Architecture Portfolio | Stage 3 | Part I by Jodi Hampton

pleasure beach

barcelona project

architectural technology

25 ARC3014: Professional Practice and Management Mid-year practical experience during Part 1 studies Name: 110237233 General Information

professional practice

Dates of Experience Category of Experience Experience Level

27/01/2014 - 14/03/2014 i Stage 1

Location

Newcastle upon Tyne, Tyne and Wear, England

School of Architecture/ Monitoring Institution Professional Studies Advisor PSA's Email

Newcastle University School of Architecture Planning and Landscape

Placement Provider

Newcastle University School of Architecture, Planning and Landscape

John Kamara

john.kamara@ncl.ac.uk

PSA's Phone No

0191 2228619

Placement Address

Architecture Planning and Landscape Newcastle University Newcastle Upon Tyne NE1 7RU United Kingdom JODI HAMPTON 0191 222 5831 www.ncl.ac.uk/apl GEOMETRICAL GENIUS

Placement Phone No

Placement Website

Student's Phone No

Student's Email

Brief Description of Placement Provider

Employment Mentor

Mentor's Profession

principles & theory

School of Architecture Planning and Landscape located at Newcastle University. The School brings together the disciplines of: Architecture, Town Planning, Landscape Architecture, Urban Design, Digital Architecture and Urban Conservation. The undergraduate and postgraduate programs are accredited by and have recognition from: The Royal Institute of British Architects, The Royal Town Planning Institute and Architects Registration Board. Matthew Ozga-Lawn

Lecturer in Architecture

Membership of Professional Bodies Registration Number Email Mentor's

matthew.ozga-lawn@ncl.ac.uk

Mentor's Phone No

0191 208 6019

Name: 110237233

Project Details

Project Name Project Description

Pleasure Beach Client - Private Funding - Private 2 Total Area - 2200m Procurement - Management Contracting. Design of an angling school and restaurant located on the North Pier, Blackpool, United Kingdom. The programme will include - a large open plan self serve restaurant, café, angling teaching rooms and tackle shop. RIBA stages 0-4, current work stage 3.

dissertation

seperate booklet

PLEASURE BEACH north pier|blackpool architecture and the pursuit of pleasure the fish creel

OH! I DO LIKE TO BE BESIDE THE SEASIDE.. THE COAST HAS ALWAYS BEEN A RECREATIONAL ENVIRONMENT, ALTHOUGH UNTIL THE MID-NINETEENTH CENTURY, SUCH RECREATION WAS A LUXURY ONLY FOR THE WEALTHY.HEILIGENDAMM IN MECKLENBURG (GERMANY), ESTABLISHED IN 1793, IS THE OLDEST SEASIDE RESORT IN CONTINENTAL EUROPE. THE OPENING OF THE RESORT IN BRIGHTON AND IT’S RECEPTION OF ROYAL PATRONAGE FROM KING GEORGE IV, EXTENDED THE SEASIDE AS A RESORT FOR HEALTH AND PLEASURE TO THE MUCH LARGER LONDON MARKET, AND THE BEACH BECAME A CENTRE FOR UPPER-CLASS PLEASURE AND FRIVOLITY. THIS TREND WAS PRAISED AND ARTISTICALLY ELEVATED BY THE NEW ROMANTIC IDEAL OF THE PICTURESQUE LANDSCAPE; JANE AUSTEN’S UNFINISHED NOVEL SANDITONIS AN EXAMPLE OF THAT. THE BLACKPOOL PROMENADE C. 1898. THE EXTENSION OF THIS FORM OF LEISURE TO THE MIDDLE AND WORKING CLASS BEGAN WITH THE DEVELOPMENT OF THE RAILWAYS IN THE 1840S, WHICH OFFERED CHEAP AND AFFORDABLE FARES TO FAST GROWING RESORT TOWNS. IN PARTICULAR, THE COMPLETION OF A BRANCH LINE TO THE SMALL SEASIDE TOWN BLACKPOOL FROM POULTON LED TO A SUSTAINED ECONOMIC AND DEMOGRAPHIC BOOM. A SUDDEN INFLUX OF VISITORS, ARRIVING BY RAIL, PROVIDED THE MOTIVATION FOR ENTREPRENEURS TO BUILD ACCOMMODATION AND CREATE NEW ATTRACTIONS, LEADING TO MORE VISITORS AND A RAPID CYCLE OF GROWTH THROUGHOUT THE 1850S AND 1860S. A PROMINENT FEATURE OF THE RESORT WAS THE PROMENADE AND THE PLEASURE PIERS, WHERE AN ECLECTIC VARIETY OF PERFORMANCES VIED FOR THE PEOPLE’S ATTENTION. (PLEASURE PIERS WERE FIRST BUILT IN ENGLAND, DURING THE 19TH CENTURY. THE LARGE TIDAL RANGES AT MANY SUCH RESORTS MEANT THAT FOR MUCH OF THE DAY, THE SEA WAS NOT VISIBLE FROM DRY LAND. THE PLEASURE PIER WAS THE RESORTS’ ANSWER, PERMITTING HOLIDAY MAKERS TO PROMENADE OVER AND ALONGSIDE THE SEA AT ALL TIMES) IN 1863, THE NORTH PIER IN BLACKPOOL WAS COMPLETED, RAPIDLY BECOMING A CENTRE OF ATTRACTION FOR ELITE VISITORS. CENTRAL PIER WAS COMPLETED IN 1868, WITH A THEATRE AND A LARGE OPEN-AIR DANCE FLOOR. MANY OF THE POPULAR BEACH RESORTS WERE EQUIPPED WITH BATHING MACHINES BECAUSE EVEN THE ALL-COVERING BEACHWEAR OF THE PERIOD WAS CONSIDERED IMMODEST. BY THE END OF THE CENTURY THE ENGLISH COASTLINE HAD OVER 100 LARGE RESORT TOWNS, SOME WITH POPULATIONS EXCEEDING 50,000. THE DEVELOPMENT OF THE SEASIDE RESORT ABROAD WAS STIMULATED BY THE ENGLISH LOVE OF THE BEACH. THE FRENCH RIVIERA ALONGSIDE THE MEDITERRANEAN HAD ALREADY BECOME A POPULAR DESTINATION FOR THE BRITISH UPPER CLASS BY THE END OF THE 18TH CENTURY. IN 1864, THE FIRST RAILWAY TO NICE WAS COMPLETED, MAKING THE RIVIERA ACCESSIBLE TO VISITORS FROM ALL OVER EUROPE. BY 1874, RESIDENTS OF FOREIGN ENCLAVES IN NICE, MOST OF WHOM WERE BRITISH, NUMBERED 25,000. THE COASTLINE BECAME RENOWNED FOR ATTRACTING THE ROYALTY OF EUROPE, INCLUDING QUEEN VICTORIA AND KING EDWARD VII.

CONTINENTAL EUROPEAN ATTITUDES TOWARDS GAMBLING AND NAKEDNESS TENDED TO BE MORE LAX THAN IN BRITAIN, SO BRITISH AND FRENCH ENTREPRENEURS WERE QUICK TO EXPLOIT THE POSSIBILITES. IN 1863, THE PRINCE OF MONACO, CHARLES III AND FRANCOIS BLANC, A FRENCH BUSINESSMAN, ARRANGED FOR STEAMSHIPS AND CARRIAGES TO TAKE VISITORS FROM NICE TO MONACO, WHERE LARGE LUXURY HOTELS, GARDENS AND CASINOS WERE BUILT. THE PLACE WAS RENAMED MONTE CARLO. COMMERCIAL SEABATHING ALSO SPREAD TO THE UNITED STATES AND PARTS OF THE BRITISH EMPIRE SUCH AS AUSTRALIA WHERE SURFING WAS DEVELOPED IN THE EARLY 20TH CENTURY. BY THE 1970S CHEAP AND AFFORDABLE AIR TRAVEL WAS THE CATALAYST FOR THE GROWTH OF A TRULY GLOBAL TOURISM MARKET WHICH BENEFITED AREAS SUCH AS THE SPAIN AND THE SOUTH OF FRANCE WITH SUNNY CLIMATES. UK. THE POPULARITY OF THE BRITISH SEASIDE DECLINED FOR THE SAME REASON THAT IT FIRST FLOURISHED: ADVANCEMENTS IN TRANSPORT. HE GREATER ACCESSIBILITY OF FOREIGN HOLIDAY DESTINATIONS, THROUGH PACKAGE HOLIDAYS AND, MORE RECENTLY, EUROPEAN LOW-COST AIRLINES, AFFORDS PEOPLE THE FREEDOM TO HOLIDAY ABROAD. DESPITE THE LOYALTY OF RETURNING HOLIDAYMAKERS, RESORTS SUCH AS BLACKPOOL HAVE STRUGGLED TO COMPETE AGAINST THE FAVORABLE WEATHER OF SOUTHERN EUROPEAN ALTERNATIVES. MANY SEASIDE TOWNS HAVE TURNED TO OTHER ENTERTAINMENT INDUSTRIES, AND SOME OF THEM HAVE A GOOD DEAL OF NIGHTLIFE. THE CINEMAS AND THEATRES OFTEN REMAIN TO BECOME HOST TO A NUMBER OF PUBS, BARS, RESTAURANTS AND NIGHTCLUBS. MOST OF THEIR ENTERTAINMENT FACILITIES CATER TO LOCAL PEOPLE AND THE BEACHES STILL REMAIN POPULAR DURING THE SUMMER MONTHS. A LOT OF PEOPLE CAN ALSO AFFORD MORE TIME OFF AND ‘SECOND HOLIDAYS’ AND SHORT BREAKS WHICH STILL ATTRACT A LOT OF PEOPLE TO BRITISH SEASIDE TOWNS AND A LOT OF YOUNG PEOPLE AND STUDENTS ARE ABLE TO TAKE SHORT HOLIDAYS AND TO DISCOVER THE TOWN’S NIGHTLIFE. A LOT OF SEASIDE TOWNS BOAST LARGE SHOPPING CENTERS, WHICH ALSO ATTRACT PEOPLE FROM A WIDE AREA, AND A LOT OF DAY-TRIPPERS STILL COME TO THE COASTAL TOWNS BUT ON A MORE LOCAL SCALE THAN DURING THE 19TH CENTURY. THE IMAGE ON THE OPPOSING PAGE PORTRAYS MY EARLY EXPERIENCE OF BLACKPOOL, AND THE PLEASURE I HAVE BECOME INTERESTED IN, IN THE FORM OF A SOUVENIR - ANGLING. IN THE 19TH CENTURY THE VICTORIANS TRAVELLED TO BLACKPOOL TO ESSENTIALLY ‘CATCH’ A GLIMPSE OF A BETTER LIFE, EVEN IF IT WAS JUST FOR A DAY. THROUGH MY SOUVENIR OF A MACKERELS HEAD, I HAVE IMMORTALISED THAT FEELING BY TAKING SOMETHING THAT WOULD TYPICALLY DECAY AND PRESERVED IT.

