e different methods of the edge detail and decided on one where the white edge of the faux leather was expressed to maintain the legibility intended in the design of the c h a i r.

F i g u r e 1 1 4 : The majority of examples of the R o o r k h e e c hair that use leather are riveted w h e r e t h e l eather wraps around the timber elements.

Figure 115: A manual rivet gun w a s u s e d to apply the rivets through the fa u x l e a t h e r and fasten the two layers togeth e r.

Figure 116: Solely using a rivet created a untidy finish on the bottom end of the rivet and pulled through the leather not fixing the f a b r i c t o g e t h e r. To f l a t t e n t h e b a s e o f t h e rivet we used small washers for the rivet to sit against thus creating the neat and strong finish pictured above.

Figure 117: The finished components of the chair being assembled.

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2 . 3 . 0 T h e J A M Chair - Haiti Earthquake Disaster

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2 .3.0

Rooms

and

Ch a i r s

F i g u r e 1 1 8 O pposite: 2010 Haiti eart hquake d i s a s t e r, b o y and baby sister using t he w r e c k a g e a s seating.

C r i t i c a l

R e f l e c t i o n

-

T h e

J A M

C h a i r

Reflecting on both the Upper Lawn P a v i l i o n a n d t h e R o o r k h e e C h a i r w e d e c i d e d t h a t t h e k e y principles for our own chair design w e r e : t h e c o n s i d e r a t i o n o f t h e l i f e - s p a n o f e a c h c h a i r element, the reduction in the need t o d i s p o s e , r a t h e r, e n c o u r a g i n g r e p a i r, a n d m a i n t a i n t h e portability and legibility found in t h e R o o r k h e e C h a i r.

This lead to the following brief fo r t h e J A M C h a i r : The Upper Lawn Pavilion consists o f t h e e x i s t i n g w a l l s o f a c e n t u r i e s o l d f a r m s t e a d c o t t a g e a n d a contrasting lightweight pavilion i n t e n t o n ‘ l i g h t t o u c h i n h a b i t a t i o n ’ . I n r e s p o n s e t o t h i s , w e proposed that our chair could com p r i s e o f t w o s e t s o f p r i n c i p l e e l e m e n t s . O n e , a d u r a b l e p i e c e , lasting beyond a lifetime. The seco n d , e l e m e n t s t h a t a r e s o m e w h a t t e m p o r a r y a n d s a c r i f i c i a l , that could be easily replaced and i n t e r c h a n g e d b y t h e u s e r w i t h m i n i m a l c r a f t . T h i s a l s o r e s p o n d s to a current disposable culture. It i s e a s i e r t o d i s p o s e o f d a m a g e d g o o d s r a t h e r t h a n t o f i n d someone to fix them, or learn the s k i l l s t o d o s o y o u r s e l f . O u r c h a i r w i l l b e o p e n s o u r c e . T h e materials and skills required to re p l a c e t h e t e m p o r a r y c o m p o n e n t s w i l l b e r e d u c e d t o a m i n i m u m , reflecting the skills readily availab l e t o d a y l i k e t h e r o o r k h e e c h a i r.

The Roorkhee Chair was designed b y B r i t i s h A r m y E n g i n e e r s f o r t h e B r i t i s h A r m y. T h e n a t u r e o f warfare at the time involved frequ e n t c h a n g e s o f l o c a t i o n i n t h e l a n d s c a p e , r e q u i r i n g a c h a i r t h a t could respond to such demands. To d a y, w a r f a r e i s p r e d o m i n a n t l y c a r r i e d o u t r e m o t e l y o r i n s h o r t skirmishes from an established loc a t i o n . C a m p B a s t i o n i n A f g h a n i s t a n w a s i n o p e r a t i o n f o r n i n e years. As such we question the ne e d f o r a n e q u i v a l e n t t o t h e R o o r k h e e C h a i r f o r t o d a y ’s m i l i t a r y.

More poignantly, we believe that a d e s c e n d a n t o f t h e R o o r k h e e C h a i r f o r t h e 2 1 s t C e n t u r y n e e d not be a component in morally deb a t a b l e m i l i t a r y a c t i o n .

Humanitarian crises frequently req u i r e i n t e r n a t i o n a l c o o p e r a t i o n a n d f o r e i g n a i d . A i d w o r k e r s typically enter the stricken environ m e n t , i m p o r t i n g t h e n e c e s s a r y e q u i p m e n t f o r t h e p u r p o s e s of providing healthcare and shelte r. R a t h e r t h a n b e i n g f o r a m i l i t a r y c a m p a i g n , w e e n v i s a g e o u r chair to form part of a disaster rel i e f c a m p a i g n . W h e n f i r s t o n t h e g r o u n d t h e c h a i r w o u l d b e made of its delivered components. D u r i n g t h e a i d p r o c e s s , t h e t e m p o r a r y p a r t s m a y b e d a m a g e d , but could be easily replaced with m i n i m a l s k i l l . I n t i m e , w h e n t h e a i d d e p a r t s , t h e c h a i r c o u l d be left behind. It may take on a ne w c h a r a c t e r, f r o m l o c a l m a t e r i a l s o r c r a f t s , t h a t a r e u s e d t o replenish the chair following impro v e d w e a l t h o r c h a n g e s i n n e e d . U l t i m a t e l y, d e s p i t e m a t e r i a l changes, the chair would still be r o o t e d , b y i t s a s s e m b l y a n d s i n g l e e n d u r i n g e l e m e n t , t o t h e spirit of aid that first provided it.

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2 . 5 . 0 T h e J A M Chair - Initial Design Strands.

3 .0

Title

posi t i o n

F i g u r e 1 1 9 : Initial sketches of ideas e x p l o r i n g t he designed ‘lifetime’ piece to b e a s i n g l e ‘axis’ between the backrest a n d s e a t i n to which the replaceable pieces a r e s l o t t e d . During use they are stored p e r p e n d i c u l ar to the axis, while du ring t r a n s p o r t a t ion they could be slotte d within t h e v o l u m e of the axis. The idea of the d e s i g n e d e l ement being both part of the c h a i r a n d t he means by which it was stored a n d c a r r i e d when disassembled wa s the m o s t i n t e r e sting aspect of this proposal.

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Figure 120: To first explore this i d e a i n three dimensions a 1:5 scale mod e l w a s made from timber dowels. Holes w e r e drilled through the support elem e n t a n d the additional pieces slotted thro u g h . T h i s highlighted initial potential prob l e m s s u c h as structural stability.

F i g u r e 1 2 1 : To r e f i n e t h e a n g l e s o f e a c h o f the pieces relative to each other and the leg, seat and backrest dimensions a more simple model at 1:5 was made that broke down each element and its joining point to the connection piece.

Figure 122: Further sketching explored the idea of articulating each of the joints in the axis differently depending on whether it was joining a leg, seat support or backrest.

Ultimately our primary concern with this design was the structural stability of the cantilevered seat and its more general lack of structural elegance.

3 .0

Title

posi t i o n

F i g u r e 1 2 3 : An alternative take on the ‘ a x i s ’ i d e a was to have the whole seat and b a c k r e s t a s the lifetime element. Initial s k e t c h e s e xplored this as a fabric which w o u l d w o r k with the short replaceable e l e m e n t s i n tension and compression to c r e a t e a s t able seat whilst folding down q u i c k l y. T h e main concern with this model w a s f i n d i n g a fabric that would last because m o s t o f t h e time it is the first thing to be replaced.

Figure 124: In response to the po t e n t i a l fabric issue we looked at a way t h e f a b r i c could also be replaceable with m i n i m u m work using a clamp system makin g t h e b a c k and seat a frame structure.

Figure 125: The structure consists of repeated L sections fixed together clamping the fabric in place and providing space to store the legs. However this raised the issue of being very bulky to transport and had problems with elegantly fixing the legs in.

Figure 126:It also suffered from under articulation of the back rest in terms of comfort but also in terms of structural s u p p o r t f r o m o t h e r e l e m e n t s o f t h e c h a i r.

The technique of clamping the legs also raises issues of stacking and lateral support.

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F i g u r e 1 2 7 : The node was to create a s i n g l e e l e m ent that would act as the main c o n n e c t i o n piece for the chair. The Node a c t s a s t h e long lasting piece to which the l e g s a n d c l oth are added which are the r e p l a c e a b l e elements.

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Figure 128: The node was 3d prin t e d i t consisted of four balls within ea c h o t h e r each attached to a quarter of the c h a i r support ,when they come togethe r b e c o m e a pole element and a circular node . A l l o f t h e pieces move as was designed.

Figure 129: The above picture shows it when the node is completely open the 3d printed node does not have the full length of the vertical members as the bed of the 3d printer was not large enough for it. But the purpose of the 3D print was to see the 4 ‘Ball and socket joints’ at work.

F i g u r e 1 3 0 : T h e d i a g r a m ab o v e s h o w s t h e node opened up with the fabric or membrane slotted through the node supports and the three chair legs that insert into the bottom o f t h e n o d e , m a k i n g a c o m p l e t e c h a i r.

F i g u r e 1 3 1 : Having reflected on our progress s o f a r w e b rought our ideas together and d i s c u s s e d t he problems encountered and w a y s w e m i ght resolve them. This led to a c o m b i n a t i on of elements of the ideas e x p l o r e d s o far. Ultimately we decided upon h a v i n g t h e two side stretchers, armrests a n d b a c k s upports as the lifetime piece that w o u l d f o l d open and closed to be linked w i t h t h e s t andard pieces for the le gs, cross s t r e t c h e r s and fabric.

Figure 132: The napkin sketch wa s f u r t h e r discussed and developed in sket c h f o r m .

Methods of fixing the fabric, join i n g t h e folding pieces and providing the n e c e s s a r y strength in the chair were issues t h a t w e r e quickly resolved in principle.

Figure 133: The first response to this new proposal was to create a 1:5 scale model to understand dimensions, proportion, angles and how the forces were distributed. This model immediately made it clear that the majority of the forces were being applied to the armrest. As such the two joints at the ends of this piece would require high strength.

Figure 134: The 1:5 scale model also allowed us to test the idea of using the principle of a ladder strap buckle as a means of fixing the fabric to our designed piece. This solution would tighten when a force was applied thus providing the tension t o p u l l t h e t w o s i d e s o f t h e c h a i r t o g e t h e r.

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2 .5.1

Rooms

and

Ch a i r s

F i g u r e 1 3 5 O pposite: Detail shot of the k e y s t r u c t u r al triangulation between the l i f e t i m e e l e ment and the off-the-shelf 20mm d i a m e t e r p i n e leg.

F i g u r e 1 3 6 Top: Close-up of rear of tray in o p e n p o s i t i o n.

F i g u r e 1 3 7 R ight: One half of Prototype #1 a s s e m b l e d i n the open position.

1 : 1

P r o t o t y p e

# 1

Taking our first 1:5 model study w e b e g a n t o e x p l o r e t h i s t h r o u g h a d i g i t a l m o d e l . O u r i n i t i a l explorations involved primarily uti l i t a r i a n c o n c e r n s o f t h e p l a c e m e n t o f t h e n e c e s s a r y h o l e s a n d slots for the leg, stretcher and fab r i c c o m p o n e n t s a s w e l l a s t h e n u m b e r, p o s i t i o n a n d f o r m o f t h e hinges to allow the elements to fo l d i n t o a s i n g l e b o x .

The preliminary digital model was u s e d t o c r e a t e t h e l a s e r- c u t c o m p o n e n t s n e c e s s a r y t o m a k e a 1:1 prototype. A physical prototy p e w o u l d b e s t a l l o w u s t o u n d e r s t a n d f u r t h e r i s s u e s a n d t o critique the form, proportion and s c a l e o f t h i s d e s i g n .

Once assembled our first functiona l c o n c e r n s r e g a r d e d t h e s l o t t i n g m e c h a n i s m o f t h e a r m r e s t i n t o the back support. Given the majori t y o f t h e l o a d i s t r a n s f e r r e d t h r o u g h t h e a r m r e s t t h i s j u n c t i o n would need to be particular strong . T h e i n t e n t i o n w a s t h a t l a y e r e d t o t h e a l u m i n i u m p l a t e f o r t h e armrest would be an oak armrest t h a t w o u l d b o t h p r o v i d e i n c r e a s e d u s e r c o m f o r t a n d s u p p o r t t o this crucial structural element. Th e h i n g e d e s i g n u s e d a l s o m e a n t t h a t t h e p i e c e s d i d n o t f o l d f l a t as the centre of the hinges sat to o n e s i d e o f e a c h e l e m e n t r a t h e r t h a n c e n t r a l .

Finally, from an aesthetic point of v i e w w e f e l t t h e d e s i g n h a d l i t t l e c o n s i s t e n t f o r m a l l a n g u a g e .

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F i g u r e 1 3 8 O pposite: Series of photos s h o w i n g t h e sliding and hinged mechanism f o l d i n g f r o m open to assembled.

F i g u r e 1 3 9 Top: Drawing from the digital m o d e l s h o w i ng Prototype #2 with a semic i r c u l a r s e c t i on.

F i g u r e 1 4 0 R ight: Close up of sliding hinge d e t a i l o n l a s er cut prototype.

1 : 1

P r o t o t y p e

# 2

Prototype was intended as an alte r n a t i v e r o u t e t o P r o t o t y p e # 1 . I n s t e a d o f f o l d i n g i n w a r d s i n t o a tray, it would fold outwards with a l l t h e j o i n t s b e i n g h i n g e s . T h i s r e s u l t e d i n t w o o f t h e h i n g e s needing to slide into their respect i v e p o s i t i o n s . T h i s d e s i g n w a s a r e s p o n s e t o t h e p e r c e i v e d concealment of its components tha t t h e p r e v i o u s p r o t o t y p e c r e a t e d w i t h i t s t r a y e l e m e n t .

While being laser cut with a recta n g u l a r s e c t i o n f o r t e s t i n g p u r p o s e s t h e i n t e n t i o n w a s f o r each half of the chair to have a se m i - c i r c u l a r s e c t i o n s o t h a t w h e n c o m b i n e d t h e t w o h a l v e s would form a full circle. We felt th i s w o u l d p r o v i d e a m o r e c o n s i s t e n t l a n g u a g e b e t w e e n t h e manufactured elements of the chai r a n d t h e c i r c u l a r s e c t i o n e d ‘ o f f - t h e - s h e l f ’ e l e m e n t s .

The issues of this design were at f i r s t t h e i n c r e a s e d l e n g t h o f t h e d e s i g n a n d t h e i m p a c t t h i s would have on portability. Secondl y, t h i s p r o t o t y p e w a s t a k e n f o r d i s c u s s i o n w i t h t h e f a b r i c a t o r ‘Sheet Fabs’. The outcome of this w a s t h a t o u r p r e f e r r e d m a t e r i a l c h o i c e o f a l u m i n i u m ( d u e t o i t being light weight and durable) wa s e c o n o m i c a l l y v i a b l e . H o w e v e r d u e t o t h e n u m b e r o f l a b o u r intensive processes such as routin g , t h e n u m b e r o f m a n h o u r s r e q u i r e d w o u l d i n c r e a s e t h e c o s t o f each quarter of the design to appr o x i m a t e l y £ 1 8 0 , m a k i n g i t u n f e a s i b l e i n t h i s f o r m .

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F i g u r e 1 4 1 O pposite: The full prototype fully a s s e m b l e d w ith 20mm diameter pine dowels u s e d f o r t h e supplementary elements.

F i g u r e 1 4 2 Top: Line drawing taken from d i g i t a l m o d e l showing the developed ‘tray’ i d e a f r o m P r ototype #1.

F i g u r e 1 4 3 Top Right: Kit of parts.

F i g u r e 1 4 4 R ight: Detail of the junction b e t w e e n t h e stretcher and the rear of the f o l d i n g e l e m ent.

1 : 1

P r o t o t y p e

# 3

Prototype #3 returned to the princi p l e s o f P r o t o t y p e # 1 b u t l o o k e d t o r e s o l v e t h e i s s u e s f o u n d there and improve upon its aesthe t i c s .

The holes were more carefully con s i d e r e d t o b e c o m e a s e c u r e f i t f o r t h e 2 0 m m d i a m e t e r p i e c e s .

The dimension of 20mm was decid e d o n b y r e c o g n i s i n g i t a s a e a s i l y s o u r c e a b l e d i m e n s i o n i n a variety of materials (e.g timber, st e e l , r e i n f o r c e m e n t b a r s ) , t h e p r o p o r t i o n w o r k i n g w e l l w i t h t h e our designed element and it provid i n g t h e n e c e s s a r y s t r e n g t h t o s u p p o r t a c h a i r i n t h e w i d e r a n g e of materials that could be used.

The hinges on this design were re c e s s e d a n d o f f s e t f r o m e a c h p l a n e t o a l l o w t h e p i e c e t o f o l d flat into its tray and the ends roun d e d t o a l i g n t h e l a n g u a g e o f t h e c i r c u l a r s e c t i o n s w i t h t h e t r a y element.