“...WE NEED AND DESIRE SOUVENIRS OF EVENTS THAT ARE REPORTABLE, EVENTS WHOSE MATERIALITY HAS ESCAPED US, EVENTS THAT THEREBY EXIST ONLY THROUGH THE INVENTION OF NARRATIVE.” - STEWART 1993

BAIT BOX “BAIT BOX” IS AN ASSORTMENT OF IMAGES TAKEN FROM MY SOUVENIRS. IT CONTAINS THE FOLLOWING: A MACKEREL HEAD, SAND EEL BONES AND NECORA PUBER CRABS WHICH THEN WERE SET TO CAST WITHIN RESIN. I CAPTURED AND PROCESSED ALL OF THE ABOVE MYSELF THEN A POLYURETHANE CLEAR CAST TECHNIQUE WAS APPLIED. (PRESENT IN THE FINAL REVIEW) THE IDEA OF BEING INVOLVED WITHIN THE WHOLE PROCESS CONTRIBUTED TO MY INITIAL BRIEF DEVELOPMENT – THE CREATION OF A SELF-SUSTAINING FISH & CHIP RESTAURANT ON THE NORTH PIER, BLACKPOOL. I SELECTED THE NORTH PIER, AS IT HAS ALWAYS BEEN POPULAR WITH ANGLERS AS IT OFFERS EASY ACCESS TO DEEP WATER, IT IS THE ONLY PIER OF THE THREE IN BLACKPOOL WITH AN ANGLING JETTY. THIS VICTORIAN PIER HAS ALWAYS PLAYED A CRUCIAL, SOMETIMES FUNDAMENTAL ROLE IN SEA ANGLING EVEN TODAY. “OFTEN THEY ARE NURSERY PLATFORMS, TRAINING GROUNDS, CALL THEM WHAT YOU LIKE, FOR YOUNG ANGLERS WITHOUT AS YET EITHER MONEY OR CASTING SKILLS, EDUCATING AND DRAWING THEM IN TO FISHING IN THE SEA IN A WAY THAT QUITE FRANKLY NO OTHER DRY GROUND FISHING PLATFORM CAN.”

SOU·VE·NIR

NOUN NOUN: SOUVENIR; PLURAL NOUN: SOUVENIRS 1. A THING THAT IS KEPT AS A REMINDER OF A PERSON, PLACE, OR EVENT. THIS COLLAGE AND MANY OTHERS WITHIN MY GRADUATION PROJECT HAVE BEEN REPRESENTED THROUGH POLAROID PICTURES. THIS MATERIAL WAS USED AS POLAROID’S THEMSELVES ARE AN OLD WAY OF CAPTURING A PERSON, PLACE OR EVENT, PARTICULARLY THOSE TAKEN WHEN ON HOLIDAY, THUS CHOOSING THIS AS A SOUVENIR IN ITS OWN RIGHT. THE ORIGINAL PURPOSE OF INSTANT CAMERAS WAS MOTIVATED BY JENNIFER LAND’S QUESTION TO HER FATHER EDWIN LAND: “WHY CAN’T I SEE THEM NOW?”. THE POLAROID PICTURES CAPTURES THE EVENT AND ALLOWS FOR A RAW REPRESENTATION WITH NO PHOTOSHOP EDITING - WHAT YOU SEE IS WHAT YOU GET. THIS INSPIRED ME TO USED POLAROID’S THROUGHOUT THIS PROJECT. THE IMAGE ON THE OPPOSING PAGE IS A MODEL SITE PLAN OF THE NORTH PIER AT 1:800 - FOR THE FINAL REVIEW I PLACED THIS INTO A PICTURE FRAME AND FILLED IT WITH RESIN TO REPRESENT THE IRISH SEA.

ABOVE IMAGE: RESIN FILLED SITE PLAN|1:800

BELOW IMAGE: RESIN FILLED SITE MODEL|1:1000 (PRESENT IN THE FINAL REVIEW)

MARITIME HIERARCHY

DI·A·GRAM

AS SUCH THIS ARCHITECTURAL DRAWING OPERATES “BETWEEN FORM AND WORD, SPACE AND LANGUAGE” BEING “BOTH CONSTITUTIVE AND PROJECTIVE; IT IS PERFORMATIVE RATHER THAN REPRESENTATIONAL”. I CONCLUDE WITH SOMOL THAT IT ACTS AS A “TOOL TO THE VIRTUAL RATHER THAN THE REAL AND A MEANS OF BUILDING A VIRTUAL ARCHITECTURE, OF PROPOSING A WORLD OTHER THAN THAT WHICH EXISTS”. IN THIS WAY, MARITIME HIERARCHY ACTS AS A VISUAL LANGUAGE EXPLAINING TO BOTH THE CLIENT AND THE USER THAT: FISHING = FISH = MEAL = EATING, SIMPLIFYING IN FOUR BASIC ICONS THE ACTIONS AND PROCESSES THAT THE PUBLIC CAN EXPERIENCE UNDER ONE ROOF. IT’S A PRIMITIVE PROCESS, WHERE THEIR MEAL HAS BEEN SOURCED AND COOKED BY THEMSELVES, GIVING THEM A REAL SENSE OF PLEASURE, WHICH WAS A KEY CONCEPT WITHIN MY GRADUATION PROJECT. HERE TIME IS AN ACTIVE RATHER THAN A PASSIVE ELEMENT SIMILAR TO MODELS ASSOCIATED WITH THE NEO-AVANT-GARDE.

1.  A SIMPLIFIED DRAWING SHOWING THE APPEARANCE, STRUCTURE, OR WORKINGS OF SOMETHING; A SCHEMATIC REPRESENTATION.

THE FISH CREEL IS OF A MINIMALIST DESIGN WHICH “OPERATES IN A DIAGRAMMATIC MANNER IN THAT IT SOLICITS AND UNDERMINES A KEY OPPOSITION OF FORMALIST MODERNISM – NAMELY THAT BETWEEN PAINTING AND SCULPTURE – AS IT CAN BE SEEN AS EMERGING IN RESPONSE TO DEVELOPMENTS IN EITHER MEDIUM”.

AT THIS STAGE THE PROJECT WAS TRANSLATED INTO A SERIES OF DRAWINGS THAT WERE CAREFULLY CONSTRUCTED FROM STUDIES OF THE SOUVENIR AND COLLAGE – AS WELL AS THEIR RELATION TO BLACKPOOL. THESE SITUATED AND SPATIALISE THE EARLIER STUDY. THE ILLUSTRATIVE FIGURE, MARITIME HIERARCHY, GIVES AN OUTLINE APPROACH TO THE STRUCTURE WITHOUT REPRESENTING THE EXACT APPEARANCE. IT WAS PRIMARILY INSPIRED BY THE WORKINGS OF TOM NGO. THE NATURE OF THE PIECE IS TO CLARIFY THE ARCHITECTURAL CONCEPT, STRATEGIES AND PROCESSES THEREBY MAKING THE OBSCURE APPARENT. AS A RESULT, MARITIME HIERARCHY CAN BE LABELLED AS A DIAGRAM.

NOUN NOUN: DIAGRAM; PLURAL NOUN: DIAGRAMS; NOUN: DIAG.

IT ENCAPSULATES CROSS-DISCIPLINARY STRUCTURING OF THINKING, LAYERS OF ELEMENTS AND AN EXPLORATION OF OPPORTUNITIES FOR RELATIONS BETWEEN STRUCTURE AND ENVIRONMENT IN ONE SIMPLISTIC IMAGE.AS KAJUYO SEJIMA STATES WHEN YOU REDUCE A BUILDING TO A SPECIAL KIND OF DIAGRAM “YOU SEE A BUILDING AS ESSENTIALLY THE EQUIVALENT OF THE KIND OF SPATIAL DIAGRAM USED TO DESCRIBE THE DAILY ACTIVITIES FOR WHICH THE BUILDING IS INTENDED IN ABSTRACT FORM. AT LEAST IT SEEMS AS IF YOUR OBJECTIVE IS TO GET AS CLOSE AS POSSIBLE TO THIS CONDITION”. VIDLER GOES ON TO SAY THAT “IN THIS ASCRIPTION, ARCHITECTURE ITSELF BECOMES JOINED TO ITS DIAGRAM”. BY PRESENTING THE FISH CREEL IN A DIAGRAMMATIC FASHION “IT SERVES TO RENDER ACCOUNT OF IDEAS…., IT SERVES TO FIX IDEAS….AND FINALLY TO COMMUNICATE THEM AFTERWARDS, WHETHER TO CLIENTS OR DIFFERENT CONTRACTORS” IT “DISSIMULATES IN ORDER TO SEDUCE THE LAY CLIENT”.

IN CONCLUSION, THE FISH CREEL IS AS GILLES DELEUZE DESCRIBES IT “THE DIAGRAM IS THE POSSIBILITY OF FACT – IT IS NOT THE FACT ITSELF”. THIS INTERFACE BETWEEN STRUCTURE AND ENVIRONMENT, PUBLIC INTERACTION AND UNIQUE DINING EXPERIENCE REPRESENTS THE “EMERGENCE OF ANOTHER WORLD” WHICH IS “PRECISELY WHAT THE DIAGRAM DIAGRAMS. IT SIMPLIFIES FORM, LANGUAGE AND REPRESENTATION, MOVING FROM REPRESENTING IDEA TO PRODUCING IDEA. A FORMALISATION OF EXPLORATIONS AND THOUGHT. THE IMAGE ON THE OPPOSING PAGE AGAIN IS INSPIRED BY TOM NGO, THIS WAS DEVELOPED BEFORE MARITIME HIERARCHY – ALTHOUGH, I WOULD CONSIDER MARITIME HIERARCHY TO BE A STRONGER MORE CLEARER REPRESENTATION. FISH & MIX IS AN ASSORTMENT OF MARITIME OBJECTS, WHICH RELATE SPECIFICALLY TO MY THOUGH PROCESS AROUND THE PROJECT. (BOTH PRESENT IN THE FINAL REVIEW)