By being able to assemble the full p r o t o t y p e i t a l l o w e d u s t o r e c o g n i s e t h a t t h e j o i n t o f t h e armrest and backrest needed resol v i n g a n d t h a t t h e p r o c e s s o f f i t t i n g t h e f a b r i c u s i n g t h e l a d d e r buckle system was difficult and tim e c o n s u m i n g .

83

84

2 .5.1

Rooms

and

Ch a i r s

F i g u r e 1 4 5 O pposite: Series image showing t h e f o l d i n g mechanism of the two lifetime elements.

F i g u r e 1 4 6 Top: Hinge and lateral support mechanism.

F i g u r e 1 4 7 R ight: legible layering of materials.

F i g u r e 1 4 8 O verleaf: Rooms and chairs R e v i e w.

1 : 1

P r o t o t y p e

# 4

Prototype #4 again moved away fro m t h e t r a y p r i n c i p l e , a g a i n w a n t i n g t o i n c r e a s e t h e l e g i b i l i t y of the structure and mechanisms.

The tray principle evolved out of t h e n e e d t o f i x t h e c r o s s - s t r e t c h e r s t h r o u g h t h e s i d e e l e m e n t s .

To remove this necessity a drop do w n p i e c e ( p i c t u r e d o p p o s i t e ) w o u l d f o l d o u t o f t h e b o t t o m o f the plate and provide a location to s l o t t h e c r o s s - s t r e t c h e r s t h r o u g h .

This design also intended to resolv e t h e i d e a o f h a v i n g t w o s e p a r a t e p i e c e s , b y p r o v i d i n g a means by which the two pieces co u l d s l o t t o g e t h e r. T h i s l e d t o t h e s l o t t e d h i n g e s a n d a e s t h e t i c seen on this prototype.

We believed that while not comple t e l y r e s o l v e d t h i s p r o t o t y p e o f f e r e d a m o r e i n t e r e s t i n g f o r m a l language, with its layers of materi a l i n b o t h d i r e c t i o n s , t h a n t h e t r a y a p p r o a c h . H o w e v e r t h e r e were concerns over structural stab i l i t y a n d t h e d e l i c a c y o f s o m e o f t h e p a r t s a n d m e c h a n i s m s that are intended to be survive a l i f e t i m e ’s u s e .

85

87

2 .5.2

Rooms

and

Ch a i r s

F i g u r e 1 4 9 Top: Over complex hinge and f i x i n g m e c h a nisms.

F i g u r e 1 5 0 R ight: Delicate hinge within the l o n g l i f e e l e ment.

T h e

J A M

C h a i r

-

C r i t i c i s m

&

S e l f - R e f l e c t i o n

Feedback on the JAM Chair prototy p e s c o n s i s t e d o f t h e f o l l o w i n g c o m m e n t s : - That in comparison to the Roorkh e e C h a i r ( a n d t h e U p p e r L a w n P a v i l i o n ) , w h i c h a r e b o t h s i m p l e but deeply intelligent, the chair w a s b e c o m i n g o v e r l y c o m p l e x t o r e s o l v e n e w l y c r e a t e d p r o b l e m s .

- This increased complexity means m o r e e l e m e n t s t h a t c o u l d f a i l , n e g a t i n g o u r l i f e t i m e i n t e n t .

- That the proposed manufacturing m e t h o d s o f u s i n g a f a b r i c a t o r i n t h e E a s t M i d l a n d s a r e a should be viewed in comparison to h o w t h i s c h a i r c o u l d b e m a n u f a c t u r e d i n o t h e r c o n t e x t s .

- The assembly time of the chair w a s t o o l o n g t o b e p r a c t i c a l d u e t o t h e w a y t h e f a b r i c w a s t o b e joined to the frame.

89

2 .6.0

Rooms

and

Ch a i r s

F i g u r e 1 5 1 O pposite: Interdependent long l i f e n o d e w i t h pine legs.

F i g u r e 1 5 2 Top: Long life 3D printed node.

F i g u r e 1 5 3 R ight: Fully assembled chair/ ‘stool’.

1 : 1

P r o t o t y p e

# 5

Based on the review feedback from p r o t o t y p e # 4 a n d r e f e r r i n g b a c k t o t h e i n i t i a l b r i e f , p r o t o t y p e #5 reflected a more refined approa c h f o u n d w i t h i n o u r e a r l i e r s k e t c h i d e a s . R e d u c e d t o t h e simplest possible form of holding t h e t e m p o r a r y l e g s i n a p l a c e t o f o r m a c h a i r, a s i n g l e n o d e was produced. Designed using a su b t r a c t i v e m e t h o d o n a d i g i t a l m o d e l , o n c e t h e l e g s h a d b e e n positioned into what we believe to b e a n o p t i m u m p o s i t i o n t h e y w e r e s u b t r a c t e d f r o m t h e n o d e mass. Then excess material was re m o v e d f r o m a r o u n d t h e n o d e w h i l e k e e p i n g e a c h h o l e l i n k e d together with enough material to p r o v i d e t h e n e c e s s a r y s t r e n g t h .

The node was then 3D printed usin g a p l a s t i c . 2 0 m m p i n e l e g s a n d a t h i c k f a b r i c w e r e u s e d t o test the design. Upon assembly it w a s c l e a r t h a t t h e c h a i r w a s t o o s m a l l , a l m o s t b e c o m i n g a stool rather than a chair. The front o f t h e c h a i r w o u l d n e e d t o b e w i d e r a n d t h e b a c k t a l l e r t o give a more comfortable sitting po s i t i o n . H o w e v e r, w e w e r e h a p p y w i t h t h e b r o a d p r i n c i p l e o f t h e chair, and even the plastic node se e m e d c a p a b l e o f s u p p o r t i n g a b o d y w e i g h t .

There are numerous ways the node c o u l d b e m a n u f a c t u r e d g i v i n g i t a n o p e n s o u r c e n a t u r e . H o l e s could be drilled through timber blo c k s , i t c o u l d b e d i e - c a s t o u t o f m e t a l o r a s t e s t e d , 3 D - p r i n t using plastic.

91

2 .6.0

Rooms

and

Ch a i r s

F i g u r e 1 5 4 O pposite: 3D printed chair leg cap.

F i g u r e 1 5 5 Top: Tensegrity chair 1:1 Prototype.

F i g u r e 1 5 6 R ight: Initial tensegrity c hair model 1:10.

F i g u r e 1 5 7 O verleaf: Exploded JAM Chair Axo. F i g u r e 1 5 8 O verleaf: 1:1 Node detail drawing.

F i g u r e 1 5 9 O verleaf: Reappropriation d i a g r a m o v e r time, going from initial aid d e l i v e r y t o r ecovery from the disaster and a r e t u r n t o n o r mal culture.

1 : 1

P r o t o t y p e

# 6

Ultimately prototype #5 still had a f e w i s s u e s w i t h t h e d e s i g n . G e t t i n g t h e l e g a n g l e w a s p r o v i n g problematic and the introduction o f c a p e l e m e n t s t o t h e l e g s p r o v i d e d i s s u e s w i t h m o r e l o s a b l e parts. The caps were introduced to p r o v i d e i n t e r f a c e s b e t w e e n t h e l e g s a n d t h e g r o u n d a n d f a b r i c so in tandem to the node idea we t r i e d o n e o t h e r o p t i o n o f t h e ‘ n o d e l e s s ’ c h a i r.

The ‘nodeless’ chair was introduce d a s a n i d e a t o h a v e l e s s p a r t s t o t h e c h a i r a n d k e e p a l l o f the caps connected. The chair is a t e n s e g r i t y s t r u c t u r e m e a n i n g o n l y t h e m o d i f i e d c a p s a r e needed along with a wire element t o m a k e t h e c h a i r s t a n d u p . T h e t e n s e g r i t y c h a i r p r o v i d e d a n overall better balancing of the for c e s w i t h i n t h e c h a i r a n d b e t t e r p r o p o r t i o n s f o r s i t t i n g . B y a l s o removing the node element the leg s w e r e a l l o w e d t o m o v e m o r e t o s e l f l e v e l t h e c h a i r.

Whilst resolving some issues the t e n s e g r i t y c h a i r p r e s e n t e d e v e n m o r e . I t t o o k a v e r y l o n g t i m e to assemble, and even once the co r d h a d b e e n t h r e a d e d o n c e c o l l a p s e d t h e t a n g l e o f w i r e s w a s impossible to negotiate. The initia l t i g h t e n i n g o f t h e c o r d w a s a l s o a n i s s u e t o g e t r i g h t t o f u l l y balance all of the forces. Being a l o n g l i f e e l e m e n t i t w a s a l s o d i f f i c u l t t o j u s t i f y u s i n g c o r d which would ultimately stretch wi t h o u t i n t r o d u c i n g a t i g h t e n i n g m e c h a n i s m . A f t e r t h i s t e s t w e decided prototype #5 presented th e b e s t o p t i o n t o t a k e f o r w a r d t o a f u r t h e r i t e r a t i o n .

93

2 . 6 . 1 T h e J A M Chair - Final Design

94

95

2 . 6 . 1 T h e J A M Chair - Reappropriation Diagram over time, Haiti Earthquake Disaster.

96

97

2 . 6 . 1 T h e J A M Chair - The Making Process

F i g u r e 1 6 0 : Cutting the 20mm diameter legs to size.

98

Figure 161: Cutting the chosen fa b r i c .

Figure 162: Sewing the corner pockets.

Figure 163: The kit of parts.

F i g u r e 1 6 4 : Putting the legs through the node.

Figure 165: Capping the ends of t h e p o l e s .

Figure 166: Applying the fabric.

F i g u r e 1 6 7 : T h e J A M C h a i r.

99

2 .6.1

Rooms

and

Ch a i r s

F i g u r e 1 6 8 O pposite: Quick and light a s s e m b l y.

F i g u r e 1 6 9 Top: Final JAM chair.

F i g u r e 1 7 0 R ight: Final JAM chair.

J A M

C h a i r

-

1 : 1

Constructing or more appropriately d e s i g n i n g s i m p l i c i t y i s n o e a s y t a s k . A f t e r m u c h a n a l y s i s and recording of the roorkhee chai r, a l o n g w i t h m a n y i t e r a t i o n s o f o u r o w n c h a i r, w e f e e l the JAM chair maintains and build s u p o n t h e i n h e r e n t q u a l i t i e s f o u n d i n t h e R o o r k h e e c h a i r, reappropriating it for today. In con t r a s t t o t h e R o o r k h e e c h a i r t h e d e s i g n o f t h i s c h a i r t o o k t h e time. Once designed the construct i o n w a s s i g n i f i c a n t l y s i m p l i f i e d u s i n g m o d e r n t e c h n o l o g i e s o f 3D printing and basic skills such a s c u t t i n g a n d s e w i n g . T h e c h a i r i s f a r m o r e o p e n s o u r c e u s i n g the standardised elements as the s h o r t l i f e c o m p o n e n t s .

The number of components has be e n r e d u c e d t o 1 4 f r o m 1 7 a n d t h e c o n s t r u c t i o n t e c h n i q u e and materials has reduced the wei g h t b y m o r e t h a n h a l f . T h e c h a i r a c h i e v e s a g r e a t e r l e v e l o f legibility meaning that the assemb l y t i m e i s r e d u c e d w i t h n o s p e c i f i c k n o w - h o w o r a s s e m b l y sequence needed.

Once assembled we could easily se e a n d e x p e r i e n c e a l l o f t h e k e y c h a r a c t e r i s t i c s w e l i k e d w i t h i n the Roorkhee chair. The chair was u n f o r t u n a t e l y n o t a s c o m f o r t a b l e a s t h e R o o r k h e e , w h i c h m a y have been down to the fabric sele c t i o n , b u t s t i l l h e l d t h e s i t t i n g i n a l o w s l u n g p o s i t i o n . T h e l e g s and fabric worked together to resp o n d t o b o t h t h e u s e r a n d t h e f l o o r, s e l f l e v e l l i n g , r e a c h i n g a state of equilibrium. The fabric in p a r t i c u l a r s a g g e d a l a r g e a m o u n t r e c o r d i n g t h e s i t t i n g a n d responding differently to each use r.

101

F i g u r e 1 7 1 O pposite: JAM chair responding t o t h e a s f o u nd conditions.

F i g u r e 1 7 2 R ight: Final JAM chair.

F i g u r e 1 7 3 O pposite: Final JAM chair.

F i g u r e 1 7 4 R ight Top: Short life upholstery p o c k e t j o i n t detail.

F i g u r e 1 7 5 R ight Bottom: Self levelli ng long l i f e f o o t t e r mination detail interfacing as f o u n d g r o u n d conditions.

F i g u r e 1 7 6 O pposite: Camping out enjoying t h e v i e w.

F i g u r e 1 7 7 R ight Top: Material distortion r e m e m b e r i n g each sitting.

F i g u r e 1 7 8 R ight Bottom: Tightened long life 3 D p r i n t e d n ode.

Field Trips

109

3 .0.0

Field

Trip

F i g u r e 1 7 9 O pposite: MARS at the Solstice Arts Centre.

F i g u r e 1 8 0 Top: Panorama of Edinbur gh.

F i g u r e 1 8 1 R ight: The Lyric Theatre by O ’ D o n n e l l a n d Tuomey, Belfast.

r e - T h i n k

t h e

R e g i o n

In relation to our work we studied a s e l e c t r e g i o n f o r o u r s i x t h a n d f i f t h y e a r t h e s i s a n d d e s i g n projects. The research was undert a k e n a c r o s s E d i n b u r g h , G l a s g o w, B e l f a s t , D u b l i n a n d C o r k i n which we ‘re-thought’ the region w i t h r e l a t i o n t o t y p o l o g i e s a n d c h a n g e o u t l i n e d i n t h e r e - t h i n k the region document.

Prior to the trip we had already th o r o u g h l y r e s e a r c h e d t h e r e g i o n i n r e l a t i o n t o o u r s e l e c t e d topic. The trip enabled us to go de e p e r i n t o u n d e r s t a n d i n g t h e r e g i o n s o a k i n g u p t h e c u l t u r e trying to represent both material a n d i m m a t e r i a l q u a l i t i e s o f p l a c e t h r o u g h d r a w i n g , p h o t o g r a p h y and other methods.

We visited a variety of architectur e a n d a r c h i t e c t u r a l p l a c e s r a n g i n g f r o m J o n e s H o u s e t o t h e Giants Causeway and the works of O ’ D o n n e l l a n d Tu o m e y t o H e n e g a h a n P e n g . W i t h i n t h i s c h a p t e r we selected the most important hi g h l i g h t s o f t h e t r i p t o c a p t u r e o u r e x p e r i e n c e e m p h a s i s i n g t h e most powerful and inspirational m o m e n t s .

111

3 .1.0

Field

Trip

F i g u r e 1 8 2 O pposite: Glasgow’s grid iron s t r e e t p a t t e r ns.

F i g u r e 1 8 3 Top: Zaha Hadid’s Riverside M u s e u m.

F i g u r e 1 8 4 R ight: Glasgow school of arts e x t e n s i o n b y Steven Holl, view to the sky.

G l a s g o w Standing adjacent to the blackene d s h e l l o f M a c k i n t o s h ’s G l a s g o w S c h o o l o f A r t g a v e a g r e a t perspective on Glasgow. The line o f t h e h o r i z o n w a s f o r m e d b y a r a n g e o f r o l l i n g g r a s s y h i l l s t h a t we had passed through to reach th e c i t y. F r o m t h a t p o i n t y o u c o u l d s i t u a t e t h e c i t y a n d y o u r s e l f within the landscape.

Between the hills and the River Cl y d e y o u c o u l d s e e t h e l a n d b e c o m e g r a d u a l l y m o r e u r b a n . T h e gradient of the road and the land m a s s t h a t m u s t h a v e f o r m e d i t i m p e d e t h e v i e w o f t h e m i d d l e ground, which is filled with assum p t i o n s a b o u t h o w t h e c i t y i s f o r m e d .

The foreground shows the rate of c h a n g e i n l e v e l w i t h i n t h e c i t y a n d d e m o n s t r a t e s a c h a n g i n g styles that architecture has taken o n w i t h i n t h e f o r m o f t e r r a c e d b l o c k s w i t h i n a g r i d - s y s t e m o f car dominated roads.

Later, standing adjacent to the gre e n - p a i n t e d s h e l l o f H a d i d ’s R i v e r s i d e M u s e u m , a n o t h e r perspective opened up: from sea l e v e l , a l o n g t h e r i v e r t h a t c r e a t e d t h e t r a d e a n d i n d u s t r y t h a t created the city of Glasgow as it i s t o d a y.

113

3 .1.1

Field

Trip

“ O l d a n d N e w Towns of Edinburgh U N E S C O Wo r ld Heritage Centre,” accessed J a n u a r y 1 6 , 2015, http://whc.unesco.org/ en/list/728.

1

F i g u r e 1 8 5 O pposite: The historic cit y of Edinburgh.

F i g u r e 1 8 6 R ight Top: John Hope Gat eway, R o y a l B o t a n i c Garden by Edward Cullinan Studios.

F i g u r e 1 8 7 R ight: Rooms and Chairs?

E d i n b u r g h The first day was walking tour of E d i n b u r g h i t w a s d i v i d e d i n t o a t o u r o f t h e N e w To w n i n t h e morning and then the old town in t h e a f t e r n o o n . T h e o l d t o w n i s t h e n a m e p o p u l a r l y g i v e n t o t h e oldest part of Scotland’s capital Ed i n b u r g h . T h e a r e a h a s p r e s e r v e d m u c h o f i t s m e d i e v a l s t r e e t plan and many reformation- era bu i l d i n g s . T h e N e w To w n , c o n s t r u c t e d b e t w e e n 1 7 6 7 a n d 1 8 9 0 a s a collection of seven new towns o n t h e g l a c i a l p l a i n t o t h e n o r t h o f t h e O l d To w n , i s f r a m e d a n d articulated by an uncommonly high c o n c e n t r a t i o n o f p l a n n e d e n s e m b l e s o f a s h l a r- f a c e d , w o r l d class, neo-Classical buildings, ass o c i a t e d w i t h r e n o w n e d a r c h i t e c t s , i n c l u d i n g J o h n a n d R o b e r t Adam (1728-92) 1 . Our walking tour o f t h e n e w t o w n s i n c l u d e d C h a r l o t t e S q u a r e b y R o b e r t A d a m , Royal Circus by W.H. Playfair, the G a t e w a y B u i l d i n g a n d B o t a n i c a l G a r d e n s , b y C u l l i n a n S t u d i o and Gross Max. The old towns tour i n c l u d e d t h e f o l l o w i n g T h e C o l l e c t i v e G a l l e r y a t C a l t o n H i l l with Playfair Monument by W.H. P l a y f a i r, t h e S c o t t i s h P a r l i a m e n t b y M i r a l l e s / R M J M , 2 0 0 4 w h i c h we could only view from the outsi d e . L a s t l y t h e N a t i o n a l M u s e u m o f S c o t l a n d . T h e n a t i o n a l museum of Scotland is where we t h e n h a d o u r d r a w i n g w o r k s h o p t h e f o l l o w i n g d a y l e a d b y Frances Stacey.

115

3 .2.0

Field

Trip

F i g u r e 1 8 8 O pposite: Capturing the light Jones House.

F i g u r e 1 8 9 R ight Top: Cement fibre board cladding.

F i g u r e 1 9 0 R ight Bottom: Juxtaposition o f J o n e s H o use and Oval Church in the distance.

R a n d a l s t o w n

&

D e r r y

During our brief visits to Randalst o w n a n d D e r r y w e v i s i t e d a r c h i t e c t a n d t u t o r a t Q u e e n s University Belfast, Alan Jones at h i s h o u s e i n R a n d a l s t o w n . T h e J o n e s H o u s e d e s i g n e d b y A l a n Jones himself was placed on a ver y p e c u l i a r s i t e c o n t a i n i n g i n e x c e s s o f 4 c h u r c h e s s h o w i n g t h e strong religious background of the c o u n t r y. T h e h o u s e s a t o p p o s i t e t h e O v a l C h u r c h b a c k f r o m the main road and memorial garde n . T h e n a t u r e o f t h e s i t e m e a n t t h e h o u s e h a d t o c o m p l e m e n t the existing listed buildings, take i n t o a c c o u n t p r i v a c y a n d b e c o s t a n d e n e r g y e f f i c i e n t .

Through the placement of carefull y s e l e c t e d o p e n i n g s a n d t h e c a r e f u l u s e o f a s m a l l p a l l e t o f materials the pitched roof vernacu l a r o f t h e h o u s e m a k e s i t f i t i n b o t h c o n t e x t u a l l y a n d s o c i a l l y.

However the building for me is mo s t s u c c e s s f u l o n t h e i n s i d e w h e r e i t r e s p o n d s t o t h e h u m a n touch and interaction between mat e r i a l ( p a r t i c u l a r l y t h e b o a r d m a r k c o n c r e t e ) a n d t h e c a r e f u l sizing and interplay between spac e s .

The other significant visit we mad e w a s t o A n G a e l a r a s A r t s a n d C u l t u r a l C e n t r e b y O ’ D o n n e l l and Tuomey, 2009, Derry. Much lik e t h e i r o t h e r b u i l d i n g i t c o m p e t e s w i t h a d i f f i c u l t p l o t r e s u l t i n g in disjointed staircases winding th e i r w a y t o t h e t o p o f t h e b u i l d i n g c e n t r i n g a r o u n d a c e n t r a l atrium space. The majority of the b u i l d i n g a t f i r s t a p p e a r s q u i t e c o l d b e i n g m a d e o f c o n c r e t e b u t through the use of light and colour t h i s i s s o f t e n e d . W i t h i n t h i s p e c u l i a r f o r m a n d a n g l e s s m a l l e r more private areas are created for s m a l l e r c l a s s e s o r m e e t i n g s . T h e b u i l d a p p e a r e d t o c a t e r w e l l for the very friendly users (musicia n s w i t h o u t b o a r d e r s ) a n d e m p h a s i s e t h e i r e t h o s . E v i d e n t l y t h i s lead to us being persuaded by a w i t c h t o j o i n i n o n a s e s s i o n a n d l e a r n t o d a n c e l i k e t r e e s !

117

F i g u r e 1 9 1 O pposite: An Gaelaras Ar ts and C u l t u r a l C e n tre view up to atrium skylight.

F i g u r e 1 9 2 R ight Top: Martian service given

by Alan Jones .

F i g u r e 1 9 3 R ight Bottom: An Gaelaras C o n c r e t e s t a ir lighting detail.

3 .2.0

Field

Trip

“ M a j o r P l a n s Ahead for Cultúrlann Uí C h a n á i n , ” a c cessed January 18, 2015, h t t p : / / w w w. derryjournal.com/news/ m a j o r- p l a n s - ahead-for-culturlann-uic h a n a i n - 1 - 6 3 99801.

3 M a r k H a c k e tt, “An Gaeláras by O’Donnell + Tu o m e y, D e rry, Northern Ireland,” a c c e s s e d J a nuary 18, 2015, http://www. a r c h i t e c t u r a l -review.com/buildings/ang a e l r a s - b y - o donnell-tuomey-derry-northerni re l a n d / 5 2 1 8 206.article.

2

F i g u r e 1 9 4 O pposite: An Gaelaras upper g a l l e r y.

F i g u r e 1 9 5 Top: View to the sky from the c e n t r a l a t r i u m.

F i g u r e 1 9 6 R ight: Traversing the winding stairs.

C u l t ú r l a n n

U í

C h a n á i n ,

O ’ D o n n e l l

a n d

Tu o m e y,

D e r r y

The building occupies a deep, blin d p l o t o n G r e a t J a m e s S t r e e t a t t h e r a g g e d e n d o f t h e c i t y ’s Georgian quarter. The site, 50m lo n g b y 1 5 m w i d e , i s b o u n d e d o n t h r e e s i d e s b y p a r t y w a l l s , while the useful street frontage is h a l v e d b y t h e n e e d t o r e t a i n a n e x i s t i n g e l e c t r i c i t y b o a r d substation on the site and carve o u t a f i r e e s c a p e f o r t h e n e w c o m p l e x . 2 The problem the site faced was fin d i n g d a y l i g h t t o d e a l w i t h t h i s t h e a r c h i t e c t s f e l l b a c k o n a n approach they discovered when de s i g n i n g t h e I r i s h F i l m C e n t r e a r o u n d a n i r r e g u l a r l y s h a p e d found space in Dublin’s Temple Ba r i n t h e e a r l y 1 9 9 0 s . A l l o f t h e C u l t ú r l a n n ’s a c t i v i t i e s a r e clustered around an “external” soc i a l s p a c e , a g l a s s - r o o f e d t r a p e z o i d a l c o u r t y a r d t h a t i s c a r v e d through the four floors of the build i n g , g i v i n g a c c e s s t o t h e d i f f e r e n t f u n c t i o n s , w h i c h a r e l a i d out one per level, each according t o i t s n e e d s : c u l t u r e , e n t e r p r i s e , t e a c h i n g a n d a d m i n i s t r a t i o n . 3 This approach is used again; the a t r i u m a t t h e h e a r t o f t h e b u i l d i n g a l l o w s l i g h t d e e p i n t o t h e plan. This sets up a series of open c o r r i d o r w h i c h w r a p a r o u n d t h e a t r i u m . T h e g r o u n d f l o o r i s occupied by a performance space a n d a c a f é w h a t t h i s b u i l d i n g d o e s v e r y s u c c e s s f u l l y i s n o t l o s e the other spaces, the enterprise of f i c e s , e d u c a t i o n r o o m s a n d a r t s a n d c r a f t a r e a i n t h e b u i l d i n g which remain active and not hidde n a w a y o f c o r r i d o r s .

121

3 .2.1

Field

Trip

F i g u r e 1 9 7 O pposite: The range and d e p t h o f c o l o urs and tone found in b oth t h e l a n d s c a p e and the sky contribute s i g n i f i c a n t l y to the atmosphere of the C a u s e w a y C oast.

F i g u r e 1 9 8 Top Left: Sketch highlighting i m m e d i a t e k ey physical features of the c o a s t a l l a n d scape. Namely the artifi cial m a r k s o f f e n ce lines and buildings in t h e l a n d s c a p e and on horizons, and the e x p o s u r e t o t he weather.

F i g u r e 1 9 9 Top Right: The Giant’s Causeway Vi s i t o r ’s C e n tre by Heneghan Peng.

F i g u r e 2 0 0 R ight: The unabashed delineation o f t h e l a n d s c ape by fence posts and barbed wire.

C a u s e w a y

C o a s t

Wa y

-

A n t h o n y

G r o u t

The Causeway Coast Way runs bet w e e n t h e C a r r i c k - a - R e d e R o p e B r i d g e a n d t h e G i a n t ’s C a u s e w a y Visitor’s Centre in Antrim, Norther n I r e l a n d . I t i s t h e p r o p o s e d s i t e f o r t h e Wa l k e r ’s S h e l t e r project.

After visiting the Carrick-a-Rede R o p e b r i d g e w i t h i t s h i s t o r y i n t h e s a l m o n f i s h i n g i n d u s t r y I began to walk along the Causeway C o a s t Wa y. M y i m m e d i a t e i m p r e s s i o n w a s o f t h e e x p o s u r e t o the weather. Being on the northern c o a s t , t u r n i n g i n l a n d y o u c o u l d s e e t h e w e a t h e r a p p r o a c h i n g across the landscape towards you f r o m t h e s o u t h - w e s t .

The second observation were the a r t i f i c i a l m a r k s o n t h e l a n d s c a p e . T h e f i r s t o f t h e s e w e r e w h i t e (traditionally lime rendered) masse s o f t h e s c a t t e r e d b u i l d i n g s . T h e s e s a t b o t h i n t h e l a n d s c a p e and, in the case of a small church, o n t h e h o r i z o n , m e e t i n g t h e s k y. T h e s e c o n d o f t h e s e w e r e the rhythmic lines of the field fenc e p o s t s t h a n r a n p e r p e n d i c u l a r t o t h e c o a s t a n d a b u t t i n g t h e coastal path along its length. They r a n f r o m t h e c o a s t t o t h e n e a r e s t f o o t h i l l s .

Finally, nearer the Giant’s Causew a y, i n t h e e v e n i n g s u n l i g h t , t h e d e p t h o f t h e c o l o u r s i n t h e landscape and sky was particularl y e n g a g i n g a n d g a v e a r e a l s e n s e o f p l a c e .

123

3 .2.1

Field

Trip

“ G i a n t ’s C a u seway Visitors’ Centre by H e n e g h a n P e ng Architects,” Dezeen, a c c e s s e d J a nuary 18, 2015, http://www. d e z e e n . c o m / 2012/10/18/giants-caus ewayv i s i t o r s - c e n t re-by-heneghan-pengarchitects/.

4

F i g u r e 2 0 1 O pposite: The Giant’s Causeway.

F i g u r e 2 0 2 Top: Basalt rock formations.

F i g u r e 2 0 3 R ight: The Giant’s Causeway Vi s i t o r s C e n t re.

G i a n t ’s C a u s e w a y Vi s i t o r C e n t r e , A r c h i t e c t s , C a u s e w a y C o a s t

H e n e g h a n

P e n g

The Visitor centre lies 1km from th e b a s a l t f o r m a t i o n , s i l e n t l y c r o u c h e d d o w n i n t o t h e h i l l a b o v e the coast. It is composed of two fi s s u r e s i n t h e g r o u n d . O n e r i s e s u p 6 m t o f o r m t h e a n g u l a r entrance of the building, the other s l i p p i n g d o w n b y e q u a l h e i g h t t o c r e a t e a s u n k e n c a r p a r k .

Each fissure is lined with pillars o r p o l i s h e d b l a c k b a s a l t . H e n e g h a n s P e n g ’s p r o p o s a l h a s t r i e d as far as possible to bury the sche m e t o b l e n d t h e 1 , 8 0 0 s q m o f s h o p , c a f é a n d e x h i b i t i o n s p a c e as well as parking for 200 cars int o t h e u n d u l a t i n g t o p o g r a p h y o f t h e p l a c e . 4 T h e u s u a l p l a n n e r friendly approach of covering them w i t h g r a s s r a r e l y w o r k s , h o w e v e r t h e a r c h i t e c t s h a v e s c u l p t e d the landform in such a way as for t h e e n t i r e c o m p l e x t o b e b a r e l y l e g i b l e o n t h e h o r i z o n f r o m a n y direction. The building internally i s r e v e l l e d a s a g r e a t h a l l c o v e r e d b y a c o n c r e t e s l a b s u p p o r t e d by slender steel fins, in which the v a r i o u s c o m p o n e n t s o f t h e n a t i o n a l t r u s t a r e l o o s e l y a r r a n g e d .

The space is big and echoey, and h a d s o m e t h i n g o f a d e p a r t u r e h a l l t o i t .

Being so much part of the natural l a n d s c a p e r e f u s i n g t o d i f f e r e n t i a t e b e t w e e n f r o n t a n d b a c k , ground and roof, the buildings one w e a k n e s s i s i n p r o v i d i n g a c o h e r e n t s e n s e o f c i r c u l a t i o n . T h i s can be seen as a difficult aspect o f t h e b r i e f a s t h e c a u s e w a y i s a n o p e n s i t e a n d p u b l i c r i g h t o f way an yet the national trust must c h a r g e f o r p a r k i n g a n d u s e o f f a c i l i t i e s .

However the biggest problem, whi c h w a s e n t i r e l y o u t o f t h e a r c h i t e c t ’s c o n t r o l , i s t h e e x h i b i t i o n design itself. The product of ‘Even t ’ , w h i c h a l s o p r o d u c e d t h e d i s p l a y s f o r t h e n e a r b y Ti t a n i c Belfast, it consists of a series of u n i n s p i r i n g i n t e r p r e t a t i o n b o a r d s a n d d i g i t a l p r o j e c t i o n s .

125

3 .2.2

Field

Trip

M a r k H a c k e tt and Declan Hill, “Forum for A l t e r n a t i v e Belfast,” Forum for Alternative B e l f a s t , 2 0 0 9, http://www.forumbelfast. org/.

5

F i g u r e 2 0 4 O pposite: The Lyric in the landscape.

F i g u r e 2 0 5 Top: The Stairs Go March ing Two b y Tw o . . .

F i g u r e 2 0 6 R ight: A relationship of scale.

B e l f a s t In the past Belfast was an industri a l c e n t r e h o l d i n g a l a r g e s t a k e p r i m a r i l y i n t h e s h i p b u i l d i n g business. Today it is a very differe n t p l a c e . T h e m e m o r i e s o f t h e s h i p b u i l d i n g i n d u s t r y s t i l l remain in the Titanic quarter wher e S a m s o n a n d G o l i a t h s t i l l s t a n d a s a b a c k d r o p t o t h e q u a i n t brick housing around. It is a place c l e a r l y s t i l l s t r u g g l i n g f r o m p o l i t i c a l u n r e s t e v e n a f t e r ‘ T h e Troubles’ concluded almost 20 yea r s a g o , e v i d e n t i n t h e u r b a n c o m p o s i t i o n . F r o m t h e 1 9 6 0 ’s Belfast has seemingly unbuilt a w e l l f u n c t i o n i n g c i t y c a r v i n g i t u p t o m a k e c a r s t h e m a i n s o u r c e of transport. In this time the Cities p o p u l a t i o n d r o p p e d b y 3 5 % c h o o s i n g t o m o v e t o t h e s u b u r b s and public spaces became sparse m a k i n g w a y f o r c a r p a r k s a n d a b a n d o n e d b u i l d i n g s . 5 All of this made Belfast a very int e r e s t i n g p l a c e t o v i s i t w i t h a n u m b e r o f i n t e r e s t i n g b u i l d i n g s , people and organisations. On the t r i p w e v i s i t e d A l a s t a i r H a l l f r o m H a l l M c N i g h t A r c h i t e c t u r e designers of The MAC, and we als o v i s i t e d R u t h M o r r o w C o - D i r e c t o r o f t h e Ta c t i l i t y F a c t o r y.