FISH & MIX

THE FISH CREEL MY DESIGN, THE FISH CREEL, IS A SELF-SERVICE FISH & CHIP RESTAURANT THAT HOVERS OVER THE EXISTING PIER, WITH NO CONTACT AT ANY POINT. INSIDE I HAVE CREATED A SUSTAINED MULTIPURPOSE ENVIRONMENT THAT HOUSES EVERYTHING UNDER ONE ROOF. THE GROUND LEVEL, WHICH IS TO BE CONSIDERED THE MAIN LEVEL, IS A HUB OF ACTIVITY AND OFF THIS LEVEL THERE IS AN ANGLING PLATFORM. IT CONTAINS LARGE TABLES AND BENCHES WHERE THE CATCH CAN THEN BE PREPARED AND COOKED. IN THE CENTRE OF THESE TABLES IS A LARGE OIL FILLED FRYER. THE FIRST LEVEL WILL HOLD A QUIETER SPACE FOR VISITORS WHO WANT TO SPECTATOR JUST SIMPLY JUST TO FISH OFF THE FACILITIES. HAVING 2 PLATFORMS ACCOMMODATES FOR HIGH AND LOW TIDAL LEVELS. THIS IDEA WAS INSPIRED FROM THE GALATA BRIDGE IN ISTANBUL WHERE BY THE ACTIVITIES ARE SPLIT ON DIFFERENT LEVELS, AND THE ACT OF ANGLING IS ALWAYS SEEN THROUGHOUT THE JOURNEY ACROSS. AT THE TOP OF MY STRUCTURE THERE IS A PLANTER – CONTAINING POTATOES AND PEAS (THESE WILL BE FERTILIZED WITH LOCALLY SOURCED SEAWEED FROM THE BEACH). WHEN READY THE POTATOES WILL BE PICKED FROM THE PLANTERS, AND THEN DROPPED ONTO THE WALLS. THE WALLS ARE AT THE RIGHT ANGLE TO ALLOW THEM TO FALL INTO TROUGHS IN THE CENTRE OF THE TABLES, FOR EASE OF ACCESS. POTATOES AND PEAS CAN BOTH BE EASILY GROWN HERE IN BLACKPOOL AS THE COASTAL ENVIRONMENT IS PERFECT. EACH MONTH THE OIL CAN BE EXTRACTED FROM THE FRYER, THIS WILL NOT BE WASTED AS IT WILL GO ON TO BE USED IN THE BIO FUEL INDUSTRY - MAKING AND BURNING BIODIESEL CONTRIBUTES TO ATMOSPHERIC CARBON DIOXIDE TO A SMALLER EXTENT THAN BURNING FOSSIL FUELS. SINCE 2006 IT’S NOW LEGAL TO MAKE UP TO 2,500L OF BIODIESEL FOR PERSONAL USE, WHICH IS ENOUGH TO RUN AN AVERAGE FAMILY CAR, WITHOUT PAYING ANY KIND OF TAX. THE MAKERS CONVERT THE USED CHIP FAT FROM FISH AND CHIP SHOPS RESTAURANTS, PUBS AND FAST FOOD OUTLETS TO CREATE A USEFUL AND VERY CHEAP FUEL TO RUN VEHICLES. FROM THE SECTION YOU CAN GET A SENSE OF THE MATERIALITY, AND THE REPETITION WITHIN THE STRUCTURE, THIS GRID WAS INSPIRED DIRECTLY FROM THE USE OF POLAROID PICTURES WITHIN THE EARLY DEVELOPMENT STAGES OF THE GRADUATION PROJECT. THE FAÇADE ITSELF IS MOVABLE ALONG THE GROUND AND FIRST FLOOR LEVEL, THROUGH A CENTRAL PIVOTAL SYSTEM. THESE DOORS CAN BE OPENED AT ANY POINT ALONG THESE TWO FLOORS, BLURRING THE THRESHOLDS OF INTERNAL AND EXTERNAL SPACES. THIS DESIGN FEATURE MAKES THE DINING EXPERIENCE FLEXIBLE, AS DOORS WILL BE OPEN WHILE PEOPLE ARE FISHING/COOKING/EATING. IT’S A PRIMITIVE EXPERIENCE. THE WHOLE INTERNAL AND EXTERNAL PROCESS WILL BE VISIBLE AT ALL TIME IN THIS MULTI PROGRAMME SPACE. THE PLANOMETRIC TO THE LEFT SHOWS THE WORKINGS OF THE BUILDING IN AN INCREDIBLY SIMPLISTIC WAY. WORKING IN PLANOMETRIC FORM WAS SOMETHING VERY NEW TO ME BUT SOMETHING I WILL CONTINUE TO USE AS THE RESULT IS CLEAR AND PRECISE. (BOTH PRESENT IN THE FINAL REVIEW)

WEST SECTION | NOT TO SCALE |

WEST PLANOMETRIC | NOT TO SCALE |

INTERNAL PERSPECTIVE|NOT TO SCALE|

SOUTH ELEVATION|NOT TO SCALE|

(PRESENT IN THE FINAL REVIEW)

THE CATCH OF THE DAY - THE POLAROID’S WERE AN EARLY EXPLORATION INTO BLACKPOOL

CAN RICART poblenou, barcelona working with existing structures la machine atelier

CAN RICART

LA MACHINE

IS A NEOCLASSICAL-STYLE INDUSTRIAL SITE DESIGNED BY THE RENOWNED ACADEMIC ARCHITECT JOSEP ORIOL BERNADET BETWEEN 1852 AND 1854. IT WAS COMPLETE TEN YEARS LATER BY THE ARCHITECT JOSEP FONTSERE I MESTRES, THE DESIGNER OF CIUTADELLA PARK AND THE BRON MARKET. THE FACTORY WAS ONE OF THE MOST IMPORTANT INDUSTRIES IN BARCELONA PLAIN. ALTHOUGH IT WAS FIRST USED FOR THE PRODUCTION OF COTTON STAMPING, FROM THE 1920S ON IT BECAME A RENTED INDUSTRIAL ESTATE AND WAS THE SITE FOR OTHER INNOVATIVE INDUSTRIAL ACTIVITIES, SUCH AS THE PRODUCTION OF COCONUT OIL BY THE HISPANO FILIPINA COMPANY.

A FRENCH COLLECTIVE INCLUDING ARTISTS, STAGE DESIGNERS, CRAFTSMEN WHO SPECIALISE IN THE CONSTRUCTION OF UNUSUAL OBJECTS AND PROPS AND PRODUCE URBAN PERFORMANCES

WORKING WITH EXISTING STRUCTURES

TRACES OF PREVIOUS SUCCESSIVE OCCUPATIONS

THE OWNER OF CAN RICART BEGAN TO ARRANGE FOR INCREASINGLY SHORTER RENTAL CONTRACTS IN ORDER TO AVOID THE POSSIBILITY OF HAVING TO PAY COMPENSATION TO HIS TENANTS. WHEN IT BECAME CLEAR TO THE VARIOUS COMPANIES THAT THEIR CONTRACTS WOULD NOT BE RENEWED AND THAT THEY WOULD BE FORCED TO MOVE OUT WITHOUT COMPENSATION, THEY ORGANIZED, FORMING THE ASSOCIATION OF WORKERS AND EMPLOYERS OF CAN RICART. IN EARLY 2005, THEY HELD A DEMONSTRATION DEMANDING FAIR COMPENSATION FOR ALL THE COMPANIES AND ACTIVITIES ON THE SITE. THIS CHANGED THE SCALE, FROM ESSENTIALLY A PRIVATE CONFLICT INTO A PROBLEM FOR THE WHOLE CITY, LED TO THE MORE ACTIVE INVOLVEMENT OF OVER 40 CULTURAL, EDUCATIONAL, NEIGHBORHOOD AND YOUTH ORGANIZATIONS IN POBLENOU AND ACROSS BARCELONA. THE SALVEM CAN RICART PROTEST GROUP WAS CREATED, UNITING DEMANDS FOR THE CONSERVATION OF THE SITE FOR HISTORIC, IDENTITY AND ARCHITECTONIC REASONS WITH DEMANDS FOR THE MAINTENANCE OF THE SITE’S ACTIVITIES. IN ADDITION TO THE NEIGHBORHOOD ASSOCIATIONS, ARCHITECTS, HISTORIANS AND ASSOCIATION OF WORKERS AND EMPLOYERS OF CAN RICART, VARIOUS YOUTH AND ANTI-CAPITALIST ORGANIZATIONS A HIGHLY ACTIVE AND INNOVATIVE GROUP IN SCR WAS FORMED BY LOCAL ARTISTS BASED IN THE CAN FONT-NAU21 STUDIO AND HANGAR. THESE ARTISTS ARGUED THAT CAN RICART SHOULD BECOME AN INNOVATIVE URBAN SPACE IN THE PUBLIC DOMAIN. NOW, AN INVESTIGATION INTO BUILDING DENSITY SHOWED HIGH RISE DEVELOPMENTS AT ONE END OF THE AXIS AND LOWER RISE INDUSTRIAL SITES AT THE OTHER WHICH HAVE STILL YET TO BE DEVELOPED FULLY. THE SITE SITS BETWEEN THESE CONTRASTING AREAS AND THE PROPOSED BRIEF ENGAGES BOTH THROUGH A NOVEL WAY OF EXTENDING THE LIFE OF A BUILDING BEYOND OBSOLESCENCE, WHICH IS GENERALLY DERIVED FROM SOCIAL AND ECONOMIC CHANGES IN THE WIDER SOCIETY.

CHRIS MOSS IN HIS ARTICLE FOR THE TELEGRAPH DESCRIBES THE WORKSHOP OF LA MACHINE AS !A RIOT OF ACTIVITY. CLANGING, WHIRRING, GRINDING, SAWING AND CRACKLING FILL THE HUGE SPACE, BIG ENOUGH FOR AN OCEAN LINER. IN ONE CORNER A CARPENTER SHAVES AWAY AT SOME SKINNY, 3FT-LONG WOODEN LEGS. A SCULPTOR STUDIES A MAN-SIZED INSECT PAINTED IN GARISH GLOSSY COLOURS. TWO METALWORKERS STRUGGLE WITH SOME HUGE JOISTS – THEY MIGHT BE LEVERS OR ARMS, BUT WITH TOO MANY ELBOWS. ALL THE FORMS ARE ENIGMATIC, THEIR PURPOSE HARD TO FATHOM. THERE ARE CABLES, TUBES, LADDERS, SCAFFOLDING, BOTTLES OF GAS AND VATS OF OIL. A LITTLE BOAT IS NEAR COMPLETION; A SHAGGY-HEADED, LARGER-THAN-LIFE BUFFALO IS IN NEED OF MORE HIDE TO COVER ITS METAL SKELETON!’ TIME IS A KEY ASPECT TO THE ARTISTIC PROJECT, ON THE ONE HAND, THERE IS THE TIME OF SHORT (3 DAYS) URBAN TALE / PERFORMANCES; ON THE OTHER HAND, THERE IS THE SLOWER ENJOYMENT OF THE URBAN LANDSCAPE THROUGH THE PARADE OF A LARGE ANIMALS OR HEROES PROVIDING NEW PERSPECTIVES ON THE DAILY URBAN LANDSCAPE. LA MACHINE COMPANY THEATRE WAS INVITED TO SETTLE IN NANTES IN 2008 WHEN THEY WERE PROVIDED SPACE AND SUPPORT TO DEVELOP THEIR PROJECT ON THE TIP OF THE ILE DE NANTES TO OFFER A NEW BREED OF CULTURAL REGENERATION FOR BOTH LOCALS AND VISITORS. THIS BRIEF PROPOSES THE CREATION OF A BRANCH OF THIS ARTISTIC COMPANY IN THE CITY OF BARCELONA. A PARADE CIRCUIT FOR THE SHOW OF LA MACHINE NEEDS TO BE INCLUDED WITHIN THE DESIGN. BIG ARTEFACTS AND CONTRAPTIONS MOVING THROUGH THE SITE CAN BE EXPECTED (GIANT SQUID, LOBSTER, BIRD, SPIDER ETC. ALLOCATION OF A ROUTE FOR THE PARADE TO JOIN THE MAIN ROAD, CARRER DEL MARROC, VIA THE ACCESS ROAD INTO THE SITE IS ESSENTIAL.