Both with refreshing yet differing a p p r o a c h e s t o A r c h i t e c t u r e . We t h e n v i s i t e d Q u e e n s U n i v e r s i t y Belfast to take part in the paper m a k i n g w o r k s h o p r u n b y R a c h e l D e l a r g y w h e r e w e g o t t o w o r k with resident QUB students also le a r n i n g t h e t e c h n i q u e o f p a p e r m o d e l l i n g . I n a d d i t i o n w e experienced a number of buildings s u c h a s O ’ D o n n e l l a n d Tu o m e y ’s T h e Ly r i c b u i l d i n g , U l s t e r Museum and the famous Titanic qu a r t e r.

127

F i g u r e 2 0 7 O pposite: Material Tectonic.

F i g u r e 2 0 8 R ight Top: The MAC. F i g u r e 2 0 9 R ight Bottom: Entrance to The MAC.

F i g u r e 2 1 0 O pposite: Origins and futures, r e f l e c t e d , Ti tanic Quarter.

F i g u r e 2 1 1 R ight Top: Samson or Goliath?

F i g u r e 2 1 2 R ight Bottom: Drawing room of t h e Ti t a n i c Q uarter.

3 .2.2

Field

Trip

R u t h M o r r o w, “Tactility Factory” (In formal D i s c u s s i o n , Belfast, April 11, 2014).

7 Ib i d .

6

F i g u r e 2 1 3 O pposite: Curved concrete panel a n d v e l v e t t extile.

F i g u r e 2 1 4 R ight top: Concrete and c rystal panel.

F i g u r e 2 1 5 R ight bottom: Concrete panel i n l a i d w i t h c otton.

R u t h

M o r r o w

-

Ta c t i l i t y

F a c t o r y,

B e l f a s t

“The aim to make all hard things s o f t ” - R a t i o n a l i s i n g m a d i d e a s t h r o u g h t e c h n o l o g y.

The tactility factory run by Ruth M o r r o w ( A r c h i t e c t ) a n d Tr i s h B e l f o r d ( Te x t i l e s ) f o c u s e s o n printing technologies, but not the t y p i c a l p r i n t i n g m o s t w o u l d i n s t a n t l y t h i n k o f . T h e t a c t i l i t y factory uses chemical and mechan i c a l d i s t o r t i o n w i t h i n t h e s p e c i f i c c o m b i n a t i o n o f t e x t i l e s a n d concrete to create tactile objects t h r o u g h p r o c e s s r e s u l t i n g i n t h i n g s t o t o u c h . 6 T h i s b r i n g i n g together of contrasting cultures cr e a t e s a s h i f t i n a r c h i t e c t u r e r e a w a k e n i n g a s t r a t e g i c l i n k to material experience. Through ‘T h e r a p e u t i c m a k i n g ’ 7 a k n o w - h o w h a s b e e n d e v e l o p e d w i t h i n this unique field of research. Whe n I s a y k n o w - h o w I m e a n a k n o w l e d g e t h a t h a s a c u l t u r a l a n d practice basis such as the relation s h i p a m e c h a n i c o r c a r p e n t e r h a s w i t h t h e i r o w n p e r s o n a l workshop.

I found this visit particularly inter e s t i n g b e c a u s e o f t h e i d e a o f b r i n g i n g t o g e t h e r c o n t r a s t i n g cultures to create innovative resul t s . T h i s b r o u g h t t o m i n d t h e a n a l o g y o f t h e s o f t n e s s o f h o m e combining with the hard harsh env i r o n m e n t o f a h o s p i t a l b u i l d i n g a n d h o w s e l e c t e d a r e a s c a n b e revealed, contrasting the functiona l h a r d e l e m e n t s w i t h t h e t a c t i l e s o f t e l e m e n t s b u t , w o r k i n g together to produce an overall ma t e r i a l e x p e r i e n c e . I a l s o f o u n d t h e t e c h n i c a l a n d p r a c t i c a l aspects interesting, specifically th e a p p l i c a t i o n s t h a t t h e t e c h n o l o g y c o u l d b e u s e d f o r s u c h a s having the textile coated with tita n i u m o x i d e t o a b s o r b p o l l u t i o n d i s c o l o u r i n g t h e m o r e p o l l u t i o n is absorbed.

Another important aspect was the o v e r a l l m a n u f a c t u r i n g p r o c e s s t h a t t h e t a c t i l e f a c t o r y h a d developed. All trades and speciali s t s k i l l s / e q u i p m e n t w e r e a v a i l a b l e o n s i t e c r e a t i n g a l e v e l of control and autonomy within th e p r o c e s s . W h e n t h i n k i n g o f h o s p i t a l s i n t e r m s o f a p r o c e s s the same principal of having all sp e c i a l i s t d e p a r t m e n t s a n d s k i l l s a g g r e g a t e d w i t h i n o n e a r e a t o create this autonomy and control.

133

F i g u r e 2 1 6 O pposite: Various tile samples t e s t i n g d i f f e rent materials.

F i g u r e 2 1 7 Top: MARS at the Tactility F a c t o r y.

F i g u r e 2 1 8 C entre: Soft door handle detail.

F i g u r e 2 1 9 R ight: Ruth Morrow and t he Martians.

135

3 .2.2

Field

Trip

F i g u r e 2 2 0 O pposite: The Lyric in the landscape.

F i g u r e 2 2 1 Top Left: Lyric analysis sketch.

F i g u r e 2 2 2 Top Right: The Stairs Go M a r c h i n g Tw o by Two...

F i g u r e 2 2 3 R ight: Facade street view.

T h e

Ly r i c ,

O ’ D o n n e l l

a n d

Tu o m e y,

B e l f a s t

The Lyric Theatre, by O’Donnell & Tu o m e y i s s i t u a t e d b e t w e e n t h e b a n k o f t h e R i v e r L a g a n a n d the banks of red brick, terraced ho u s i n g t h a t d o m i n a t e B e l f a s t ’s U n i v e r s i t y Q u a r t e r. A p p r o a c h e d from its urban facing side, the mon o l i t h i c m a s s a n d r o o f s c a p e b e l i e s t h e l a n d s c a p e e x p o s e d a n d created on the other side of the re d b r i c k w a l l .

The Lyric is formed like its own pi e c e o f l a n d s c a p e t h a t t w i s t s , s t e p s , s l o p e s , d i v i d e s a n d o p e n s .

Spaces expand and contract in hei g h t , w i d t h a n d d e p t h a s m a t e r i a l s u n d e r f o o t c h a n g e . I n contrast to the introverted face on t o t h e t e r r a c e d h o u s i n g , T h e Ly r i c o p e n s u p t o t h e l a n d s c a p e of the river. By stepping away from t h e s i t e b o u n d a r y i t a l s o e x t e n d s t h e r i v e r s i d e i n t o t h e s i t e .

This same language continues with i n t h e b u i l d i n g a s t a l l , t h i c k w i n d o w f r a m e s a n d t o w e r i n g l i g h t fixtures reference the trees and li g h t f o u n d e x t e r n a l l y.

The Lyric presents a high quality o f c o n s t r u c t i o n f o r a n i n s t i t u t i o n t h a t h a s a s t r o n g r e s o n a n c e with the community of Belfast. It c r e a t e s a p i e c e o f l a n d s c a p e i n a n u r b a n e n v i r o n m e n t , t i e i n g together two opposing contexts.

137

F i g u r e 2 2 4 O pposite: Internal entrance hall.

F i g u r e 2 2 5 R ight Top: Views to natur e.

F i g u r e 2 2 6 R ight Bottom: The Lyric within the trees.

3 .2.2

Field

Trip

F i g u r e 2 2 7 O pposite: Materiality of The MAC. F i g u r e 2 2 8 Top: Upper level cafe seating area.

F i g u r e 2 2 9 R ight: Street view of the basalt facade.

T h e

M A C ,

H a c k e t t

H a l l

M c K n i g h t ,

B e l f a s t

Designed by Hackett Hall McKnigh t , T h e M A C , o r M e t r o p o l i t a n A r t s C e n t r e i s a m i x e d u s e g a l l e r y, theatre and social space within th e f a b r i c o f B e l f a s t c i t y c e n t r e . A b l a c k b a s a l t t o w e r i s f a c i n g onto a new square is the pivot poi n t a r o u n d w h i c h a r e d b r i c k v o l u m e s i t s . T h e t o w e r a c t s a s a landmark and marks one of two en t r a n c e p o i n t s i n t o t h e M A C .

The two entrance points mark ends o f a n i n t e r n a l s t r e e t t h a t r u n s b e t w e e n c o n c r e t e a n d b r i c k volumes on the interior of the buil d i n g . W i t h i n t h i s s t r e e t a r e c o m m u n a l f u n c t i o n s s u c h a s t h e cafe and bar and are intended to o p e n u p t h e b u i l d i n g t o o t h e r u s e r s a s i f i t w e r e a n o r m a l s t r e e t .

However, in experience, the entran c e s t o t h e b u i l d i n g a r e u n d o u b t e d l y e n t r a n c e s a n d e x i t s , having the language of doors rathe r t h a n o f s t r e e t c o r n e r s . T h a t i s n ’t t o s a y t h a t t h e i n t e r n a l street is not a successful space. It ’s h e i g h t , n a r r o w n e s s a n d h a r d n e s s c r e a t e a s e n s e o f a c t i v i t y and drama that makes the space fe e l p a r t o f t h e u r b a n e n v i r o n m e n t . T h e v o l u m e s t h a t e n c l o s e t h e street space, contain the buildings o t h e r f u n c t i o n s , n a m e l y t h e g a l l e r y a n d a u d i t o r i u m s p a c e s .

141

3 .2.3

Field

Trip

“ C o r k C i t y C ouncil Civic Offices, by ABK A r c h i t e c t s , ” accessed January 18, 2015, h t t p : / / a b k d u blin.com/portfolio/cork-cityc o u n c i l - c i v i c -offices/.

8

F i g u r e 2 3 0 O pposite: Cork Institute of t e c h n o l o g y c ampus by de Blacam and M e a g h e r.

F i g u r e 2 3 1 R ight Top: Cork City Hall New C i v i c o f f i c e main atrium space.

F i g u r e 2 3 2 R ight: The Lewis Glucksman G a l l e r y, p e r c hed within the trees.

C o r k During our visit to cork we visited t h e G l u k s m a n G a l l e r y b y O ’ D o n n e l l & To o m e y, w h i c h a c t s a gateway between University Colleg e C o r k a n d c o r k c i t y. T h e p r o j e c t l o o k s t o c r e a t e a m o d e r n a r t gallery at the same time acts as a n c o n s e r v a t i o n p r o j e c t f o r t h e n o b l e t r e s s t h a t o v e r h a n g t h e River Lee. The design plays betwe e n w o o d a n d s t o n e p a y i n g r e s p e c t t o i t s n a t u r a l s u r r o u n d i n g s .

The other building of interest was C o r k C i t y H a l l , N e w C i v i c O f f i c e b y A B K A r c h i t e c t s , t h e p r o j e c t is a the product of a ‘Design and B u i l d ’ c o m p e t i t i o n s e t b y C o r k C i t y C o u n c i l i n F e b 2 0 0 4 . B e i n g restricted to the ground floor of th i s b u i l d i n g , i t a l l o w e d u s t o r e a l l y a p p r e c i a t e t h e c e n t r a l atrium. At ground floor this allows f u n c t i o n s t o n o w h a v e t h e p o t e n t i a l t o i n t e g r a t e t h e n e w atrium space with either the histo r i c C o n c e r t H a l l o r t h e m u l t i f u n c t i o n a l M i l l e n n i u m H a l l o r b o t h .

The central atrium stretches from t h e g r o u n d f l o o r t o t h e r o o f , f i v e s t o r i e s a b o v e , f l o o d i n g b o t h the public concourse and all depar t m e n t s b e l o w w i t h n a t u r a l l i g h t . 8 S a d l y a w a l k t h r o u g h t h e c i t y was not possible due to the bad w e a t h e r o n t h a t p a r t i c u l a r d a y.

143

3 .2.3

Field

Trip

F i g u r e 2 3 3 O pposite: Inside or out?

F i g u r e 2 3 4 Top: The Lewis Glucksman G a l l e r y.

F i g u r e 2 3 5 R ight: Drawn towards the l i g h t a n d v i e ws of the tree tops on the staircases.

G l u c k s m a n

G a l l e r y,

O ’ D o n n e l l

Tu o m e y,

C o r k

The Glucksman gallery is a unique e x p e r i e n c e o f i n t e r n a l a n d e x t e r n a l v i e w i n g a m o n g s t t h e t r e e tops. Upon entrance the ‘tree hous e ’ l e v i t a t e d a b o v e t h e e n t r a n c e p l i n t h g r o w i n g o u t o f t h e e a r t h .

The first ascendance took us into t h e b o d y o f t h e b u i l d i n g w h e r e e x h i b i t s a r e d i s p l a y e d . We then proceed to climb the further s i x s t o r i e s t o t h e t o p o f t h e b u i l d i n g b u t y o u w o u l d n e v e r h a v e guessed due to the meandering an d d i s j o i n t e d j o u r n e y t h r o u g h t h e e x h i b i t i o n s p a c e s c o n s t a n t l y being drawn to the light and const a n t v i e w s t o t h e t r e e s .

In contrast to the transition space s o f t h e s t a i r s t h e g a l l e r i e s s i t w i t h i n t h e b o d y o f t h e b u i l d i n g closed off to external views but th e s e l e c t f e w f o r r e s p i t e f r o m t h e a r t w o r k s a n d t o f l o o d t h e space with light. Whilst the stair i s t h e p l a c e o f p h y s i c a l t r a n s i t i o n t h e g a l l e r i e s c a p t u r e t h e occupation of the artists. The artw o r k s w i l l b e c h a n g e d o v e r t i m e b u t t h e u n t r e a t e d o a k f l o o r retains all of the scares and wear r e m e m b e r i n g t h e w o r k o f p a s t e x h i b i t i o n s . A n o t h e r i n t e r e s t i n g working of gallery was that the ar t i s t s t h e m s e l v e s c r e a t e d t h e i r e x h i b i t i o n s i n a m o r e i n f o r m a l manner to some curations.

Whilst in some ways distinctly dif f e r e n t t o O ’ D o n n e l l a n d Tu o m e y ’s o t h e r w o r k s I f o u n d t h e gallery very successful through its b l u r r i n g o f i n s i d e a n d o u t s i d e a n d t h e c r e a t i o n o f s p e c i a l moments on the journey up into th e t r e e c a n o p y. T h e d i s t i n c t i o n b e t w e e n t h e t h r e e l a y e r s - T h e Plinth, The Trees and The Tree Hou s e - c r e a t e s a s e p a r a t i o n b e t w e e n t h e r e s t a u r a n t , a r r i v a l and gallery respectively giving eac h t h e i r o w n d i s t i n c t e x p e r i e n c e , w h i l s t a t t h e s a m e t i m e n o t ruining their atmospheres through c l e v e r h i d i n g o f t h e s e r v i c e s a n d w o r k i n g s o f t h e b u i l d i n g .

145

F i g u r e 2 3 6 O pposite: Scares and marks left b e h i n d r e c o r ded.

F i g u r e 2 3 7 R ight Top: Entrance to the G a l l e r y s h o w ing the plinth, trees and tree house.

F i g u r e 2 3 8 R ight Bottom: Artists curating t h e i r e x h i b i t i on spaces.

3 .2.4

Field

Trip

F i g u r e 2 3 9 O pposite: Timberyard soc ial h o u s i n g b y O ’Donnell and Tuomey.

F i g u r e 2 4 0 Top: The RTE broadcasting centre b y R o n n i e Ta llon of Scott Tallon Walker F i g u r e 2 4 1 R ight: Brutalist library by ABK Architects.

D u b l i n The visit to Dublin consisted of ta k i n g i n t h e Tr i n i t y C o l l e g e C a m p u s i n c l u d i n g t h e B r u t a l i s t library by ABK Architects and the S a m u e l B e c k e t t T h e a t r e b y d e B l a c a m a n d M e a g h e r A r c h i t e c t s .

Following an exploration of Meeti n g H o u s e S q u a r e d i s c u s s e d b e l o w, t h e Ti m b e r y a r d S o c i a l Housing project by O’Donnell and Tu o m e y w a s v i s i t e d . T h e v e r y s e l e c t p a l e t t e o f m a t e r i a l s u s e d to express a sense of mass was co n s i s t e n t w i t h t h e i r o t h e r w o r k v i s i t e d . T h e a n g u l a r v o l u m e s created a variety of semi-private s p a c e f r o m w h i c h t h e r e s i d e n c e s a r e a c c e s s e d .

The RTE broadcasting centre offer e d a v i e w o f t h e w o r k o f a d i s c i p l e , a n d f o r m e r e m p l o y e e o f Mies van der Rohe, Ronnie Tallon o f S c o t t Ta l l o n Wa l k e r. T h e i n f l u e n c e o f M i e s ’ w o r k i s c l e a r l y seen in the very precise and articu l a t e d u s e o f s t e e l , a l u m i n i u m p r o f i l e s a n d g l a s s .

Dublin as a city is not surprisingly s p l i t b y t h e R i v e r L i f f e y, w i t h t h e f o c u s o f a c t i v i t y i n t h e Temple Bar area containing a dens e n e t w o r k o f s t r e e t s .

149

150

3 .2.4

Field

Trip

F i g u r e 2 4 2 O pposite: Paper model of Temple B a r - M e e t i n g House Square.

F i g u r e 2 4 3 Top: Public space betwee n the 3 i n s t i t u t e s l inking them together through r e l a t e d e v e n ts such as film screenings.

F i g u r e 2 4 4 R ight: Photograph of the stage o n t h e c o m m unal square attached to the c h i l d r e n ’s c e ntre.

M e e t i n g

H o u s e

S q u a r e ,

Te a m

9 1 ,

D u b l i n

Temple Bar was one of the three s p a c e s f o r u r b a n r e g e n e r a t i o n w h e n G r o u p 9 1 w o n t h e Te m p l e Bar framework plan competition in 1 9 9 2 . G r o u p 9 1 C o m p r i s e d – G r a f t o n A r c h i t e c t s , O ’ D o n n e l l and Tuomey, Shay Cleary Architect s , D e r e k Ty n a n A r c h i t e c t s , P a u l K e o g h A r c h i t e c t s , M c C u l l o u g h Mulvin Architects, Shane O’Toole w i t h M i c h a e l K e l l y, a n d M c G a r r y N í E a n a i g h . T h e a i m w a s to form buildings around the publi c s p a c e i n a n a t t e m p t t o l i n k M e e t i n g H o u s e S q u a r e , C u r v e d Street and Temple Bar Square.

Formerly used as a surface car par k M e e t i n g H o u s e S q u a r e i s n o w a c h a n g e a b l e p u b l i c s p a c e catering for markets, film nights a n d p e r f o r m a n c e s . T h e f o u r w a l l s o f t h e s q u a r e a r e m a d e u p of four institutions all related and c o n n e c t e d a r o u n d t h e s q u a r e : T h e A r k ( C h i l d r e n ’s c e n t r e ) , The Gallery of Photography, the Iri s h F i l m C e n t r e ( P r e - U r b a n r e g e n e r a t i o n ) a n d T h e N a t i o n a l Photography Centre.

The arrangement of building metic u l o u s l y i n t e r w e a v e w i t h i n t h e e x i s t i n g f a b r i c m a i n t a i n i n g t h e public square space in which they c a n a l l i n t e r a c t a n d c o n n e c t w h i l s t n o t b e c o m i n g o n e l a r g e building giving nothing back to the u r b a n r e a l m . T h e s q u a r e s e e m e d l i k e a p l e a s a n t p l a c e t o b e but fairly quite which could have b e e n d o w n t o a n u m b e r o f r e a s o n s s u c h a s t h e s e a s o n o r t i m e o f day. However Cassidy writes that i t h a s a n u m b e r o f i s s u e s o n e b e i n g t h e f a c t t h a t i t i s a g a t e d square and not fully public. Secon d l y t h e i n t e n t i o n w a s f o r t h e s q u a r e t o b e p a r t o f t h e l i n k a n d bridge over the Liffey, however th e a c t u a l b r i d g e w a s p l a c e d a l o n g E u s t a n c e s t r e e t m e a n i n g t h a t is where most of the footfall happ e n s . To c o m b a t t h i s a n u m b e r o f e v e n t s a r e h e l d w i t h i n t h e square but the combination of man a g e r i a l a n d u r b a n p o s i t i o n i n g i s s u e s m e a n s i t s i n i t i a l p r e m i s e is somewhat lost.

151

F i g u r e 2 4 5 O pposite: ‘Shaped by [Martians]’, a t t h e N a t i o nal photographic archive.

F i g u r e 2 4 6 R ight: View across the square t o t h e I r i s h F ilm Centre and National P h o t o g r a p h y Centre.

Workshops

155

4 .0.0

Workshops

F i g u r e 2 4 7 O pposite: Internal paper model v i e w b y R a c hel Delargy.

F i g u r e 2 4 8 Top: A tale of lovers long ago by P a t r i c i a F u r g uson, Silkscreen print.

F i g u r e 2 4 9 R ight: ‘Glomp’, detail, 2010 by F r a n c e s S t a c ey.

Wo r k i n g

W i t h

a n

A r t i s t

Over the course of the semester th e r e s e a r c h o f m a k i n g a n d a r c h i t e c t u r a l r e p r e s e n t a t i o n w a s supported by a number of worksho p s . W i t h i n t h e s e w o r k s h o p s w e l e a r n t t h e a r t o f a r c h i t e c t u r a l representation through drawing, p r i n t i n g , a n d p a p e r m o d e l l i n g . E a c h w o r k s h o p d e v e l o p e d u p o n our architectural representation sk i l l s i n t e g r a t i n g i n t o t h e w i d e r p r o g r a m m e a l l o w i n g t h e s k i l l s we learnt to be transferred to The s i s f o r s i x t h y e a r s a n d Wa l k e r s h e l t e r / C o m p r e h e n s i v e d e s i g n project for fifth years.

The first two workshops took plac e w i t h i n t h e r e g i o n : D r a w i n g i n E d i n b u r g h w i t h F r a n c e s S t a c e y and paper modelling in Belfast wit h R a c h e l D e l a r g y. T h e f i n a l w o r k s h o p w a s l e a d b y P a t r i c i a Ferguson who taught us the proces s o f p r i n t i n g b u t m o r e s p e c i f i c a l l y C o l l a g r a p h y a n d M o n o p r i n t methods.

157

4 .1.0

D rawing

F i g u r e 2 5 0 O pposite: Drawing Martians.

F i g u r e 2 5 1 Top: MARS Drawing workshop l e a d b y F r a n ces Stacey.

F i g u r e 2 5 2 R ight: MARS two handed s k e t c h i n g i n the early people gallery.

F r a n c i s

S t a c e y

-

Ed i n b u r g h

N a t i o n a l

M u s e u m

Appropriate drawing techniques ar e a l w a y s d i f f i c u l t t o i m p l e m e n t w h e n t h i n k i n g a b o u t w h a t information you want to show. At t h e N a t i o n a l M u s e u m o f S c o t l a n d - E d i n b u r g h F r a n c e s S t a c e y lead the workshop showing us the r a n g e o f i n f o r m a t i o n t h a t c a n b e s h o w n r a n g i n g f r o m q u i c k 1 minute sketches up to 60 minute d r a w i n g s .

We began with quick 1 minute ske t c h i n g e x e r c i s e s t o w a r m a n d l o o s e n u p . T h i s s t a r t e d f r o m the outset to make us think about h o w w e c o u l d c o n s t r u c t a f e e l i n g o f s p a c e w i t h a v e r y l i m i t e d number of lines by either reducing t h e s c o p e o f w h a t y o u a r e d r a w i n g o r b e i n g m o r e s e l e c t i v e with your mark making. The sketch t i m e w a s t h e n i n c r e a s e d a n d i n c o m p a r i s o n t o t h e 1 m i n u t e sketch time it was surprising how m u c h y o u c o u l d d r a w w i t h i n t h e t i m e l i m i t .

The next exercise was drawing wit h b o t h h a n d s s i m u l t a n e o u s l y. B e c a u s e t h i s w a s s u c h a n a l i e n technique to everyone it really ma d e u s l o o k a t t h e c o m p o s i t i o n o f t h e s p a c e a n d d r a w w h a t w e see rather than just drawing what w e t h i n k i s t h e r e . I n t h e s e c o n d s e s s i o n w e d r e w 5 1 0 m i n u t e sketches showing a spatial sequen c i n g n o w m o v i n g f r o m a s i n g l e d r a w i n g c a p t u r i n g a s p a c e t o a full composition of spatial movem e n t . F i n a l l y w e h a d o n e h o u r f o r o n e d r a w i n g i n w h i c h w e c o u l d implement all we had learnt and t e s t s o m e m o r e t i m e c o n s u m i n g m e d i a .

159

4 . 1 . 0 - D r a w i n g Workshop - Jamie Brown 1 minute sketches

160

4 .1.0

D rawing

F i g u r e 2 5 2 O pposite: 1 minute initial warm u p s k e t c h e s going from the main atrium to t h e g a l l e r y s paces.

F i g u r e 2 5 3 Top: 1 Minute sketch within the g a l l e r y s p a c e.

F i g u r e 2 5 4 R ight: 1 minute sketch within m a i n a t r i u m space.

F i g u r e 2 5 5 O verleaf: 5, 10 minute sketches s h o w i n g a m ovement through a sequence o f s p a c e s o n a journey through the museum u s i n g p e n c i l and charcoal sticks.

J a m i e

B r o w n

The drawing workshop varied from 1 - 6 0 m i n u t e d r a w i n g s . To b e g i n w e s t a r t e d w i t h t h e 1 minutes sketches to loosen up. Th e 1 m i n u t e s k e t c h e s m a d e m e f o c u s a n d b e v e r y s e l e c t i v e a b o u t what I was drawing to capture a s e n s e o f s p a c e c r e a t i n g l o o s e y e t i n f o r m a t i v e l i n e s k e t c h e s .

As the time increased it was amaz i n g t o s e e h o w m u c h d e t a i l c o u l d b e a c h i e v e d w h e n I m o v e d away from focusing on creating a ‘ p e r f e c t s k e t c h ’ . M y f a v o u r i t e e x e r c i s e w a s t h e t w o h a n d e d sketch as it made me focus on how t h e s p a c e w a s a c t u a l l y c o m p o s e d r a t h e r t h a n h o w I t h o u g h t it was, which in turn created a mo r e a t m o s p h e r i c d r a w i n g t h a n j u s t u s i n g m e r e l i n e s . W i t h t h e journey sketches I wanted to try a n d s h o w a m o v e m e n t f r o m l i g h t a n d h a r s h s p a c e s t o t h e d a r k e r more intimate exhibition spaces. I t h i n k t h e o v e r a l l o u t c o m e w a s g o o d p a r t i c u l a r l y t h e b r i g h t spaces however I think I could hav e b e e n m o r e s e l e c t i v e o f t h e l i n e s I d r e w w i t h i n t h e e x h i b i t i o n areas to show more atmosphere an d c o n t r a s t . F i n a l l y o n t h e 6 0 m i n u t e s k e t c h I w a n t e d t o g i v e a difficult perspective looking into m u l t i p l e s p a c e s a t r y i n c l u d i n g s o m e c o l o u r. I l i k e t h e d r a w i n g and its overall composition but I c o u l d h a v e c r e a t e d m o r e d e p t h w i t h a l i t t l e m o r e c o n t r a s t a n d tonal variation.

161

4 . 1 . 0 - D r a w i n g Workshop - Jamie Brown 10 minute series

162

163

F i g u r e 2 5 6 O pposite: 60 minute drawing w i t h i n t h e e x hibition space using Ro tering p e n s a n d w a tercolours.

F i g u r e 2 5 7 R ight Top: Two handed 10 minute s k e t c h w i t h i n the exhibition space with pencil.

F i g u r e 2 5 8 R ight Bottom: Two handed 10 m i n u t e s c u l p ture sketch with pencil.

4 . 1 . 0 - D r a w i n g Workshop - Anthony Grout

166

4 .1.0

D rawing

F i g u r e 2 5 9 : One and two minute sketches f r o m t h e N a t ional Museum of Scotla nd E x t e n s i o n g a llery spaces

A n t h o n y

G r o u t

The drawing workshop allowed me t o e x p l o r e t h e v a r y i n g w a y s t h a t s p a c e s c a n b e r e c o r d e d i n different lengths of time with a de l i b e r a t e l y l i m i t e d r a n g e o f m e d i a . B y o n l y u s i n g p e n o f v a r y i n g thickness, and occasionally colour, I c o u l d e x p e r i m e n t w i t h d i f f e r e n t m a r k s a n d l i n e s t o c a p t u r e a sense of space, form or compositio n .

With the shorter lengths of time, b e i n g s e l e c t i v e a n d c o n c i s e w i t h t h e c h o i c e o f m a r k s w a s important whereas the longer peri o d s m e a n t t h a t m o r e d e t a i l c o u l d b e i n c l u d e d , o r m o r e t h o u g h t given to capturing a particular fea t u r e o f t h e s p a c e . U s i n g v e r y f e w a n d s e l e c t i v e m a r k s t o g i v e a sense of the depth of the space (o p p o s i t e ) w a s a p o s i t i v e o u t c o m e o f t h e s e e x p e r i m e n t s .

167

4 . 1 . 0 - D r a w i n g Workshop - Anthony Grout

168

3 .0

Title

posi t i o n

F i g u r e 2 6 0 : Sequence of sketches in a s e q u e n c e o f spaces. 10 minutes each.

169

170

4 .1.0

D rawing

F i g u r e 2 6 1 O pposite: Final 60 minute d r a w i n g o f t he ‘Industry and Empire’ space.

T h e i n t e n t o f the drawing was to capture t h e c o n t r a s t in texture and intricacy of the p u m p h o u s e with the simplicity and light of t h e s p a c e a n d its volume.

F i g u r e 2 6 2 Top: Two-handed 10 minute d r a w i n g ( 1 o f 2) to show depth of space in g r o u n d f l o o r gallery.

F i g u r e 2 6 3 R ight: Two-handed 10 minute d r a w i n g ( 2 o f 2) of stone artefacts to e x p e r i m e n t with an added colour and record t h e c o m p o s i t ion of the display.

A n t h o n y

G r o u t

The two-handed drawings of 10 mi n u t e s e a c h w e r e s u c c e s s f u l i n e n s u r i n g t h a t e a c h a n d e v e r y movement of both hands was care f u l l y c o n s i d e r e d b e f o r e a p p l y i n g t h e p e n . I n t u r n t h i s m e a n t that close observation was vital.

A longer period of an hour to draw b r o u g h t a b o u t t h e o p p o r t u n i t y t o i n c l u d e m o r e d e t a i l a n d a l l o w the drawing to record more inform a t i o n a b o u t t h e s p a c e b e i n g d r a w n .

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4 .1.0

D rawing

F i g u r e 2 6 4 O pposite (Left to Right): Viewing f r o m w i t h i n the light. Capturing raw nature of material F i g u r e 2 6 5 Top (Left to Right): Two handed s k e t c h - B l u e and black pencil highlighting t h e r e s t a t i c yet dynamic states. Forms c r e a t e d b y l i ght. Light reacting to different materials

F a h a d

M o h a m m a d

The Drawing workshop allowed me t o e x p l o r e t e c h n i q u e s t h a t I h a v e p r e v i o u s l y n o t c o n s i d e r e d .

Four different time restrictions all o w e d m e t o r e c o g n i s e f o u r v e r y d i f f e r e n t w a y s o f p e r c e i v i n g and recording space.

The one minute sketches took me b y s u r p r i s e a n d q u i c k l y m a d e m e l o o s e n u p m y a p p r o a c h compared to my usual careful slow m e t h o d . I q u i c k l y b e c a m e v e r y s e l e c t i v e a s t o w h a t I p u t o n the page to represent what I saw a n d f e l t a n d t h r o u g h s e v e r a l q u i c k l i n e s i n t h e l a s t 1 m i n s k e t c h I was beginning to achieve that.

The 10 minute drawing two handed s k e t c h e s w a s m y f a v o u r i t e t e c h n i q u e I c h o o s e t o u s e t w o colours on which drew the very br o a d l i n e s a n d t h e s e c o n d w a s t h e d e t a i l s I r e c o g n i s e d a f t e r so the drawing almost becomes a r e c o r d a s t o h o w I p e r c e i v e d t h e s p a c e a n d w i t h t i m e h o w m y perceptions changed.

Finally the one hour sketch I wante d t o d r a w s o m e t h i n g a n d c a p t u r e t h e e s s e n c e a n d t h e e f f e c t it was having on the space around i t . I c o n t i n u e d m y u s e o f t w o c o l o u r s a n d m u l t i p l e m a t e r i a l s t o try and capture this effect this obj e c t w a s h a v i n g o n m e a n d t h e s p a c e .

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4 .2.0

P aper

Modelli n g

F i g u r e 2 6 6 O pposite: The entire model as it w a s a t t h e e nd of the workshop.

F i g u r e 2 6 7 Top: Boxed sections of paper u s e d t o c r e a t e the garden wall.