SURVEYING THE AREA INVESTIGATION INTO BUILDING DENSITY IN THE AREA SHOWED HIGH RISE DEVELOPMENTS AT ONE END OF THE AXIS AND LOWER RISE INDUSTRIAL SITES AT THE OTHER, WHICH HAVE YET TO BE DEVELOPED. CAN RICART SITS BETWEEN THESE CONTRASTING AREAS AND THE PROPOSAL ENGAGES BOTH. ON APPROACH THE SITE IS IN A DILAPIDATED STATE, SERVING AS A METAPHOR TO THE CURRENT ECONOMIC CLIMATE IN THE AREA. ALL BUILDINGS ARE DECREPIT, DECAY SATURATED AND UNSTABLE FOR HABITATION. VISITING THIS ABANDONED FACTORY WAS STIMULATING, TO SEE ITS CULTURAL AND SOCIAL SIGNIFICANCE IN THE AREA. PARTICULARLY THE GRAFFITI CLUTTERING MOST WALLS EXTERNALLY AND INTERNALLY REINFORCED THE NEED FOR AN EDUCATIONAL INSTITUTE AND STUDIO FOR LA MACHINE ARTISTS AND LOCAL POPULACE TO DISPLAY THEIR WORK APPROPRIATELY. SEEING THE BUILDINGS RAW STRUCTURES AND HISTORICAL MATERIALITY WAS THE MOST APPEALING PART OF THE VISIT FOR ME, AND THE THOUGHT OF BEING ABLE TO KEEP AND RESTORE THESE FEATURES IS A NEW PROMISING PROCESS, WHICH I HAVEN’T WORKED WITH BEFORE. SITE 1 IN PARTICULAR SHOWS THESE FEATURES, THROUGH THE HEAVY WALLS TO THE DELICATE ROOF AND COLUMNS, WHICH IS SOMETHING I WWANTED TO INCORPORATE AND ENHANCE THROUGH OUT THE DESIGN PROCESS. EXPERIENCING THE MACRO AND MICRO SCALES FIRST HAND OF SUCH STRUCTURES HIGHLIGHT THE INTEGRAL ATTRIBUTES. ‘THERE ARE THREE WAYS TO PERFORM A REPAIR: MAKING A DAMAGED OBJECT SEEMS JUST LIKE NEW, IMPROVING ITS OPERATION, OR ALTERING IT ALTOGETHER; IN TECHNICAL JARGON, THESE THREE STRATEGIES CONSIST OF RESTORATION, REMEDIATION OR RECONFIGURA- TION. THE FIRST IS GOVERNED BY THE OBJECTS ORIGINAL STATE; THE SECOND SUBSTITUTES BETTER PARTS OR MATERIALS WHILE PRESERV- ING AN OLD FORM; THE THIRD RE-IMAGINES THE FORM AND USE OF THE OBJECTS IN THE COURSE OF FIXING IT. ALL REPAIR STRATEGIES DEPEND IN AN INITIAL JUDGMENT THAT WHAT’S BROKEN CAN INDEED BE FIXED.’ RICHARD SENNETT, THE CRAFTSMAN. (PRESENT IN THE FINAL REVIEW)

DESIGN SUMMARY THROUGHOUT THE DESIGN PROCESS IT WAS IMPERATIVE THAT THE HISTORY OF CAN RICART WAS PRESERVED AND RESTORED. ALTHOUGH, NOT TO ITS IDEAL ORIGINAL FORM BUT, A DECONSTRUCTION OF THE BUILDINGS WHICH COULD THEN BE RE-INVENTED WITHIN THE PROPOSED DESIGN TO CRE- ATE A WORKSHOP FOR LA MACHINE. [DECONSTRUCT TO RECONSTRUCT] THE INDUSTRIAL MASSES LEFT DERELICT AT CAN RICART HAVE A RAW AND AN OVER EXPOSED ARCHITECTURAL LANGUAGE ABOUT THEM, ESPECIALLY THE RICH MATE- RIALITY, WHICH HAS INFLUENCED MY DESIGN MASSIVELY FROM THE OLD TO THE NEW, TO THE CONNECTIONS AND DETAILS.

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WORKSHOP BRIDGE CRANE PLANT ROOM ASSEMBLY & EXHIBITION AREA STORAGE & DELIVERIES CAFÉ & KITCHEN RECEPTION PROJECTION AREA LA MACHINE CAFÉ PLAYGROUND OUTDOOR CAFÉ PRIVATE ENTRANCE VIEWING PLATFORM ATRIUM ATELIER OFFICE STUDIO TERRACE & VIEWING PLATFORM PARADE ROUTE

MY KEY FOCAL AREA IS THE CORE ATRIUM SPACE TO THE BUILDING. IT IS THE PRINCIPLE AREA DUE TO THE FOLLOWING PROPERTIES: ORIENTATION, AS IT’S AT THE HEART OF THE SITE; FUNCTIONALITY, AS A STARTING POINT FOR THE PARADE; ADAPTABILITY, CAN BE USED FOR A MULTITUDE OF PURPOSES; TRANSITIONAL, PROVIDES A THRESHOLD BETWEEN PUBLIC AND PRIVATE REALMS, ALLOWING FOR NUMEROUS VISUAL CONNECTIONS THROUGH TO DIFFERENT SPACES. THIS WILL BE A FLEXIBLE EXHIBITION AREA AND, WHEN OPENED FULLY ON EITHER SIDE IT WILL CREATE AN EXTERNAL WALKWAY RUNNING THE ENTIRE WIDTH OF THE BUILDING, CREATING SEPARATE PUBLIC AND PRIVATE SPACES. FROM WITHIN THE ATRIUM YOU WILL BE ABLE TO SEE DOWN TO THE WORKSHOP THROUGH LARGE GLAZED AREAS ON EITHER SIDE TO HEIGHTEN THE EXPERIENCE OF THE PROCESS FOR VISITORS. WHEN INSIDE THE WORKSHOP, LA MACHINE WILL BE ABLE TO SEE UP TO THEIR INVENTIONS DISPLAYED IN THIS EXHIBITION SPACE. STRUCTURALLY THIS SPACE WILL BE MADE OF A STEEL PORTAL FRAME. THIS CONSTRUCTION PROVIDES A CLEAR SPAN THAT IS UNOBSTRUCTED BY BRACING, TO ALLOW FOR GLAZED AREAS ON EITHER SIDE. THE GLASS USED IN THIS SPACE AND IN OTHER AREAS OF THE SITE WILL BE FUSED; CONTAINING RECYCLED AND SALVAGED MATERIALS LOCATED WITHIN BARCELONA TOGETHER WITH MATERIALS FOUND ON SITE. FOR EXAMPLE, COPPER, WIRE, MESH, TILES CAN ALL BE IMPLE- MENTED INTO THE GLASS, THIS WILL HELP REINFORCE THE INDUSTRIAL CHAR- ACTER OF THE BUILDING AND THE IDEA OF ENVIRONMENTAL DESIGN, INTERIOR REUSE AND REAPPROPRIATION. THIS SIMPLE AXONOMETRIC DIAGRAM ILLUSTRATES THE EXISTING FORM, NEW ADDITIONS AND A SIMPLIFIED VERSION OF THIS OVERALL APPROACH. THESE ADDITIONS CONSIST OF A BASEMENT, ATRIUM AND GABION WALLS. THE FOCUS OF THE ASSIGNMENT WILL BE TO ANALYSE THE DIFFERENT SCALES OF THE ATRIUM AND GABION WALLS, FROM THE CONSTRUCTION TO THE DETAILS. THIS IMAGE WAS PRESENT IN THE FINAL REVIEW.

PLAN|LEVEL -01

15 5

13 4

PLAN|LEVEL 00

PLAN|LEVEL 01| NOT TO SCALE|

MATERIAL, SPATIAL, TEXTURAL, STRUCTURAL & LANDSCAPE REUSE. FIND AND EXTRACT THE SURROUNDING HISTORICAL CONTEXT AND MOULD IT INTO THE EXISTING. RE APPROPRIATION BY CREATIVE DECONSTRUCTION AND CREATIVE CONSTRUCTION. DECONSTRUCTING INTERESTING AREAS OF THE FACTORY UNITS ALLOWS HISTORICAL LAYERS TO BE ADDED TO SITE 1. FOR EXAMPLE DEMOLISHING THE BELL TOWER TO USE ITS MATERIALS FOR AN EXTENSION WILL EXHIBIT CHRONOLOGICAL COHESION. OR EXTRACTING ROOF TRUSSES IN SITE 1, AND CREATING A SWINGING FRAME IN THE CHILDREN’S PLAYGROUND. THE PROJECT AIMS TO CREATE A HARMONY OF THE SITE BY THE COLLECTION OF INDUSTRIAL CHARACTER WITH A MODERN INTERIOR ADDITIONS. THIS IS REUSING THE EXISTING VIGOROUSLY, TO CREATE SOMETHING NEW. GATHERING THE TYPOLOGIES OF CAN RICART AND SUR- ROUNDING AREAS IT ALLOWS FOR THE ALLOCATION OF RE- PETITIVE QUALITIES. WHICH HAVE THEN BEEN ANALYSED AND IMPLEMENTED INTO MY DESIGN PROPOSAL, AS A MEANS OF REUSE INTO THE FOLLOWING MATERIAL, SPATIAL, TEXTURAL & LANDSCAPE REUSE. EAST SECTION|NOT TO SCALE|

WORKING WITH EXISTING BUILDINGS, REPAIRING AND RE- STORING THEM FOR CONTINUED USE HAS BECOME A CREATIVE AND FASCINATING TASK WITHIN THE ARCHITECTURAL DISCIPLINE. TODAY, CONVERSIONS AND UPGRADES ACCOUNTS FOR BETWEEN 50 AND 70 PERCENT OF ALL CONSTRUCTION WORKS (CRAMER AND BREITLING, 2007) AND DUE TO ECO- NOMICAL AND ECOLOGICAL IMPERATIVES, ADAPTIVE REUSE HAS GAINED IMPORTANCE EVER SINCE. (BOTH PRESENT IN THE FINAL REVIEW)

SOUTH ELEVATION|NOT TO SCALE|

FUSED GLASS FUSING SALVAGED MATERIALS FROM AROUND SITE AND IMPLEMENTING THEM INTO GLASS, TRAPPING AND REUSING THE MATERIAL, WHICH WOULD TYPICALLY BE OVERLOOKED TO CREATE SOMETHING VISUALLY AESTHETIC. FUSING LAYERS TOGETHER WILL ALLOW LIGHT TO TRANSFORM INTO SPACES YET DISTORTING THE IMAGE INTO PRIVATE THRESHOLDS. RICHARD WESTON PRODUCES WORK BY WORKING CLOSELY TO PATTERNS AND NATURAL FORMS, SELECTING PRINTS TO THEN TRANSFER ONTO FABRICS AND GLASS. THE DESIGN STUDIO ARMIN BLASBICHER STUDIO LOCATED IN ITALY, BRIXEN, MADE A DOOR WITH 585 REUSED FRAMED PHOTO SLIDES OF PANTONE SWATCHES, LAMINATED GLASS AND WOOD FRAME. IT MEASURES A HEIGHT OF 2.11M AND A WIDTH OF 97 CM. THE STRUCTURE AND CONSTRUCTION IS NOT COMPLEX, BUT THE LIGHTS HAVE A GREAT VISUAL EFFECT. THESE SAMPLES WERE ALL HANDMADE BY MYSELF AT THE NATIONAL GLASS CENTRE IN SUNDERLAND. FINAL MODEL|1:200