F i g u r e 2 6 8 R ight: Close-up of the pavilion at t h e e n d o f t h e workshop.

R a c h e l

D e l a r g y

-

Q u e e n s

U n i v e r s i t y

B e l f a s t

Whilst in Belfast as part of the fie l d r e s e a r c h M A R S t o o k p a r t i n a P a p e r M o d e l l i n g Wo r k s h o p led by former Queens University B e l f a s t s t u d e n t , R a c h e l D e l a r g y. T h e m e t h o d o f m o d e l l i n g s h e advocated was the use of waterco l o u r p a p e r, p a r t i c u l a r l y i n h e r w o r k , t o c r e a t e a s e n s e o f m a s s .

Given the brief to create a model r e l e v a n t t o o u r R o o m s & C h a i r s r e s e a r c h , w e c h o s e t o m o d e l t h e Upper Lawn Pavilion within the co n t e x t o f i t s g a r d e n w a l l a t 1 : 1 0 0 .

To give the model a monolithic app e a r a n c e w e d e c i d e d t o s i t t h e m o d e l o n a p l i n t h . T h i s p l i n t h blended with the garden wall and a l l o w e d u s t o m o d e l t h e v a r i a t i o n s i n l e v e l i n t h e g a r d e n . T h e use of paper was a quick method o f c r e a t i n g l i g h t w e i g h t m o d e l s . T h e m e d i u m a l s o a l l o w e d a good amount of detail even at a sc a l e o f 1 : 1 0 0 . T h e w i n d o w f r a m e s o f t h e p a v i l i o n i t s e l f w e r e possible to model at such a small s c a l e . A s w e l l a s b e i n g u s e d t o c r e a t e l a r g e b l o c k s o f m a s s it is conceivable that a frame syst e m a n d f i l i g r e e c o u l d e q u a l l y b e s u c c e s s f u l l y m o d e l l e d u s i n g the technique. Surface treatments c o u l d a l s o b e a p p l i e d t o g i v e t h e p a p e r d i f f e r e n t p r o p e r t i e s however, we concluded that model s m a d e w i t h p a p e r s h o u l d b e m a d e i n c o m b i n a t i o n w i t h m o d e l s that are more explicit about tecton i c s a n d m a t e r i a l i t y a s w e h a v e d o n e w i t h o u r 1 : 1 0 0 p a p e r model and our 1:10 construction m o d e l o f t h e U p p e r L a w n P a v i l i o n .

175

F i g u r e 2 6 9 O pposite: Sectional detail of the pavilion.

F i g u r e 2 7 0 R ight Top: Pavilion in context.

F i g u r e 2 7 1 R ight Bottom: Removable section.

F i g u r e 2 7 2 O pposite: Pavilion and outdoor room.

F i g u r e 2 7 3 R ight Top: Western side of the pavilion.

F i g u r e 2 7 4 R ight Bottom: Pavilion and wall intersection.

4 .3.0

P rint

Making

F i g u r e 2 7 5 O pposite: The printing press.

F i g u r e 2 7 6 Top Left: Using collage to create c o l o u r.

F i g u r e 2 7 7 Top Right: Collagraphic plates on t h e d r y i n g p l ate.

F i g u r e 2 7 8 R ight: Inked monoprint pl ate r e a d y t o b e p ut through the printing press.

P a t r i c i a

F e r g u s o n

-

M o n o p r i n t

a n d

C o l l a g r a p h y

Monoprinting is a method of printi n g b y w h i c h t h e i m a g e c a n o n l y b e m a d e o n c e i n c o n t r a s t t o typical printing methods where the r e m a y b e m u l t i p l e o r i g i n a l s . T h e t e c h n i q u e w e u s e d w a s a basic lithography monoprint metho d w h e r e i n k r o l l e d o n t o a g l a s s p l a t e a n d t h e n a r e a s r e m o v e d or etched away using different me t h o d s f o r d i f f e r e n t t e x t u r e s s u c h a s r e m o v i n g i n k w h i c h p a p e r, rollers, rags or painting on more f o r d a r k e r t o n e s . O n c e t h e p l a t e i s c o m p l e t e i t i s t h e n r o l l e d through the printing press printing u p o n t h e p a p e r. W h a t m a k e s m o n o p r i n t s s o i n t e r e s t i n g i s t h a t they are almost spontaneous in th e i r m a n i f e s t a t i o n a c t i n g l i k e a p r i n t e d p a i n t i n g o r d r a w i n g i n a combination of all three.

Collagraphy is a more standard me t h o d o f p r i n t i n g i n w h i c h a c o l l a g r a p h p l a t e i s c r e a t e d f r o m a rigid material such as card. The c a r d i s t h e n c u t i n t o o r l a y e r e d u p t o c r e a t e a r e l i e f p a t t e r n .

Again there are many different wa y s t o c r e a t e t h e p a t t e r n s u c h a s s a n d p a p e r / s a n d i n g t h e c a r d , cutting, scoring, gluing, cracking p o l i s h e t c . T h e p l a t e i s t h e n g l u e d a n d v a r n i s h e d t o s e a l i t making it reusable for multiple pri n t s . I n k i s t h e n a p p l i e d a n d r u b b e d a w a y t o c r e a t e t h e d e s i r e d effect leaving the option for differ e n t p r i n t s o r w i t h p r a c t i c e a r e p r o d u c i b l e i m a g e . W i t h b o t h methods colour can be applied usi n g c o l o u r e d i n k s ( S e e A n t h o n y ’s P r i n t ) h o w e v e r w i t h t h e collagraph colour can be achieved u s i n g a c o l l a g e e f f e c t .

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P rint

Making

F i g u r e 2 7 9 O pposite: Two collograph prints o f t h e G i a n t ’s Causeway.

F i g u r e 2 8 0 Top: Two Collograph plates u s i n g c u t t i n g , scoring, sanding, pva gluing, t e x t i l e s a n d waxing to achieve a variety of print effects.

F i g u r e 2 8 1 R ight: Printing detail showing t h e d i f f e r e n t effects of cutting and applying p o l i s h i n g w a x to create contrasting dark a n d c r a c k i n g patterns.

J a m i e

B r o w n

In the first print making workshop s e s s i o n I b e g a n w i t h t r y i n g o u t t h e C o l l o g r a p h p r i n t i n g technique. Using two photos of th e G i a n t ’s C a u s e w a y I w a n t e d t o t r y a n d c a p t u r e t h e g e o m e t r y o f the regular stone hexagons in con t r a s t t o t h e b r e a k i n g w a v e s a n d b r i g h t s k y.

On the first plate I used a mesh to c r e a t e t h e r e g u l a r s t o n e e f f e c t s c o r i n g t h e f i g u r e s w a l k i n g upon it keeping these as my two m a i n d a r k e l e m e n t s . I a l s o c u t a w a y t h e m o u n t b o a r d t o r e v e a l the darker rocks within the water. To c r e a t e t h e l i g h t e r e l e m e n t s o f t h e p l a t e I c r e a t e d m o r e shallow reliefs such as creating w a v e e f f e c t b y l a y e r i n g u p p v a g l u e a n d s a n d i n g t h e m o u n t b o a r d to create the appearance of clouds . T h e f i n a l p r i n t w o r k e d w e l l a n d c r e a t e d a v e r y a t m o s p h e r i c scene with small figures walking a t o p t h e d a r k r e g u l a r i t y o f t h e c a u s e w a y c u t t i n g t h r o u g h t h e middle of the light sea and sky.

In my next attempt I wanted to see i f t h e r e w a s a w a y t o c r e a t e m o r e m o v e m e n t w i t h i n g t h e surf of the sea and whether I could c r e a t e a m o r e o r g a n i c y e t r e g u l a r p a t t e r n o f t h e c a u s e w a y.

I used the same techniques only a p p l y i n g m o r e g l u e f o r t h e s e a a n d u s i n g a p o l i s h i n g w a x f o r the causeway which cracks when d r y i n g . T h e c r a c k i n g g a v e a r e a l l y n i c e p a t t e r n w h e n p r i n t e d for the causeway, however I feel t h e o r i g i n a l w a s s t r o n g e r d u e t o t h e g r e a t e r c o n t r a s t b e t w e e n elements.

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4 .3.0

P rint

Making

F i g u r e 2 8 2 O pposite: The final pressed m o n o p r i n t s howing the different gradients o f l i g h t a n d dark achieved from the varies t e c h n i q u e s u sed to remove ink from the plate.

F i g u r e 2 8 3 Top: Photograph uses to score i n t o t h e c o l l ograph plate F i g u r e 2 8 4 R ight: Close-up of the monoprint s h o w i n g t h e unique textural quality a c h i e v e d f r o m the printing process.

J a m i e

B r o w n

After testing the Collograph metho d o f p r i n t i n g I m o v e d o n t o t r y i n g o u t t h e m o n o p r i n t t e c h n i q u e s .

For this I also used a photograph, t h i s t i m e b e i n g o f a j e t t y g o i n g o u t t o s e a . T h e m e t h o d i n v o l v e d spreading ink over the plate with a r o l l e r a n d t h e n r e m o v i n g d i f f e r e n t a m o u n t s o f i n k d e p e n d i n g on the areas that you wanted to b e l i g h t o r d a r k .

I liked the collograph technique be c a u s e o f i t s n a t u r e t o b e l e s s e a s y t o c o n t r o l l e d g i v i n g interesting results that you otherw i s e w o u l d n o t h a v e e x p e c t e d . I f o u n d t h e m o n o p r i n t a l o t m o r e easy to control but I was still able t o c r e a t e a r a n g e o f t e x t u r e s b y u s i n g d i f f e r e n t m a t e r i a l t o remove the ink. For the sky I used t h e r o l l e r t o r e m o v e i n k w o r k i n g i n t o i t t o r e m o v e t h e r i g h t amount of ink creating a light and u n i f o r m e d t e x t u r e . I t h e n u s e d a r a g t o r e m o v e i n k t o c r e a t e the effect of waves and the movem e n t o f t h e s e a . To c r e a t e t h e s t o n e w a l l I u s e d a t h i n s t i c k t o scrape away the ink to show defin i t i o n a n d t e x t u r e a n d t h e n b y u s i n g t h e s a m e s t i c k I a p p l i e d more ink to the darker areas such a s t h e l a m p p o s t s a n d j e t t y.

I really like the way this monoprin t c a m e o u t a n d i t s t e x t u r a l q u a l i t y. H o w e v e r I t h i n k i t w o u l d b e improved by a greater contrast bet w e e n t h e w a l l a n d j e t t y a n d t h e s k y a n d w a t e r.

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4 . 3 . 0 - P r i n t M aking Workshop - Anthony Grout

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4 .3.0

P rint

Making

F i g u r e 2 8 5 O pposite: Monochrome c o l l o g r a p h p rint from the first plate.

F i g u r e 2 8 6 Top: Trio of monoprints from the s a m e c o m p o sition with gradually reducing levels of ink.

F i g u r e 2 8 7 R ight: First collograph plate of a t y p i c a l w h i te walled building in contrast w i t h t h e l a n dscape.

A n t h o n y

G r o u t

During my first print making sessio n I b e g a n w i t h c r e a t i n g a c o l l o g r a p h p l a t e . T h i s i n v o l v e d u s i n g a piece of mountboard to score lin e s a n d r e m o v e s u r f a c e a r e a s o f t h e m o u n t b o a r d . L a y e r s o f tissue paper were also applied. Th e s e d i f f e r e n t t e c h n i q u e s p r o v i d e d l a y e r s o f d i f f e r e n t t e x t u r e s to differentiate elements in the im a g e . T h e p l a t e w a s t h e n g l u e d a n d v a r n i s h e d t o s e a l t h e mountboard.

The image chosen was based on a p h o t o g r a p h t a k e n o n t h e C a u s e w a y C o a s t l o o k i n g i n l a n d .

The white rendered walls of the b u i l d i n g s t o o d o u t i n s t a r k c o n t r a s t t o t h e d a r k s h a d e s o f t h e surrounding fields, trees and cliffs . T h e f e n c e p o s t s d e l i n e a t i n g t h e f i e l d s i n t h e f o r e g r o u n d w e r e another man-made contrast in the l a n d s c a p e . T h e i n t e n t w a s t o d i f f e r e n t i a t e t h e s e t w o e l e m e n t s of contrast by printing them in the h i g h e s t c o n t r a s t p o s s i b l e . T h e b u i l d i n g l e f t w i t h o u t i n k t o leave it white and the fence posts s c o r e d d e e p l y i n t o t h e m o u n t b o a r d t o r e t a i n t h e d e e p e s t b l a c k ink. I believe that this collograph p r i n t w a s s u c c e s s f u l i n c o n v e y i n g t h i s c o n t r a s t o f l i n e a n d m a s s in the landscape.

The trio of monoprints were less s u c c e s s f u l b o t h i n t e r m s o f c o m p o s i t i o n a n d t h e d e p t h o f t o n e and texture. The idea of these man m a d e i m p a c t s o n t h e l a n d s c a p e i s l e s s c l e a r.

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4 .3.0

P rint

Making

F i g u r e 2 8 8 O pposite: The final full colour p r i n t o f t h e area of the Coastal Walkway n e a r t h e r u i n Dunseverick Castle.

F i g u r e 2 8 9 Top: Close-up of collograph plate a f t e r t h e a p plication of the coloured ink and a f t e r t h e f i r s t press.

F i g u r e 2 9 0 R ight: Close-up of the first print f r o m t h e c o l l ograph. The depth of the plate c r e a t e d a n e mbossed effect for the areas l e f t w i t h o u t ink giving greater contrast.

A n t h o n y

G r o u t

Having used the first print making s e s s i o n t o e x p l o r e t h e p o s s i b i l i t i e s o f c o l l o g r a p h a n d monoprinting in black and white, I w a n t e d t o u s e t h e s e c o n d s e s s i o n t o c o n v e y t h e d e p t h a n d range of colour experienced in the l a n d s c a p e o f t h e C a u s e w a y C o a s t . T h i s i s i n a n t i c i p a t i o n o f the Walkers Shelter project.

The blue of the sea and deep shad e a n d t e x t u r e u s e d t o c o n v e y t h e b o u n d a r y o f t h e c l i f f f a c e I felt carried out my intention. How e v e r, i n p a r t d u e t o t h e c o l o u r o f t h e v a r n i s h e d c o l l o g r a p h plate, the range of greens and bro w n s t h a t I t r i e d t o c r e a t e d i d n o t c o m e o u t a s a n t i c i p a t e d . T h e texture was also perhaps slightly o v e r c o m p l i c a t e d .

An interesting and unanticipated s i d e e f f e c t o f h a v i n g a d e e p r e l i e f p l a t e w a s t h a t t h e d e e p e s t areas which did not attract any ink b e c a m e e m b o s s e d o n t o t h e p a g e o n c e p r e s s e d . T h i s h e l p e d give them even greater contrast th a n t h e i n t e n d e d e f f e c t o f l e a v i n g t h e m u n p r i n t e d .

Although a slightly disappointing o u t c o m e , I c a n s e e t h e p o t e n t i a l t h a t p r i n t m a k i n g o f f e r s i n t h e building of a depth of texture and t h e p o t e n t i a l a p p l i c a t i o n s t h i s h a s i n c r e a t i n g s p a t i a l d e p t h .

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4 . 3 . 0 - P r i n t M aking Workshop - Fahad Mohammad

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4 .3.0

P rint

Making

F i g u r e 2 9 1 O pposite: Monoprint of shell s t r u c t u r e h i g hlighting structural lines.

F i g u r e 2 9 2 Top: Collograph plate and print o f h a n g i n g c hain model F i g u r e 2 9 3 R ight: Interpretation of m a g i c a l n a t u re of Giant’s Causeway Initial c o l l o g r a p h p late after testing it with the r o l l e r t h e d e pth of the pattern meant it w o u l d d a m a ge the roller.

F a h a d

M o h a m m a d

The image on the bottom right was t h e c o l l o g r a p h p l a t e t h a t I p r o d u c e d b e f o r e t h e w o r k s h o p . I t i s a series of hexagons, which for me c a p t u r e t h e m a g i c a l n a t u r e o f t h e g i a n t s c a u s e w a y. I q u i c k l y realised because of the depth of th e c o l l o g r a p h p l a t e i t w o u l d n o t b e a b l e t o g o t h r o u g h t h e roller. After this failed test I learn t a b o u t t h e r e s t r i c t i o n s o f t h e t e c h n i q u e a n d a d a p t e d f o r m y next collograph plate.

The collograph plate on top middle i s f r o m a p i c t u r e o f A n t h o n y G a u d i ’s h a n g i n g c h a i n m o d e l .