FINAL MODEL|1:200

FUSED GLASS SAMPLES

ACRYLIC FINAL MODEL|1:200 (PRESENT IN THE FINAL REVIEW)

architectural technology ARC2013|can ricart architectural technology semester 1

SUMMARY|THROUGHOUT THE DESIGN PROCESS IT WAS IMPERATIVE THAT THE HISTORY OF CAN RICART WAS PRESERVED AND RESTORED. ALTHOUGH, NOT TO ITS IDEAL ORIGINAL FORM BUT, A DECONSTRUCTION OF THE BUILDINGS WHICH COULD THEN BE RE-INVENTED WITHIN THE PROPOSED DESIGN TO CREATE A WORKSHOP FOR LA MACHINE. [DECONSTRUCT TO RECONSTRUCT] THE INDUSTRIAL MASSES LEFT DERELICT AT CAN RICART HAVE A RAW AND AN OVER EXPOSED ARCHITECTURAL LANGUAGE ABOUT THEM, ESPECIALLY THE RICH MATERIALITY, WHICH HAS INFLUENCED MY DESIGN MASSIVELY FROM THE OLD TO THE NEW, TO THE CONNECTIONS AND DETAILS. MY KEY FOCAL AREA IS THE CORE ATRIUM SPACE TO THE BUILDING. IT IS THE PRINCIPLE AREA DUE TO THE FOLLOWING PROPERTIES: ORIENTATION, AS IT’S AT THE HEART OF THE SITE; FUNCTIONALITY, AS A STARTING POINT FOR THE PARADE; ADAPTABILITY, CAN BE USED FOR A MULTITUDE OF PURPOSES; TRANSITIONAL, PROVIDES A THRESHOLD BETWEEN PUBLIC AND PRIVATE REALMS, ALLOWING FOR NUMEROUS VISUAL CONNECTIONS THROUGH TO DIFFERENT SPACES. THIS WILL BE A FLEXIBLE EXHIBITION AREA AND , WHEN OPENED FULLY ON EITHER SIDE IT WILL CREATE AN EXTERNAL WALKWAY RUNNING THE ENTIRE WIDTH OF THE BUILDING, CREATING SEPARATE PUBLIC AND PRIVATE SPACES. FROM WITHIN THE ATRIUM YOU WILL BE ABLE TO SEE DOWN TO THE WORKSHOP THROUGH LARGE GLAZED AREAS ON EITHER SIDE TO HEIGHTEN THE EXPERIENCE OF THE PROCESS FOR VISITORS. WHEN INSIDE THE WORKSHOP, LA MACHINE WILL BE ABLE TO SEE UP TO THEIR INVENTIONS DISPLAYED IN THIS EXHIBITION SPACE. STRUCTURALLY THIS SPACE WILL BE MADE OF A STEEL PORTAL FRAME. THIS CONSTRUCTION PROVIDES A CLEAR SPAN THAT IS UNOBSTRUCTED BY BRACING, TO ALLOW FOR GLAZED AREAS ON EITHER SIDE. THE GLASS USED IN THIS SPACE AND IN OTHER AREAS OF THE SITE WILL BE FUSED; CONTAINING RECYCLED AND SALVAGED MATERIALS LOCATED WITHIN BARCELONA TOGETHER WITH MATERIALS FOUND ON SITE. FOR EXAMPLE, COPPER, WIRE, MESH, TILES CAN ALL BE IMPLEMENTED INTO THE GLASS, THIS WILL HELP REINFORCE THE INDUSTRIAL CHARACTER OF THE BUILDING AND THE IDEA OF ENVIRONMENTAL DESIGN, INTERIOR REUSE AND REAPPROPRIATION. FOR THIS ASSIGNMENT I WILL FOCUS ON MACRO SCALE, THROUGH TO THE NARRATIVE OF THE THEMES CONSIDERED WHEN DESIGNING THE ATRIUM SPACES, TO THE MIRCO DETAILS OF THE CONNECTION OF THE NEW FRAME TO THE OLD MASONRY WALLS. BACKGROUND|CAN RICART IS A NEOCLASSICAL-STYLE INDUSTRIAL SITE DESIGNED BY THE RENOWNED ACADEMIC ARCHITECT JOSEP ORIOL BERNADET BETWEEN 1852 AND 1854. IT WAS COMPLETE TEN YEARS LATER BY THE ARCHITECT JOSEP FONTSERE I MESTRES, THE DESIGNER OF CIUTADELLA PARK AND THE BRON MARKET. THE FACTORY WAS ONE OF THE MOST IMPORTANT INDUSTRIES IN BARCELONA. ALTHOUGH IT WAS FIRST USED FOR THE PRODUCTION OF COTTON STAMPING, FROM THE 1920S ON IT BECAME A RENTED INDUSTRIAL ESTATE AND WAS THE SITE FOR OTHER INNOVATIVE INDUSTRIAL ACTIVITIES, SUCH AS THE PRODUCTION OF

COCONUT OIL BY HISPANO FILIPINA COMPANY. THE OWNER OF CAN RICART BEGAN TO ARRANGE FOR INCREASINGLY SHORTER RENTAL CONTRACTS IN ORDER TO AVOID THE POSSIBILITY OF HAVING TO PAY COMPENSATION TO HIS TENANTS. WHEN IT BECAME CLEAR TO THE VARIOUS COMPANIES THAT THEIR CONTRACTS WOULD NOT BE RENEWED AND THAT THEY WOULD BE FORCED TO MOVE OUT WITHOUT COMPENSATION, THEY ORGANIZED, FORMING THE ASSOCIATION OF WORKERS AND EMPLOYERS OF CAN RICART. IN EARLY 2005, THEY HELD A DEMONSTRATION DEMANDING FAIR COMPENSATION FOR ALL THE COMPANIES AND ACTIVITIES ON THE SITE. THIS CHANGED THE SCALE, FROM ESSENTIALLY A PRIVATE CONFLICT INTO A PROBLEM FOR THE WHOLE CITY, LED TO THE MORE ACTIVE INVOLVEMENT OF OVER 40 CULTURAL, EDUCATIONAL, NEIGHBORHOOD AND YOUTH ORGANIZATIONS IN POBLENOU AND ACROSS BARCELONA. THE SALVEM CAN RICART PROTEST GROUP WAS CREATED, UNITING DEMANDS FOR THE CONSERVATION OF THE SITE FOR HISTORIC, IDENTITY AND ARCHITECTONIC REASONS WITH DEMANDS FOR THE MAINTENANCE OF THE SITE’S ACTIVITIES. IN ADDITION TO THE NEIGHBORHOOD ASSOCIATIONS, ARCHITECTS, HISTORIANS AND WORKERS AND EMPLOYERS OF CAN RICART, VARIOUS YOUTH AND ANTI-CAPITALIST ORGANIZATIONS A HIGHLY ACTIVE AND INNOVATIVE GROUP IN SCR WAS FORMED BY LOCAL ARTISTS BASED IN THE CAN FONT-NAU21 STUDIO AND HANGAR. THESE ARTISTS ARGUED THAT CAN RICART SHOULD BECOME AN INNOVATIVE URBAN SPACE IN THE PUBLIC DOMAIN.

MACRO SCALE|CONCEPT|REDUCE AT THE SOURCE|AT A MACRO LEVEL, MY DESIGN CONCEPT WAS TO CREATE AN INTERVENTION, WHICH DREW UPON THE EXISTING AND REUSED WHAT WAS ALREADY IN SITU. THIS WAS STIMULATED BY MY INITIAL REACTION WHEN VISITING THE SITE IN BARCELONA WHERE I WAS OVER-ENTHUSIASTIC ABOUT THE COLLECTIVE RANGE OF INDUSTRIAL ELEMENTS AND MATERIALS. ON HINDSIGHT, MY ACTIONS WERE RELATED TO THOSE SET OUT TO MANAGE AND PREVENT WASTE IN THE GOVERNMENTS CONSULTATION PAPER OF ‘LESS WASTE MORE VALUE’ PUBLISHED IN 1998. HERE, IT IS NOTED THAT THE ARCHITECTS INFLUENCE IS GENERALLY CONSIDERED TO BE HIGHEST INITIALLY AND THEN DIMINISHES WITH EACH SUCCEEDING ACTION. FROM THE OUTSET, WASTE REDUCTION, RECYCLING AND RECLAMATION WERE MAJOR PERSONAL OBJECTIVES, WHICH UNSURPRISINGLY INFLUENCED MY DESIGN. BY REDUCING THE AMOUNT OF WASTE PRODUCED AND RECLAIMING IT IN DIFFERENT AREAS ON SITE, NOT ONLY DO THESE MATERIALS AVOID THE WASTE STREAM BUT THIS RECOVERY OF MATERIALS ALSO ALLOWS ME TO PROCESS THEM TO PRODUCE MARKETABLE PRODUCTS. THIS WILL THEREFORE, REDUCE COST, ENERGY USED AND THE CONSTRUCTION TIME. ENVISAGING THIS WITHIN ELEMENTS OF PROJECT PREPARATION AND CONCEPT DESIGN IMPROVES ON THE WHOLE, MATERIAL VALUE. AS THE EXISTING BUILDINGS ARE PERFECTLY SERVICEABLE, I SAW NO POINT IN DEMOLISHING THEM ONLY TO REPLACE THEM WITH SOMETHING FUNDAMENTALLY THE SAME IN CONSTRUCTION. THE AREAS THAT I HAVE DEMOLISHED ON SITE WILL BE UPCYCLED IN MY NEW CONSTRUCTION SO THAT THESE MATERIALS AVOID ENTERING THE WASTE STREAM. MATERIAL RECLAIM AND RECYCLING ARE IN MANY SENSES JUST A CURE FOR WASTE, BUT I WOULD LIKE TO EXTEND THIS FURTHER AND RETAIN THE SOCIAL, CULTURAL AND AESTHETICAL PROPERTIES OF THE MATERIALS. THIS WILL BE PRIMARILY ACHIEVED BY USING INTERNAL FUSED GLASS PANELS AND EXTERNAL GABION CAGES TO KEEP THE INDUSTRIAL CHARACTER. THE FUSED GLASS WILL CONTAIN RECYCLED AND SALVAGED MATERIALS LOCATED WITHIN BARCELONA TOGETHER WITH MATERIALS FOUND ON SITE. SIMILARLY THE GABION CAGES, WILL CONTAIN MATERIALS FOUND LOCALLY, THESE WILL INCLUDE: STONE, BRICK, TILES, GLASS ETC.

EXSISTING ADDITIONS APPROACH

THIS SIMPLE AXONOMETRIC DIAGRAM TO THE LEFT ILLUSTRATES THE EXISTING FORM, NEW ADDITIONS AND A SIMPLIFIED VERSION OF THIS OVERALL APPROACH. THESE ADDITIONS CONSIST OF A BASEMENT, ATRIUM AND GABION WALLS. THE FOCUS OF THE ASSIGNMENT WILL BE TO ANALYSE THE DIFFERENT SCALES OF THE ATRIUM AND GABION WALLS, FROM THE CONSTRUCTION TO THE DETAILS. THE ATRIUM WILL BE CONSTRUCTED FROM A STEEL PORTAL FRAME, WITH A GABION CLADDING FIXED TO THE EXTERNAL SURFACE. THE GABION BASKETS CONTAIN ALL WASTE MATERIALS FROM THE SITE AND SCRAP YARDS FOUND IN BARCELONA.

TERTIARY SECONDARY PRIMARY

MESO SCALE|THE USE OF THIS ATRIUM SPATIALLY WAS TO BLUR THE LINES BETWEEN AN INTERNAL AND EXTERNAL THRESHOLD. THE NEW INTERVENTION MIMICS THE PREVIOUS FORM, BUT EXTRUDING IT INTO THE PUBLIC COURTYARD. PICKING A PORTAL FRAME ALLOWED ME TO REPEAT AND EXTEND THIS SHAPE ON EITHER SIDE. THIS ATRIUM SPACE WILL HOUSE THE EXHIBITION SO USING A PORTAL FRAME ALLOWED FOR UNOBSTRUCTED SPANS TO BE MADE, SO LA MACHINES INVENTIONS CAN BE CONSTRUCTED IN THIS SPACE. STRUCTURALLY IT’S AN ECONOMICALLY EFFECTIVE SOLUTION, BUT THE SPEED OF CONSTRUCTION IS A HUGE ADVANTAGE TOO, DUE TO THE PARTS OF THE STEEL FRAME BEING PREFABRICATED AND TRANSPORTED EASILY AND PUT INTO PLACE FASTER. NOT ONLY IS IT EASY TO CONSTRUCTION BUT WHEN IT COMES TO DECONSTRUCTION ITS EASY TO DISASSEMBLE. THE MAIN DISADVANTAGE OF USING STEEL IN CONSTRUCTION IS ITS LOW TENSILE STRENGTH WHEN EXPOSED TO FIRE, SO CARE WILL BE TAKEN TO COAT THE STEEL IN A THIN INTUMESCENT COATING. GABION CAGES WILL THEN BE CLAD TO PART OF THE ATRIUM DISPLAYED ABOVE. THIS WILL BE DISCUSSED IN FURTHER DETAIL IN THE MICRO PART OF THIS ASSIGNMENT. PRIMARY; 250MM STEEL COLUMNS AT 6M CENTRES, CONNECTED TO CONCRETE FOUNDATIONS. SECONDARY; SIDE BRACING IS PLACED WHERE THE NEW STRUCTURE EXCEEDS THE OLD. ALONG WITH ROOF PRULINS AND KNEE JOINTS. TERTIARY; GABION CLADDING EXTERNALLY AND A ROW INTERNALLY FOR PROTECTION AND SEATING IN THE EXHIBITION SPACE. IN THIS SECTION I WILL SHOW HOW THE PORTAL FRAME WILL CONNECT TO THE FLOOR AND ROOF STRUCTURE.

MICRO SCALE|THESE GABIONS ARE MANUFACTURED FROM DIMENSIONALLY STABLE PANELS OF MESH THAT ARE FORMED BY WELDING TRANSVERSE AND LONGITUDINAL WIRES AT EACH AND EVERY INTERSECTION TO FORM A GRID. THE GABION BOX IS THEN PART ASSEMBLED BY HINGING THE FACE, BACK AND SIDES AND INTERNAL DIAPHRAGMS TO THE BASE PANEL AND THE LID TO THE REAR PANEL WITH ‘C’ RINGS OR CLIPS, THE UNITS ARE TRANSPORTED TO SITE FLAT PACKED AND LACING WIRE AS FOR ON SITE ERECTION. ON SITE, THE UNIT IS OPENED OUT IN AND THE SIDES, DIAPHRAGMS, FACE AND REAR PANELS ARE ROTATED TO THE VERTICAL POSITION AND JOINED WITH A CONTINUOUS LACING C RINGS. ONCE ASSEMBLED, THE GABIONS ARE FILLED WITH STONE, ROCK, BRICK, TILES FROM AROUND THE SITE AND THE LID IS SECURED TO FORM A MONOLITHIC STRUCTURE. THE MATERIAL/AGGREGATES THAT ARE USED TO FILL THE BASKETS NEED TO BE A HARD DURABLE , NON FROST SUSCEPTIBLE AND NON CORROSIVE, HAVING A MINIMUM DIMENSION NO LESS THAN THE MESH OPENINGS. HOT DIP GALVANISED MESH IS THE PREFERRED SPECIFICATION FOR THE ME GABION BASKETS (ACCORDANCE WITH BS EN ISO 1461). THE REASON FOR THIS IS THAT GALFAN COATED MESH IS FORMED FROM WELDING THE COATED WIRES, THE MESH IS THEN CUT AFTER WELDING. ALTHOUGH THIS IS NOT DETRIMENTAL TO THE CORROSION RESISTANCE OF THE MESH, THE ENDS OF THE CUT WIRE HAVE A SURFACE, WHICH RUSTS GIVING BROWN COLOURED CUT ENDS. IN CONTRAST, A PANEL OF MESH CUT PRIOR TO COATING AND THEN HOT DIP GALVANISED AFTER MANUFACTURE PROVIDES ALL SURFACES AND CUT ENDS WITH A ZINC COATING TO GIVE AN AESTHETIC FINISH.

SAFTEY MESH

GABION CAGES WILL BE USED EXTERNALLY TO THE STEEL FRAME, AND A ROW AT THE BASE INTERNALLY. THERE WILL BE GLASS PARTITIONS BETWEEN THESES TWO, TO PREVENT WATER PENETRATION THROUGH THE GABION CAGES. THE CAGE AT THE BASE WILL STOP ANY DAMAGE DONE TO THE GLASS BY VISITORS AND ALSO HIDE ANY JOINTS TO THE CONCRETE FOUNDATIONS; THESE CAN ALSO ACT AS SEATS FOR THE EXHIBITION SPACE. THE EXTERNAL CAGES WILL BE SEPARATE FROM THE STEEL STRUCTURE AND SELF-SUPPORTING AT 450MM DEEP AND 600MM HIGH. DUE TO THE CHANGE IN TEMPERATURE THE STEEL WILL CONTRACT AND MANIPULATE ITS SHAPE. ANY STEEL JOINTS TO THE EXISTING WILL BE CONNECTED BY CEMENT CLOSE AND HIDDEN WITH AN L SHAPED BRACKET (CONNECTED TO THE STEEL).

FLASHING GUTTER BOX GUTTER BOARD STRENGTHINING PLATE GABION CLADDING

STANDING SEAM ZINC ROOFING INSULATION C PURLIN

KNEE JOINT/BOLTED CONNECTION

GLASS SHEET 250MM STEEL COLUMN 450MM GABION CAGES

TOP OF CONCRETE FOUNDATION BOLTS 50MM BEDDING SPACE STEEL PACKING LOCATION TUBES ANCHOR PLATE

FOOTING

1:20 STEEL TO FOUNDATION JUNCTION

1:20 ROOF JUNCTION

‘C’ RINGS ARE PLACED AT 150MM CENTERS USING A PNEUMATIC TOOL, INSTEAD OF LACING WIRE.

INTERNAL DIAPHRAGMS

MESH OPENING 100X100MM. AGGREGATES DIMENSION ARE TO BE LESS THAN THAT OF THE MESH OPENINGS.

THE EXAMPLE DISPLAYED SIZE; 600H X 1500W X 450D|1:20 GABION DETAIL

MICRO|AGGREGATES/A KEY ELEMENT OF MY DESIGN WAS HOW I COULD INTEGRATE THE IDEA OF REUSE/RECYCLE IN THE FINER DETAILS OF THE BUILDING. THIS WAS TO EXTEND TO WHAT WAS INSIDE THE GABION BASKETS. ALONG WITH RUBBLE AND ROCK FROM LOCAL AREAS AROUND BARCELONA IT WAS IMPORTANT TO RETAIN AS MUCH USABLE MATERIALS FROM CAN RICART TO PUT INTO THE GABION WALLS. SYMBOLISING THE HISTORICAL, SOCIAL AND CULTURAL ASPECTS OF THE SITE. AT THE MOMENT ALL WINDOWS ON SITE ARE BLOCKED IN WITH BRICKS, ON REMOVAL OF THESE I WILL THEN RECYCLE THEM INTO THE GABION BASKETS. THE SECOND PICTURE SHOWS COTTON REELS FROM PREVIOUS SUCCESSIVE OCCUPANCY OF THE TEXTILE FACTORY. I WILL PLACE THESE WITHIN THE INTERNAL CAGES WHICH WILL BE USED AS SEATING FOR HISTORICAL AND INDUSTRIAL AESTHETIC. I WILL THEN SALVAGE MATERIALS WHICH WOULD BE NORMALLY DISREGARDED, SUCH AS BRICKS, PLANKS OF WOOD AND BEAMS. A COMBINATION OF THESE ELEMENTS ALONG WITH MATERIALS THAT WILL COME ABOUT WHEN DECONSTRUCTION, ALONG WITH A CAREFUL SELECTION, WILL CREATE A FEATURE WALLS WITHIN MY BUILDING. IT WILL PROMOTE ITS SOCIAL AND CULTURAL CONTEXT AS WELL AS ENVIRONMENTAL AND SUSTAINABLE DESIGN. THE PARADE ROUTE, WHICH STARTS WITHIN THE ATRIUM, WILL HAVE A CONCRETE PATH LEADING THROUGH THE SITE, TO THE PARK ACROSS THE ROAD, AGGREGATES USED IN THIS PATH WILL ALSO BE REUSED CRUSHED STONE AND GRAVEL, CONTINUING THE THEME OF REUSE OUT THROUGH THE BUILDING. COTTON REELS, THESE CAN ONLY BE USING INTERNALLY AS DECORATION, AS THEY WOULD BE CORROSIVE OUTSIDE. ALL WINDOWS ARE CURRENTLY BLOCKED IN WITH BRICK, ON REMOVAL OF THESE THEY CAN THEN BE PLACED INTO GABION BASKETS. TILES CAN ALSO BE RECYCLED INTO THE CAGES, OR CRUSHED TO MAKE A AGGREGATE FOR THE CONCRETE PARADE PATH. MICRO|FUSED GLASS WILL BE ANOTHER ELEMENT WITHIN MY DESIGN; SIMILAR TO THE FEATURE GABION WALLS THEY WILL PROMOTE REUSE AND RECYCLING OF ON SITE WASTE MATERIALS. DISPLAYED BELOW IS A SAMPLE OF FUSED GLASS I HAVE PRODUCED AT THE NATIONAL GLASS CENTRE, AND THE FRAME I INTEND TO PLACE IT IN. IT WILL BE THE MIDDLE SHEET OF GLASS. I HAVE TRAPPER DIFFERENT MATERIALS INTO THE GLASS SUCH AS, TISSUE PAPER, GLASS BEADS, WIRE, MESH, STRING, ETC TO GIVE AN INDUSTRIAL AESTHETIC.

POTENTIAL AGGREGATE FOUND FROM CAN RICART AND LOCALLY AROUND BARCELONA

CONSTRUCTION REDUCTION MY INTENTIONS FOR THIS PROJECT WERE TO BE FAIRLY MINIMAL IN TERMS OF CONSTRUCTION, INTERVENTIONS AND DECONSTRUCTION. AS A RESULT, PRESERVATION COULD BE MAXIMISED BY THE RETENTION OF ORIGINAL FEATURES, IN PARTICULAR THE MATERIAL FROM AROUND THE SITE. IN GENERAL, EXHIBITION SPACES SUGGEST A SILENT PLACE TO DISPLAY A SELECTION OF WORK, DESIGNED WITH LIGHT AND CAREFUL CONFIGURATION OF INTERNAL SPACES TO BEST AMPLIFY THE QUALITIES OF EACH PIECE. HOWEVER MY EXHIBITION SPACE, HOUSED IN THE ATRIUM, WILL BE SLIGHTLY DIFFERENT. FIRSTLY, IT WILL WORK IN AGREEMENT WITH THE ABOVE STATEMENT AND BE AN OPEN PLAN AREA, BUT IT WILL BE A PLACE FOR DISCUSSION OF THE LA MACHINES CREATIONS AND OF LARGE MOVEMENTS UTILISING ALL THE SPACE. RATHER THAN A PLACE FOR QUIET CONTEMPLATION THE ATRIUM WILL RESEMBLE AN INTERACTIVE, STIMULATING, ENGAGING HUB FULL OF ACTIVITY AND DISCUSSION. THIS CREATES NO BARRIERS BETWEEN THE PUBLIC AND PRIVATE THRESHOLDS, WHICH ARE SEPARATED EVERYWHERE ELSE IN THE BUILDING. FROM THE ATRIUM THERE WILL BE VISUAL CONNECTIONS DOWN TO THE WORKSHOP AND UP TO THE ATELIER; DISPLAYING ALL ASPECTS OF THE WORKING PROCESS, CONSEQUENTLY AMPLIFY THE WHOLE EXPERIENCE FOR VISITORS AND ALLOWING THEM TO BECOME INTEGRATED INTO THE EXHIBITION. AT DIFFERENT TIMES OF THE YEAR THIS ATRIUM SPACE WILL BECOME FLEXIBLE IN USE, ENABLING THE ASSEMBLY OF THE MACHINES, WHICH AGAIN WILL ALLOW FULL INTEGRATION OF THE VISITORS. LARGER MACHINES SUCH AS THE GREAT ELEPHANT AND DIVER PUPPET WILL BE MOVED INTO THIS SPACE BY A BRIDGE CRANE AND ASSEMBLED IN FRONT OF THE VISITORS. ONCE ASSEMBLY IS COMPLETE THEY WILL MARK THE START OF THE PARADE FROM THE ATRIUM SPACE. BEING IN THE HEART OF THE BUILDING WILL HEIGHTEN THE EXPERIENCE FOR VISITORS AND BE LESS CONSTRICTING TO THE CONSTRUCTION PROCESS GIVEN THE DIMENSIONS OF THE AREA. THE ATRIUM WILL ACT AS A CONNECTION BETWEEN NEW AND OLD. THE NEW INTERVENTION WILL BE CLEARLY DISTINGUISHABLE THROUGH THE APPEARANCE OF THE NEW CONSTRUCTION WHICH WILL BE COMPOSED FROM A STEEL PORTAL FRAME, CONCRETE FOUNDATION, ZINC ROOFING AND GABION CLADDING. COMPONENTS AND MATERIAL REUSE STANDARDIZATION; MOST OF THE COMPONENTS USED IN THE CONSTRUCTION OF THE ATRIUM WILL BE OF STANDARD SIZES, FOR AVAILABILITY AND EASE OF ASSEMBLY. FOR EXAMPLE, THE STEEL COLUMNS USED IN THE PORTAL FRAME ARE 254MM X 254MM WHICH ARE WIDELY AVAILABLE AROUND EUROPE.