The hanging chain models have a s p e c i a l i m p o r t a n c e b e c a u s e o f t h e r e l a t i o n s h i p b e t w e e n f o r m , compression, load and restraint. W h i c h h a v e c o n t i n u e d w i t h i n t h e b u i l d i n g o u t l i v i n g i t s p r o c e s s of formation. So the process of tr a c i n g e a c h l i n e o n t o i n k b e d b e c a m e a l o t m o r e i m p o r t a n t t h a n a series of lines because each line r e p r e s e n t s b e h a v i o u r, a r e l a t i o n s h i p t o t h e r e a l p h y s i c a l f o r m .

The collograph plate above shows a n a t t e m p t o f c a r v i n g o u t d i f f e r e n t t h i c k n e s s a n d d e p t h s o f lines to try to achieve the amazing s e n s e o f d e p t h a n d s p a c e t h a t G a u d i ’s m o d e l s a c h i e v e . I t w a s not a as successful as I hoped bec a u s e t h e s e v e r a l r e a s o n t h e m a i n o n e b e i n g t h e c o n t r a s t o f colours was hard to achieve, also s o m e o f t h e f a i n t e r l i n e s b e c a m e t o o f a i n t a n d t h e t h i c k l i n e s to thick making one becoming to d o m i n a n t .

The mono-print I feel was more su c c e s s f u l . T h i s w a s b e c a u s e I h a d m o r e c o n t r o l o f t h e o u t p u t from the amount of ink I wanted to r e m o v e , t h e p r e s s u r e I p u t o n t h e r o l l e r t o t r y a n d p r e d i c t areas of contrast.

191

5 .0.0

Conclusions

F i g u r e 2 9 4 O pposite: The JAM Chair.

C r i t i c a l

R e f l e c t i o n

-

J a m i e

B r o w n

The shared experience of the first s e m e s t e r s c o l l e c t i v e m a k i n g l e d a p p r o a c h h a s g i v e n m e a f a r greater understanding and integra t i o n o f a r c h i t e c t u r e i n i t s e n t i r e t y. B e i n g n a t u r a l l y g i f t e d w i t h physical modelling I instantly took t o t h e s t u d i o , a n d s t u d i o e t h o s , d e v e l o p i n g m y m o d e l l i n g techniques even further. However b y i n c l u d i n g s u c h a v a s t r a n g e o f e x p e r i e n c e s , c o l l a b o r a t i o n and technical learning the studio h a s m o s t i m p o r t a n t l y, f o r m e , d e v e l o p e d a n d k i n d l e d n e w s k i l l s and interests. The way in which th e s t u d i o i s r u n f e e l s a l o t m o r e r e a l . W h e n I s a y r e a l I m e a n how we were given all of the proje c t s a t t h e s t a r t o f t h e s e m e s t e r, l i k e i n a r e a l a r c h i t e c t s f i r m , making it imperative to manage yo u r t i m e e f f e c t i v e l y. T h e e f f e c t i v e t i m e m a n a g e m e n t w a s a l s o reinforced by the overlapping revie w d e a d l i n e s w o r k i n g a l o n g s i d e t h e r e g u l a r i t y o f a g o o d s t u d i o culture and attitude.

The rooms and chair project was a l a r g e p a r t o f t h e f i r s t s e m e s t e r. T h e p r o j e c t w a s a v e r y different take on architecture lead i n g f r o m t h e p r e m i s e o f u n d e r s t a n d i n g t h e c i t y t o d e s i g n a building, understanding the buildin g t o d e s i g n t h e r o o m a n d u l t i m a t e l y u n d e r s t a n d i n g t h e r o o m t o design the chair. Our critical appra i s a l o f t h e U p p e r L a w n P a v i l i o n s h o w e d t h i s i n t e r d e p e n d e n c y between room and chair and how t h e f u r n i t u r e c a n a c t u a l l y i n f o r m t h e d e s i g n o f t h e r o o m a n d building. Similarly this change in s c a l e w a s n o t o n l y r e f l e c t e d i n o u r a n a l y s i s o f t h e p a v i l i o n , ranging from the Fonthill Abbey es t a t e r i g h t d o w n t o t h e c o n s t r u c t i o n d e t a i l s , b u t a l s o w i t h i n o u r model making in which we ranged f r o m 1 : 1 r i g h t d o w n t o 1 : 1 0 0 . T h i s f l u c t u a t i o n b e t w e e n s c a l e s gave us the understanding of mult i p l e e l e m e n t s n e c e s s a r y t o f u l l y u n d e r s t a n d t h e p a v i l i o n a n d the Smithson’s ethos. This was als o t h e c a s e i n t h e u n d e r s t a n d i n g o f t h e R o o r k h e e c h a i r a n d d u e to the lack of available informatio n w a s e v e n m o r e i m p o r t a n t .

The first phase of rooms and chair s w a s p r i m a r i l y s k i l l , r e c o r d i n g a n d u n d e r s t a n d i n g b a s e d w h i c h I feel we achieved at a good level b e i n g s e l e c t i v e w i t h t h e a p p r o p r i a t e i n f o r m a t i o n . T h e n e x t phase was a real test. When desig n i n g o u r o w n c h a i r, w h i l s t t h e d i r e c t i o n a n d o u t c o m e s w e r e not always what we wanted, I feel o u r r i g o r o u s i t e r a t i v e m a k i n g p r o c e s s w a s u n f a u l t a b l e , a n d is what has lead us to our final ch a i r. A s J a m e s Ti m b e r l a k e s a i d w i t h i n o u r r e v i e w “ f a i l f a s t a n d fail early”. Ultimately we did neith e r, h o w e v e r a s a r e s u l t o f o u r m a n y f a i l u r e s w e c a m e t o a n appropriately designed chair whic h I , a n d m y t e a m a r e f i n a l l y h a p p y w i t h . T h e l e s s o n s l e a r n t f r o m this process are to be more critica l o f m y o w n a n d o t h e r s d e s i g n c h o i c e s a n d n o t t o c o m p r o m i s e aiming for the best resolution of a b r i e f a n d d e s i g n c h a l l e n g e .

I addition to Rooms and chairs, re- T h i n k t h e R e g i o n a n d t h e T h e s i s D o c u m e n t w e w e r e a l s o exposed to a variety of workshops a n d t r i p s . W h i l s t p r i m a r i l y s k i l l b u i l d i n g , t h e w o r k s h o p s t a u g h t different was to record and make a r c h i t e c t u r e . P a r t i c u l a r f a v o u r i t e s w e r e t w o - h a n d e d d r a w i n g which invigorated my mind, and pr i n t m a k i n g w h i c h I t i t l e d T h e r a p e u t i c m a k i n g w i t h i n m y t h e s i s , as it helped me feel momentarily b e t t e r w h e n I w a s i l l . F r o m i n i t i a l l y e x p e r i e n c i n g t h e r e g i o n theoretically within re-Think the r e g i o n t h e t r i p s o p e n e d m y e y e s t o t h e d i f f e r i n g c u l t u r e s a n d feels of place. While we visited a v a r i e t y o f a r c h i t e c t u r a l b u i l d i n g s t h e r e s o u n d i n g f e e l o f t h e place came from the ordinary. Mos t n o t a b l y f o r m e b e i n g t h e c o n t r a s t b e t w e e n B e l f a s t a n d D u b l i n as a degenerated city in compariso n t o o n e o f r e g e n e r a t i o n r e s p e c t i v e l y. O f c o u r s e y o u c a n n o t ignore the prominence of O’donnel l a n d Tu o m e y s h o w i n g a v a r i e t y o f u r b a n i n t e g r a t i o n a n d o b j e c t within the landscape. My main hig h l i g h t , w h i c h I ’ m s u r e i s m a n y o t h e r s , w a s d a n c i n g l i k e t r e e s with Musicians Without Boarders i n t h e A r t s a n d C u l t u r e C e n t r e b y O ’ D o n n e l l a n d Tu o m e y.

Through the full engaging with the p r o g r a m m e , t h e f i r s t s e m e s t e r h a s b e e n a n e x p e r i e n c e . I t h a s not only developed my own area of i n t e r e s t w i t h i n a r c h i t e c t u r e , b u t h a s a l s o o p e n e d m e u p t o new ones, truly showing me a full y i n t e g r a t e d e n g a g e m e n t a n d a p p r o a c h t o a r c h i t e c t u r e .

193

5 .0.0

Conclusions

F i g u r e 2 9 5 O pposite: The Upper Lawn Pavilion.

C r i t i c a l

R e f l e c t i o n

-

A n t h o n y

G r o u t

The research shown in this book w a s c a r r i e d o u t p r e d o m i n a n t l y t h r o u g h m a k i n g a n d p h y s i c a l experience. Supplemented with int e l l e c t u a l r e s e a r c h , t h i s h a s l e d t o a g r e a t e r u n d e r s t a n d i n g o f the Upper Lawn Pavilion, the Roor k h e e C h a i r, o u r r e g i o n o f s t u d y a n d n e w d e s i g n p r o c e s s e s .

Investigating the Upper Lawn Pavi l i o n h a s g i v e n a g r e a t e r u n d e r s t a n d i n g o f t h e p r i n c i p l e s b e h i n d the Smithson’s work and given an a p p r e c i a t i o n o f t h e q u a l i t i e s o f n e w b r u t a l i s m w h e n n o t associated to their more famous w o r k . P a r t i c u l a r l y t h e d e e p i n t e r e s t a n d r e s p o n s e t o n a t u r e a n d the English climate were very com p e l l i n g . A t r u e u n d e r s t a n d i n g o f t h e p l a c e i n w h i c h y o u d e s i g n for has become even more apparen t . W h i l e , d e s p i t e p e r h a p s t h e S m i t h s o n ’s b e s t i n t e n t i o n s , t h e r e seems to be some rhetoric in the p a v i l i o n , t h e i r p r i m a r y i n t e r e s t i n c r e a t i n g a n e n c l a v e , s h o w s their valuing of human experience a b o v e a l l e l s e .

The primary process of investigati n g t h e p a v i l i o n , t h r o u g h t h e 1 : 1 0 m o d e l w a s a p o t e n t r e s e a r c h method. By mirroring the construc t i o n a n d a s s e m b l y m e t h o d , i t b e c a m e c l e a r h o w a n d w h y t h e pavilion had been constructed in it s p a r t i c u l a r w a y. M a k i n g t h e p a v i l i o n a s a r e c o n s t r u c t i o n rather than a reproduction was a v a l u a b l e t o o l .

Similarly, making a Roorkhee chair, a s m a n y h a d d o n e b e f o r e u s , n o t o n l y a l l o w e d u s t o understand processes, but simulat e d t h o u g h t a n d d i s c u s s i o n a b o u t h o w t h e d e s i g n o f t h e c h a i r allowed it to be made. The fact it i s r e l a t i v e l y s t r a i g h t - f o r w a r d t o m a k e a n d a s s e m b l e a l s o m a d e it easier to understand and experie n c e h o w t h e c h a i r w o r k s . T h e p a r a l l e l s b e t w e e n t h e c h a i r a n d the pavilion were not just in their u n d e r l y i n g p r i n c i p l e s b u t a l s o i n o u r e x p e r i e n c e o f m a k i n g them.

Both room and chair championed th e v a l u e o f s i m p l i c i t y a n d e l e g a n c e i n d e s i g n . T h i s t h e n b e c a m e the most challenging aspect of ou r o w n c h a i r. A l t h o u g h w e w e r e s a t i s f i e d w i t h t h e p r i n c i p l e s we were trying to carry forward in o u r w o r k , t h e l a c k o f c l a r i t y b e t w e e n t h e m l e a d t o a o v e r l y complex initial proposal. Taking a s t e p b a c k a n d r e f i n i n g t h e p r i o r i t i e s o f o u r b r i e f w a s b e n e f i c i a l in having the same effect on our c h a i r. D e s i g n i n g a c h a i r w a s a l s o a v e r y d i f f e r e n t e x p e r i e n c e a n d required different sensitivities to d e s i g n i n g a b u i l d i n g . B e i n g m u c h m o r e i n t i m a t e w i t h t h e h u m a n form and movement, a chair is a m o r e d i f f i c u l t p r o s p e c t t o m a k e s i m p l e . T h e r e l a t i o n s h i p b e t w e e n the room and a chair seems more e a s y t o b a l a n c e t h a n t h a t b e t w e e n a c h a i r a n d i t s o c c u p a n t .

Experiencing the many different ur b a n a n d r u r a l f e a t u r e s o f o u r r e g i o n , f r o m E d i n b u r g h t o C o r k gave a small first hand understand i n g o f t h e s c a l e o f d i f f e r e n c e f o u n d i r r e s p e c t i v e o f d i s t a n c e .

Understanding the evolution of O’D o n n e l l & Tu o m e y ’s w o r k w a s b e n e f i c i a l i n u n d e r s t a n d i n g h o w a sensitivity to place and material c a n m a n i f e s t i t s e l f i n a v a r i e t y o f e x p e r i e n c e s . M y o w n p e r s o n a l memory of the Irish Language Cent r e i n D e r r y, a n d i t s a r c h i t e c t u r e o f e n c l o s u r e a n d i n t r o v e r s i o n will always been linked to our fiel d t r i p e x p e r i e n c e o f j o i n i n g t h e ‘ M u s i c i a n s w i t h o u t B o r d e r s ’ dance session.

The workshops offered a revisiting o f e x i s t i n g s k i l l s a n d n e w s k i l l s t h a t i t i s e a s y t o s e e b e i n g implemented within a design proce s s . I n p a r t i c u l a r t h e p a p e r m o d e l l i n g w o r k s h o p o f f e r s a flexibility in expression that I did n o t a n t i c i p a t e .

Ultimately, the processes of makin g a n d f i r s t h a n d e x p e r i e n c e , t i e d w i t h h i s t o r i c a l a n d theoretical research have lead to a d e e p a p p r e c i a t i o n o f t h e v a l u e o f s i m p l i c i t y, b o t h i n i n t e n t and what is made: in architecture.

195

5 .0.0

Conclusions

F i g u r e 2 9 6 O pposite: The JAM chair node.

C r i t i c a l

R e f l e c t i o n

-

F a h a d

M o h a m m a d

Designing in response to the ideal s o f t h e R o o r k h e e c h a i r w a s a h u g e c h a l l e n g e t h a t I appreciated later on in the process . T h e R o o r k h e e c h a i r d i s p l a y s a v e r y s i m p l i s t i c y e t w e l l resolved solution. Simplicity, in th e e l e m e n t s t h a t f o r m i t , t h e j o i n t s a n d m a t e r i a l i t y a t f i r s t sight seem ‘dumb’ as Kieran Timbe r l a k e p u t i t i n o u r f i n a l r e v i e w. B y ‘ d u m b ’ I t h i n k h e m e a n t appropriate or logical. This logic a n d a p p r o p r i a t e n e s s i s a l s o s e e n i n t h e U p p e r L a w n P a v i l i o n .

Each element of the pavilion is spe c i f i c a n d n e c e s s a r y t o t h e o v e r a l l s t r u c t u r e .

Making the Roorkhee chair both di g i t a l l y a n d p h y s i c a l l y a t 1 : 1 m a d e m e r e a l l y a p p r e c i a t e t h e thought process of the designer an d i t u n v e i l e d t h e c o m p l e x i t y i n s o m e t h i n g t h a t a p p e a r e d simple.

Our process reflects that finding a s o l u t i o n t h a t l o o k s a p p r o p r i a t e a n d s i m p l e i s n o t e a s y t o achieve. Our designs began with w h a t w e t h o u g h t w a s a c l e a r g o a l . H o w e v e r i n t r y i n g t o c r e a t e simplicity we did the opposite. Ou r d e s i g n f o r t h e r e v i e w s o m e h o w l o s t t r a c k o f t h e f u n d a m e n t a l brief and got stuck in the narrative o f t e m p o r a r y a n d l o n g - l a s t i n g w h i c h w a s i m p o r t a n t , h o w e v e r it eclipsed the brief, achieving app r o p r i a t e s i m p l i c i t y. T h e d e s i g n b e c a m e c o m p l e x . C o m p l e x i t y was not the problem, in the Roork h e e c h a i r t h e c o m p l e x i t y i s a c h i e v e d t h r o u g h s i m p l i c i t y. T h i s i s what we also wanted.

Having a clear brief really helped t o a c h i e v e o u r v i s i o n . T h e b r i e f a l l o w e d f o r a c o n t e x t a n d restrictions. This was very importa n t i n t h e d e s i g n w e a c h i e v e d . D e s i g n i n g f o r d i s a s t e r r e l i e f allowed us to focus our concept, w h i c h w a s t h e i d e a o f r e a d i l y a v a i l a b l e m a t e r i a l s a n d l o n g e r lasting elements. I believe it was r e s t r i c t i o n s t h a t t h e c o n t e x t o f w a r p l a c e d o n t h e R o o r k h e e chair, and the designers understan d i n g o f t h e s e r e s t r i c t i o n s i s w h a t l e a d t o t h e s i m p l i c i t y achieved.

After the brief was stronger and c l e a r e r o r r e s p o n s e w a s a l o t m o r e f o c u s e d , o n t h e c h a l l e n g e s that our concept had setup. I reall y e n j o y e d o u r p r o c e s s , e s p e c i a l l y t h e d e p t h a t w h i c h w e explored each design and how we s o m e t i m e s f a i l e d b u t a l w a y s r e s p o n d e d , w h i c h I b e l i e v e w a s essential in achieving our final ch a i r d e s i g n . T h r o u g h t h e u s e o f 3 d p r i n t i n g a n d p h y s i c a l t e s t i n g we created an efficient means of t e s t i n g o u r i d e a s . T h e i t e r a t i v e p r o c e s s f r o m a n a l o g u e t o d i g i t a l and then back to the analogue, I fe l t h a s g i v e n o u r n o d e a m o r e s c u l p t e d q u a l i t y. C o m p a r e d t o t h e digital projects I have created in t h e p a s t w h i c h f e e l l i k e t h e y h a v e b e e n l o s t i n t h e v i r t u a l .

The chair was designed both in th e d i g i t a l b u t a l s o t h e a n a l o g u e , t h e c o n c e p t o f p e r s i s t e n c e between the digital model and the p h y s i c a l f o r m w a s c l e a r l y n o t m a t e r i a l i t y w h i c h I h a v e t r i e d t o achieve in my thesis. However the f o r c e s o f t h e l e g s w h i c h w e r e f i r s t t e s t e d i n a n a l o g u e s h a p e d the form of the node. In the digita l r e a l m t h e n o d e w r a p s a r o u n d t h e f o r c e s t h a t t h e l e g s c r e a t e .

The materiality of the node curren t l y i s 3 d p r i n t e d w h i c h i n r e a l i t y a t t h a t s c a l e i s v e r y p o s s i b l e in an age where houses are being 3 d p r i n t e d . T h e t e n s e g r i t y c h a i r d i d p r e s e n t i t s e l f w i t h t h e opportunity of a material persisten c e b u t t h e c o m p l e x i t y o f t h e c a b l e s d i d n o t f i t o u r d e s i r e d goals for the brief.

I feel our final design does achiev e t h e s i m p l i c i t y t h a t i s a p p r o p r i a t e i n r e s p o n d i n g t o t h e b r i e f o f a disaster relief chair.

197

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5 .1.0

Bibliography

A l i s o n M a r g aret Smithson, The Charged Void: Urbanism (New York: Monacelli Press , 2 0 0 4 ) .

A l i s o n M a r g aret Smithson, Without Rhetoric: An Architectural Aesthetic, 1955-1972 ( L o n d o n : L a t i m e r N e w D i m e n s i o n s , 1 9 7 3 ) .

A r c h i t e c t s ’ o wn house’ in Architectural Review, Vol. 133, Alison and Peter Smithson , 1 9 6 3 .

A r c h i t e c t u r e and Climate : An Enviro nmental History of British Architecture 1600-20 0 0 , D e a n H a w k e s , 2 0 1 2 .

A l v a r A a l t o Museo. “Muuratsalo Experimental House.” Alvar Aalto Museo, 2011. ht t p : / / w w w. a l v a r a a l t o . f i / e x p e r i m e n t a l h o u s e . h t m .

B r i t t a i n - C a t l in, Timothy J. Bleak Houses: Disappointment and Failure in Architectur e . C a m b r i d g e , M a s s a c h u s e t t s : M I T P r e s s , 2 0 1 4 . “ C o r k C i t y C ouncil Civic Offices, by ABK Architects,” accessed January 18, 2015, ht t p : / / a b k d u b l i n . c o m / p o r t f o l i o / c o r k - c i t y - c o u n c i l - c i v i c - o f f i c e s / .

E l i e l S a a r i n e n, as quoted by Norman Foster, Foster Associates, 1981, Recoreded by M i c h a e l S t a c e y. “ G i a n t ’s C a u seway Visitors’ Centre by Heneghan Peng Architects,” Dezeen, accesse d J a n u a r y 1 8 , 2 0 1 5 , h t t p : / / w w w. d e z e e n . c o m / 2 0 1 2 / 1 0 / 1 8 / g i a n t s - c a u s e w a y - v i s i t o r s - c e n t r e - b y - h e n e g h a n - p e n g architects/.

J u h a n i P a l l a smaa, The Eyes of the Skin (West Sussex, England: Wiley & Sons, 2005 ) . “ M a j o r P l a n s Ahead for Cultúrlann Uí Chanáin,” accessed January 18, 2015, http:// w w w. d e r r y j o u r n a l . c o m / n e w s / m a j o r- p l a n s - a h e a d - f o r- c u l t u r l a n n - u i - c h a n a i n - 1 - 6 3 9 9 8 0 1 .

M a r k H a c k e t t, “An Gaeláras by O’Do nnell + Tuomey, Derry, Northern Ireland,” acces s e d J a n u a r y 1 8 , 2 0 1 5 , h t t p : / / w w w. a r c h i t e c t u r a l - r e v i e w. c o m / b u i l d i n g s / a n - g a e l r a s - b y - o d o n n e l l - t u o m e y - d e r r y n o r t h e r n - i r e l and/5218206.article.

M a r k S w e n a r ton, Igea Troiani, and Helena Webster, eds., The Politics of Making, C r i t i q u e s , C r i t i c a l S t u d i e s i n A r c h i t e c t u r a l H u m a n i t i e s ( L o n d o n : R o u t l e d g e , 2 0 0 7 ) . “ O l d a n d N e w Towns of Edinburgh - UNESCO World Heritage Centre,” accessed Jan u a r y 1 6 , 2 0 1 5 , h t t p : / / w h c . u n e s c o . o r g / e n / l i s t / 7 2 8 .

P e t e r S m i t h s on, Peter Smithson: Conversations with Students: A Space for Our Gen e r a t i o n , 1 s t e d ( N e w Yo r k : P r i n c e t o n A r c h i t e c t u r a l P r e s s , 2 0 0 5 ) .

R u t h M o r r o w, “Tactility Factory” (Inf ormal Discussion, Belfast, April 11, 2014). “ S a m J a c o b On The ‘Post-Digital Phase,’” ArchDaily, accessed January 6, 2015, http : / / w w w. a r c h d a i l y. c o m / 5 7 2 3 1 4 / s a m - j a c o b - o n - t h e - p o s t - d i g i t a l - p h a s e / .

S m i t h s o n , A l ison Margaret. Changing the Art of Inhabitation. London: Artemis, 199 4 .

T h e S e a t o f Modern Design, Anna Rohleder, Forbes, 2001, http://www.forbes.com/2 0 0 1 / 0 8 / 1 5 / 0 8 1 5 p o w. h t m l .

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F i g u r e 2: U n known. The Upper Lawn Pavilion. Photograph. n.d. Accessed January 17 , 2 0 1 5 . h t t p s : / / s - m e d i a - c a c h e - a k 0 . p i n i m g . c o m / 7 3 6 x / d b / f 7 / 5 b / d b f 7 5 b 6 b b b b 8 d 6 d 5 d 0 f a 4 4 2 d 4 4 f b a a 8 f . j p g .

F i g u r e 3 : R a chel Cooke, “Alison Smithson: Portrait of a Pioneer,” BD Online, Octobe r 1 5 , 2 0 1 3 , h t t p : / / w w w. b d o n l i n e . c o . u k / a l i s o n - s m i t h s o n - p o r t r a i t - o f - a - p i o n e e r / 5 0 6 2 0 9 6 . a r t i c l e .

2 9 ( A r c h i t e c t ure and Climate : An En vironmental History of British Architecture 160 0 - 2 0 0 0 , D e a n H a w k e s , 2 0 1 2 , p g . 2 4 1 ) F i g u r e 1 3 : L asse Rode, Peter-Alison-Smithson-Upper-Lawn-Pavilion-Xoio-Lasse-Rod e - 0 7 , d i g i t a l , 2 0 1 3 , h t t p : / / w w w. r o n e n b e k e r m a n . c o m / p e t e r- a l i s o n - s m i t h s o n - u p p e r- l a w n - p a v i l i o n - 3 d - r e c r e a t i o n l a s s e - r o d e / p eter-alison-smithson-upper-lawn-pavilion-xoio-lasse-rode-07/.

F i g u r e 1 4 : B usywire, Upper Lawn Pavilion, Fonthill Estate, Tisbury, Wiltshire, photo , N . D . , h t t p s : / / w w w. t u m b l r. c o m / s e a r c h / u p p e r % 2 0 l a w n .

F i g u r e 1 5 : S mithson, Peter and Alison. Appliance House, Middle Plan Level. Drawin g . n . d . A c c e s s e d J a n u a r y 1 7 , 2 0 1 5 . h t t p : / / e s . w i k i a r q u i t e c t u r a . c o m / i m a g e s / 1 / 1 1 / C a s a _ f u t u r o _ p l a n o _ n i v e l _ medio.jpg.

F i g u r e 1 6 : S mithson, Alison and Peter. Put-Away House. Drawing. Accessed January 1 7 , 2 0 1 5 . h t t p : / / b r a v e d r a w n w o r l d . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 1 / 1 3 0 1 0 1 _ P u t - Aw a y - H o u s e . p n g .

F i g u r e 1 7 - 2 3 : All drawings courtesy of Sergison Bates Architects.

F i g u r e 2 5 : “ P abellón Upper Lawn. 19 62. PETER Y ALISON SMITHSON | Arquitecturas S i l e n c i o s a s , ” a c c e s s e d J a n u a r y 1 6 , 2 0 1 5 , h t t p : / / a r q u i t e c t u r a s s i l e n c i o s a s . b l o g s p o t . c o . u k / 2 0 1 1 / 0 8 / p a b e l l o n u p p e r- l a w n - 1 962-peter-y-alison.html.

F i g u r e 2 6 : I b id F i g u r e 2 9 : A l ison Margaret Smithson, Without Rhetoric: An Architectural Aesthetic , 1 9 5 5 - 1 9 7 2 ( L o n d o n : L a t i m e r N e w D i m e n s i o n s , 1 9 7 3 ) .

F i g u r e 3 5 : M ark Swenarton, Igea Tro iani, and Helena Webster, eds., The Politics of M a k i n g , C r i t i q u e s , C r i t i c a l S t u d i e s i n A r c h i t e c t u r a l H u m a n i t i e s ( L o n d o n : R o u t l e d g e , 2 0 0 7 ) .

F i g u r e 3 6 : I b id F i g u r e 3 7 : “ P abellón Upper Lawn. 19 62. PETER Y ALISON SMITHSON | Arquitecturas S i l e n c i o s a s . ” F i g u r e 3 8 : I b id F i g u r e 3 9 : I b id F i g u r e 4 0 : U nknown. Muuratsalo Exp erimental House Courtyard, n.d. http://40.medi a . t u m b l r. c o m / 6 f d 0 b a f c 1 6 e f 0 d 3 4 1 9 b f 1 8 6 3 f 3 9 c f f 1 7 / t u m b l r _ n b 0 p i x I G Tu 1 r 4 s f 9 x o 1 _ 1 2 8 0 . j p g .

F i g u r e 4 1 : U nknown. Muurasalo, Exp erimental House Plan. Drawing, n.d. http://atla s o f i n t e r i o r s . p o l i m i - c o o p e r a t i o n . o r g / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 3 / a a l t o _ 1 9 5 3 _ m u u r a t s a l o _ 0 1 3 8 . j p g .

F i g u r e 4 2 : U nknown. Muuratsalo Exp erimental House Exterior Wall. Photgraph, n.d. h t t p : / / a d 0 0 9 c d n b . a r c h d a i l y. n e t / w p - c o n t e n t / u p l o a d s / 2 0 1 2 / 0 3 / 1 3 3 1 0 0 5 6 1 3 - f i n - p r y - 1 5 7 . j p g .

F i g u r e 7 5 : U nknown. Army Office in Roorkhee Chair, n.d. http://3.bp.blogspot.com/_ k M 7 t 6 I w m Q l Q / S D x i C u L 6 D Q I / A A A A A A A A D Z E / 7 b i d j a 1 Q L X Q / s 1 6 0 0 - h / R o o r k h e e + c h a i r + i n + s i t u . j p g .

F i g u r e 7 6 : C hristopher Clarke, “SQDN/LR Peck’s Roorkhee Campaign Chair,” Christo p h e r C l a r k e D e a l e r s i n A n t i q u e s , 2 0 1 1 , h t t p : / / w w w. c a m p a i g n f u r n i t u r e . c o m / d e t a i l s p a g e . a s p ? s t o c k N o =7860&imgNo=2.

F i g u r e 7 7 : Ti meline - Multiple Officers and Chair: Unknown. Army Officers in Roorkh e e C h a i r. P h o t o g r a p h , n . d . h t t p : / / t h e d e s i g n e r s a s s i s t a n t . f i l e s . w o r d p r e s s . c o m / 2 0 1 2 / 0 9 / f i r e - s e t - 8 . j p e g ? w = 5 8 4 .

G r e e n F a b r i c Roorkhee: Unknown. Green Fabric Roorkhee Chair and Bag. Photograph , n . d . h t t p : / / w w w. c a m p a i g n f u r n i t u r e . c o m / p h o t o s / 7 8 6 0 . j p g .

D i s a s s e m b l e d Roorkhee: Unknown. Disassembled Roorkhee Chair. Photograph, n.d. h t t p : / / n i t r o e x p r e s s . i n f o / e z i n e / A r t i c l e s / H u n t i n g _ A f r i c a / 2 0 1 2 _ T h e S a f a r i L i f e / B r i t i s h C a m p a i g n Fu r n i t u r e / r o o r k h e e _ flat.jpg.

S a f a r i C h a i r : Unknown. Safari Chair. Photograph, n.d. http://www.madaboutthehous e . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 0 3 / 7 0 7 8 2 2 7 _ 1 _ l . j p g .

R o o r k h e e C h air Derivative: Unknown. Roorkhee Chair Derivative. Photograph, n.d. h t t p : / / w w w. h a m m e r s b y. c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 1 / 0 8 / 1 0 0 1 2 8 - D a n i s h - l e a t h e r- s a f a r i - c h a i r- v 1 - 3 5 3 x 3 5 3 . j p g .

B a s c u l a n t C h air: Unknown. Basculant Chair. Photograph, n.d. http://www.knoll.com / s t a t i c _ r e s o u r c e s / i m a g e s / p r o d u c t s / c a t a l o g / e c o / p a r t s / 5 0 L / 5 0 L - ( P C ) _ B L B L C K _ F Z . j p g .

S a f a r i C h a i r with Footstool: Unknown. Safari Chair with Footstool. Photograph, n.d. h t t p : / / c d n . s h o p i f y. c o m / s / f i l e s / 1 / 0 2 7 0 / 5 8 7 3 / p r o d u c t s / k a a r e - k l i n t - s a f a r- c h a i r- n a t u r a l - c a n v a s - w i t h - f o o t r e s t a n g l e d - c a r l - hansen-and-son_1024x1024.jpg?v=1419134654.

F i g u r e 7 8 : S wenarton, Troiani, and Webster, The Politics of Making.

F i g u r e 7 9 : I b id F i g u r e 1 4 8 : Yunyan, #MARS Rooms & Chairs Reviews, 18 November 2014, Guest Rev i e w e r s J a m e s Ti m b e r l a k e a n d M a r k H i n e s , w i t h A n t h o n y, F a h a d a n d J a m i e P r e s e n t i n g . , p h o t o , N o v e m b e r 1 8 , 2 0 1 4 , h t t p : / / www.radiomars.tv/.

F i g u r e 2 4 7 : Andrew Clancy, “Cinema & Picture House - Rachel Delargy - Queens Bel f a s t , ” Tw i t t e r, 2 0 1 3 , h t t p s : / / t w i t t e r. c o m / c l a n c y a n d r e w / s t a t u s / 3 4 0 0 2 2 2 0 4 4 3 7 7 6 6 1 4 4 .

F i g u r e 2 4 8 : Patricia Ferguson, A Tale of Lovers Long Ago, Silkscreen Print, N.D., htt p s : / / w w w. l i n k e d i n . c o m / p u b / p a t r i c i a - f e r g u s o n / 3 9 / 7 8 4 / 1 7 a .

F i g u r e 2 4 9 : F rancis Stacey, “Glomp” Detail, sculpture, 2010, http://www.francessta c e y. i n f o / i n d e x . p h p ? / w o r k s / w o r k s / .

F i g u r e 2 5 1 : Michael Stacey, MARS 2 014 Drawing Workshop Led by Frances Stacey a t t h e M u s e u m o f S c o t l a n d , E d i n b u r g h . , p h o t o , 1 4 , h t t p : / / w w w. r a d i o m a r s . t v / .

F i g u r e 2 5 2 : Michael Stacey, MARS Undertaking Two Handed Drawings in the Early P e o p l e G a l l e r y o f t h e N a t i o n a l M u s e u m o f S c o t l a n d . , p h o t o , 1 4 , h t t p : / / w w w. r a d i o m a r s . t v / .

F i g u r e 2 7 5 : Photo courtesy of Philip Noone.

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