SIMILARLY, THE GABION BASKET SIZES WILL PRIMARILY BE 600H X 1500W X 450D, WHICH AGAIN ARE COMMON SIZES ON THE CONTINENT. FOR AREAS WHICH MAY NEED A VARIATION OF BASKETS SIZES, SUCH AS THE CORNERS/JOINTS, BESPOKE BASKETS WILL BE VERY EASILY MANUFACTURED. THESE GABIONS ARE VERY EASILY ASSEMBLED ON SITE AND PUT INTO PLACE. AGGREGATES WILL BE FORMED VIA THE REUSE OF DISUSED MATERIALS FROM BARCELONA AND CAN RICART, WHICH PROMOTE SUSTAINABLE USAGE. WHERE I LOOK AT THIS IN THE MICRO SCALE PART OF THIS DOCUMENT (PAGE 10 & 11). STANDARDIZATION ALONG WILL GABION UP CYCLE WILL HELP PREVENT ANY FURTHER WASTE ENTERING THE WASTE STREAM. I HAVE SELECTED THE MATERIALS AND GABION DESIGN IN AN ATTEMPT TO RETAIN THE HISTORICAL, SOCIAL AND CULTURAL QUALITIES OF THE SITE AND PROMOTE SUSTAINABLE DESIGN IN AN INTERESTING AND AESTHETICALLY PLEASING WAY. THE GABIONS THEMSELVES WILL ACT AS AN EXHIBITION OF HISTORICAL LAYERS, TEXTURE, PATTERN AND COLOUR. THEY WILL ALLOW LIGHT TO FILTER INTO THE ATRIUM IN A MANNER SIMILAR TO THAT FOUND IN THE DOMINUS WINERY, BY HERZOG & DE MEURON. THE GABIONS WILL SIT OUTSIDE THE STEEL PORTAL FRAME WHERE A LAYER OF GLASS WILL BE SANDWICHED BETWEEN, FOR PRACTICALLY REASONS. A ROW OF GABIONS WILL THEN BE INSERTED INTERNALLY, PROTECTING THE GLASS AND ALSO ACTING AS SEATS WITHIN THE EXHIBITION SPACE. THE ATRIUM FORMS THE ONLY NEW ADDITION TO THE SITE AS THE REST OF THE EXISTING BUILDINGS ARE PERFECTLY SERVICEABLE. IN MY EYES IT WOULD HAVE BEEN UNNECESSARY TO DEMOLISH THESE STRUCTURES ONLY TO REPLACE THEM WITH SOMETHING FUNDAMENTALLY THE SAME IN CONSTRUCTION. AS A RESULT I SAW NO NEED FOR FURTHER NEW ADDITIONS IN MY DESIGN. WHERE DEMOLITION HAS TAKEN PLACE ON SITE, I PROPOSE TO UPCYCLE THESE REMNANTS IN MY NEW CONSTRUCTION SO THAT THESE MATERIALS AVOID ENTERING THE WASTE STREAM. MATERIAL RECLAIM AND RECYCLING ARE IN MANY SENSES JUST A CURE FOR WASTE, BUT I WOULD LIKE TO EXTEND THIS FURTHER AND RETAIN THE SOCIAL, CULTURAL AND AESTHETICAL PROPERTIES OF THE MATERIALS. THE GABION CAGES, WILL CONTAIN CAREFULLY SELECTED MATERIALS FOUND LOCALLY, THESE WILL INCLUDE: STONE, BRICK, TILES, GLASS ETC. THESE GABIONS PROMOTE MULTIPLE USE AND ENVIRONMENTAL REUSE. COMPONENTS AND MATERIAL RECYCLING FROM THE OUTSET RECYCLING AND REUSE WAS ALWAYS A FUNDAMENTAL THEME IN THIS PROJECT, CAREFUL CONSIDERATION OF ALL MATERIALS AND THEIR REUSE POTENTIAL DROVE THE PROJECT INTO USING GABIONS TO CAPTURE ALL THE WASTE, AS DESCRIBED IN MICRO SCALE.

FIG 1. IMAGES OF THE DOMINUS WINERY, BY HERZOG & DE MEURON. 137  DOMINUS WINERY  YOUNTVILLE, CALIFORNIA, USA  PROJECT 1995, REALIZATION 1996-1998. SOURCE: HTTP://TRAVELMODUS.COM/DOMINUS-WINERY-NAPA. HTML

professional practice pedr sheet|semester 2 procurement option|contract synthesise appropriate knowledge

ARC3014: Professional Practice and Management

ARC3014: Professional Practice and Management Project Tasks

Drawing - Analytical hand drawings, development drawings, collage, axonometric spatial studies, site typography (CAD), plans and sections drawn to various scales (CAD). Modelling – AutoCAD/SketchUp modelling, site, exhibition (resin casting), concept and cardboard models. Meetings - Consulted with the director of East Coast Fibre Glass to discuss resin model making techniques and specialist equipment. One result of this meeting was an enhanced understanding of advanced resin making method. Site visit - The purpose of the site visit to Blackpool was to gather valuable material on the local area, local businesses, popular attractions and to understand the historic and spatial context surrounding Blackpool. Achieved through measuring and site surveying, facade photographs for elevations, topographic measurement and analysis context (wind/sun path/access).

John Kamara

Work Stages

Hours as participant

Hours as observer

john.kamara@ncl.ac.uk

0 Strategic Definition

1 Preparation & Brief

Mid-year practical experience during Part 1 studies Name: 110237233 General Information Dates of Experience Category of Experience Experience Level

27/01/2014 - 14/03/2014 i Stage 1

Location

Newcastle upon Tyne, Tyne and Wear, England

School of Architecture/ Monitoring Institution Professional Studies Advisor PSA's Email

Newcastle University School of Architecture Planning and Landscape

PSA's Phone No

0191 2228619

Placement Provider

Newcastle University School of Architecture, Planning and Landscape

Placement Address

2 Concept Design

3 Developed Design

Placement Phone No

Architecture Planning and Landscape Newcastle University Newcastle Upon Tyne NE1 7RU United Kingdom 0191 222 5831

4 Technical Design

Placement Website

www.ncl.ac.uk/apl

5 Construction

6 Handover and Close Out

7 In Use

Totals

145

Student's Phone No Student's Email Brief Description of Placement Provider

Employment Mentor

Matthew Ozga-Lawn

Mentor's Profession

Lecturer in Architecture

Membership of Professional Bodies Registration Number Mentor's Email

matthew.ozga-lawn@ncl.ac.uk

Mentor's Phone No

0191 208 6019

Name 110237233 Work Stages (2014) – summary of hours from all projects Hours as Participant

Hours as Observer

0 Strategic Definition

Name: 110237233

1 Preparation & Brief

Project Details

2 Concept Design

3 Developed Design

4 Technical Design

5 Construction

6 Handover and Close Out

7 In Use

Project Name Project Description

Total

ARC3014: Professional Practice and Management Other (please specify)

Totals

145

182

Activities â&#x20AC;&#x201C; non-project related Task

Hours completed

Description

Office Management

ARC3014: Professional Practice and Management Aims for next period of experience I will aim to keep improving my design from tutorials and review feedback to create a building that works structurally, spatially and socially. I will become more familiar with different software packages, which will enable me to produce better visualisations and axonometric of my building. This will also assist me to produce work faster and help with my time management issues. In terms of my own personal development I feel I need to work on confidence issues, particularly in reviews and oral presentations. Although I have developed this substantially throughout the years I still feel this is one of the principal areas I should persistently aim to develop. Further skills needed and actions to take to achieve aims Further skill needs to be developed of certain software packages; including SketchUp, Photoshop and Illustrator. This is something I will learn over the remainder of the project and in my own time. I will continue to seek expert help in any situation where I feel I am struggling with confidence issues. I feel I need to trust my own initiatives, and to be more assertive when talking about my design in a review, and as a result I feel my grade would be improved.

General Lectures

Laser cutter tutorials

Helping other years

Totals

Name 110237233 Reflective Experience Summary

Additional student comments, support required from placement provider Besides my design project tasks, I frequently assist with students in Stage 1 and 2 to operate the laser cutters facilities and ApS-Ethos software within the workshop. Furthermore, I have been asked to give a lecture to stage 2 students on the Learning Journal module, after a high achievement in this particular module last year. My commended Learning Journal received comments such as â&#x20AC;&#x2DC;it could be publishedâ&#x20AC;&#x2122;. I have visited relevant buildings including the Lit & Phil Library and Newcastle City Library to research and accumulating precedents to assist me with my design. I confirm that I have worked in the above office between the dates stated and that the description of project details, tasks undertaken and learning achieved is accurate. Signature:

Date: 12/03/2014

Task performance and learning during this period of experience My Graduation project has taught me how to work with a range of scales, from delicate resin casts to complex structures such as the Blackpool tower. I have had to account for technical studies, detailing, environmental considerations and large programmatic arrangement of building elements, all in accordance with RIBA ARBs GC1. Through the creation of numerous collages and axonometric drawings of Blackpool, it has facilitated deeper analysis of site and context. In undertaking these tasks, it has allowed for greater knowledge of how my building interacted with its surrounding context/boundaries/constraints - this works in accordance with the GC5 particularly part 3. Developing my own programme was an entirely new experience, which required research in many areas to fully prepare. For example, I have explored current Census data to gain satisfactory knowledge of Blackpool, which in turn has enabled me to assess how my design proposal may potentially impact the community, this works in accordance with GC6 and GC7. This project has been particularly stimulating so far, I have found myself seeking appropriate advice from tutors and other students when necessary, to successfully understand all ARBs learning outcomes in relation to my programme. Personal development & role performance evaluation To this point, the majority of the tasks I have partaken - besides model making - have been to produce high quality A2 collages and axonometric drawings. I had anticipated that I may struggle using Photoshop to produce these, but having a time constraint has pushed me to learn and understand the programme quickly with each week and each task. During this project I have been working to strict deadlines every week, which has lead to problems in time management. Keeping up with these weekly deadlines while learning how to properly navigate programmes such as Photoshop has been hard and I have fallen behind. I dealt with this by prioritising my work and activities. By doing so, this has helped me get back on track. Furthermore, speaking about my work in reviews/tutorials each week has helped me to view my work in a self-critical way, significantly accepting constructive criticism. As a result, this has facilitated me in developing and formulating a mature design.

ARC3014: Professional Practice and Management Name: 110237233

Question B3: The choice of a suitable procurement option/contract for your project. INTRODUCTION

Pleasure Beach is a medium scale project, based on the aspiration to bring a public building to the coast of Blackpool, situated on the North Pier. Both client and project funding for this construction is private. The purpose of this building, once constructed, is to create a commercial enterprise that will generate capital for the client. Consequently, for the benefit of the client the project should be completed quickly under tight deadlines, which will help reduce any profit loss. As it will be situated in a historical part of Blackpool the quality of design, materials and construction are all important factors, however, there needs to be a correlation between quality, cost and time to make sure the project will remain under budget. Due to these requirements it is vital the client is advised on an appropriate procurement option to undertake the project.

ARC3014: Professional Practice and Management accordance with the drawings and specification produced by the architect.6 The whole design process is separate from construction, and full documentation is required before the contractor can be invited to tender in what is normally a competitive process.7 Therefore, the client may require external advice regarding other aspects of the project; this will generally increase the overall quality of the building. As the contract is specified prior to construction, accurate costing implications can be indicated from the outset, giving the client a reasonable certainty on the overall expenditure.8 Although making these design decisions before work has began may appear to bring a measure of inflexibility.9 As the sequential process of the design and construction are separate the programme for the project takes a considerable amount of time, and the overall process tends be relatively long.10 Any changes within the design are possible but come at a price in terms of direct, related costs and mainly time - which is seen as the main drawback of Traditional Procurement.11 DESIGN AND BUILD

PROCUREMENT METHOD

There are three main procurement options,1 namely: Traditional Procurement, Design and Build Procurement and Management Procurement.2 It is essential when choosing a procurement method that the client’s priorities are the key criteria in the decision making process in respect of: 3 -

Time: economy and certainty Cost: economy and certainty Control: apportionment of risk Quality: in design and construction Size/value: small/medium/large Complexity: complex/simple

Each of these points has certain pros and cons that will ultimately indicate the method undertaken. TRADITIONAL 12

Figure 2. Design and Build.

Design and Build Procurement refers to the basic system where a contractor is fully responsible for the two main functions of design and construction.13 Figure 2. shows the relationship of the parties in diagrammatic form.

Figure 1. Traditional Contract.

In Traditional Procurement an architect is appointed by the client to take a brief, produce design and construction information, invite tenders, administer the project during the construction period and settle the final account.5 Figure 1. shows the relationship of the parties in diagrammatic form.

Within this procurement option the client can be confident in terms of cost and time management. As with Traditional Procurement, there is also reasonable security over construction costs since the contract price is known from the outset.14 Similarly, as the design and construction may proceed in parallel, the overall time for the project can be shortened. This is dependant on the client, if any changes need to be made then the contractor will be obliged to complete the project for the contract sum. Changes made by the client during design can be expensive, as this affects the whole of the Design Build contract - rather than just the design team costs.15 As a price has been established from the beginning of the project, it is in the contractor’s interests to finish on time.16 Consequently, disregarding any delays due to details specified in the contract, the client can be self-assured in the projects completion date and overall cost. This procurement is not 6

Ibid., 169. Ibid., 169. 8 JCT, ‘Practice Note’, 2. 9 Ibid., 2. 10 Ibid., 2. 11 Ibid., 2. 12 Chappell, ‘The Architect in Practice’, 175. 13 Chappell, ‘The Architect in Practice’, 170. 14 JCT, ‘Practice Note’, 3. 15 Constructing Excellence, ‘Procurement’, www.constructingexcellence.org.uk/pdf/fact_sheet/procurement.pdf, 2 (last visited 1 March 2014) 16 JCT, ‘Practice Note’, 3. 7

The prerequisites of Traditional Procurement are that the architect is the independent advisor to the client responsible for the design and the contractor is only responsible for executing the work in 1

JCT, ‘Practice Note - Deciding on the appropriate JCT contract’, (Sweet & Maxwell, London 2011), 2.

Ibid., 2.

Chappell, D., A Willis, ‘The Architect in Practice’, (Oxford: Blackwell Publishing, 2007), 169. Chappell, ‘The Architect in Practice’, 170. 5 Ibid., 169. 4

ARC3014: Professional Practice and Management suitable for complex projects where sub contractors are necessary. Nevertheless, it is a relatively low risk option overall for the client and does cover important issues such as time and cost, however, there can be an uncertainty over design and quality.17 MANAGEMENT

ARC3014: Professional Practice and Management CONCLUSION

Having taking into account the preferences of the client, I feel that Management Contracting would offer the best form of procurement. At first glance, the Traditional form appears most appropriate to my project as cost is an imperative factor and cost certainty is a prime objective. However, as the purpose of this centre is to make an income for the client, time is also an imperative factor and Traditional procurement would be time consuming, thereby increasing the period before any profit can be made. On the other hand, Design and Build Procurement specifies a date of completion, which is agreed within the contract, which will minimise the clients’ cost. A characteristic of Management Procurement, is the range of external advice available from different services for example: Architect, Quantity Surveyor, Consultants, etc, which I feel would be beneficial to my client, to enhance the overall design. Management contracting should enable work to be carried out onsite alongside other specialised work, such as façade-shuttering system, which will be a feature in this project, allowing the build to progress quickly. The client for this development has previous experience of small, medium and large-scale projects, they should therefore be capable of specifying a detailed brief and maintain expenditure to ensure the project comes in on budget.

Figure 3. Management Contacting.

Management Procurement divides responsibility of overall design between the client’s consultants, and the contractor, who is appointed at an early stage.19 Together, they are responsible for defining packages of work and then for managing the completion of this work through separate trades.20 21 The contractor does not normally carry out any of the construction work, as this would lead to complications and conflicts in interests. In essence, they are paid a fee for performing a managerial function.22 This procurement method is only suitable for experienced clients, as the contractor needs constant involvement to provide a very thorough project brief, making cost planning easier and more accurate.23 Figure 3. shows the relationship of the parties in diagrammatic form. A management contractor distributes the work into a series of sub-contractors who work parallel to the design team.24 As soon as adequate information is produced it will enable the first contractors to start that phase of construction - while the architects and other consultants’ involved carry out the remainder of drawings in time for succeeding work.25 This requires the architect to be sufficiently organised to ensure the subsequent drawings do not demand the reconstruction of work already implemented.26 This form of procurement is also referred to as ‘fast track’. Management contracting is commonly said to allow freedom for any changes in the brief while still preserving price and end date. However, this ‘freedom’ is often notable in practice for escalating cost and shifting end dates.27 The overall design and construction time does tend to be shorter than Traditional and Design and Build procurements.28

National Specialist contractors Council, www.nscc.org.uk (last visited 12 March 2014).

Chappell, ‘The Architect in Practice’, 178.

National Specialist contractors Council, www.nscc.org.uk (last visited 12 March 2014).

Chappell, ‘The Architect in Practice’, 175. JCT, ‘Practice Note’, 3. 22 Chappell, ‘The Architect in Practice’, 177. 23 Constructing Excellence, ‘Procurement’, 4. 24 Chappell, ‘The Architect in Practice’, 176. 25 Ibid., 176. 26 Ibid., 176. 27 Ibid., 176. 28 Constructing Excellence, ‘Procurement’, 4. 21

PRINCIPLES & THEORIES semester 1|semester 2 exhibition piece one and two ‘it should above all be beautiful’

GEOMETRIC SKYLINE: ST PAUL’S LINO THE DOME OF ST. PAUL’S CATHEDRAL HAS GRACED LONDON’S SKYLINE FOR OVER 300 YEARS. IT HAS BECOME AN ICONIC AND INSTANTLY RECOGNISABLE FEATURE, WHICH TO THIS DAY STILL EXHIBITS CONSIDERABLE IMPACT ON LONDON’S LANDSCAPE. THE DOME WE SEE TODAY EVOLVED INTO ITS CURRENT FORM, THANKS TO A REMARKABLE RELATIONSHIP BETWEEN SIR CHRISTOPHER WREN AND DR ROBERT HOOKE. THE ARCHITECT, WREN USED HIS ENGINEERING KNOWLEDGE AND APPLIED THE THEORY OF HIS TRUSTED COLLEAGUE DR ROBERT HOOKE TO MAXIMISE THE BEAUTY AND VISUAL IMPACT OF THE DOME, WHILE CONCEALING THE PRACTICAL WORKINGS THAT SUPPORTED THE WHOLE THING. WREN’S AMBITION TO BRING A CUPOLA TO LONDON BOUGHT WITH IT BOTH STRUCTURAL AND AESTHETIC CHALLENGES.1 AESTHETICALLY, A DOME THAT LOOKED CORRECT FROM INSIDE THE BUILDING WOULD PRODUCE TOO MODEST A PROFILE EXTERNALLY, BUT A DOME DESIGNED TO LOOK RIGHT ON THE SKYLINE WOULD LOOK TOO LOFTY. THE STRUCTURAL CHALLENGE WAS TO PRODUCE A DOME THAT WOULD NOT COLLAPSE OR CRACK AND WOULD BE AS LIGHT AS POSSIBLE.2 IN SEARCH OF THE ANSWER TO THIS QUANDARY, WREN TURNED TO HIS TRUSTED FRIEND AND COLLEAGUE ROBERT HOOKE. IT COMES AS NO SURPRISE THAT THE SAME ROBERT HOOKE HAS ALSO PROVED TO BE INFLUENTIAL IN OTHER BRANCHES OF ARCHITECTURE. ON THE SUBJECT OF SCALE, IT IS SAID THAT HE WAS ‘A KEY SOURCE FOR BOTH [JOHNATHAN] SWIFT AND VOLTAIRE’ FOLLOWING THE PUBLICATION OF HIS MICROSCOPIC AND TELESCOPIC OBSERVATIONS IN MICROGRAPHIA (1665) FOR THE ROYAL SOCIETY.3 THESE STUDIES EXTENDED ‘THE ABILITY OF THE SENSES [AND] MADE NEW WORLDS VISIBLE.4 FOR MY EXHIBITION PIECE I HAVE TAKEN A MODERN DAY IMAGE OF LONDON’S SKYLINE AND USED A PRINTMAKING TECHNIQUE KNOWN AS LINOCUT TO REVEAL THE PROMINENT AND RECOGNISABLE FEATURE OF ST. PAUL’S DOME.

INOCUT IS A VARIATION OF WOODCUT, WHEREBY A SHEET OF LINOLEUM IS USED FOR THE RELIEF SURFACE. A DESIGN IS DRAWN INTO THIS SURFACE THEN CUT OUT WITH A GOUGE AND THE REMAINING RAISED (UNCARVED) AREAS REPRESENT A REVERSAL (MIRROR IMAGE) OF THE PARTS TO SHOW PRINTED. THE LINOLEUM SHEET IS INKED WITH A ROLLER, AND THEN IMPRESSED ONTO PAPER, FABRIC OR CANVAS. THIS PRINT-MAKING TECHNIQUE WAS FIRST USED BY A GROUP OF GERMAN EXPRESSIONIST ARTISTS OF DIE BRUCKE BETWEEN 1905-13.

EXHIBIT AN ELEVATION AS I FELT IT WELL REPRESENTED THE STORY OF ROBERT HOOKE’S INVOLVEMENT IN ST. PAUL’S.8

MY CANVAS EXHIBITS AN ELEMENT OF ORIGINALITY WHICH CAN SOME TIMES BECOME LOST THROUGH SIMPLE REPRODUCTIONS OF PHOTOGRAPHS, PAINTINGS OR DRAWINGS. THE LINOCUT FLATTENS AN OBJECT THAT HAS THREE-DIMENSIONAL PROTRUSIONS TO BECOME AN ELEVATION DRAWING, YET IT STILL RETAINS SOME PERSPECTIVE ELEMENTS. TAKING INTO ACCOUNT MARCO’S WORDS, “TO BELIEVE NAIVELY THAT JUST THINKING OF A BUILDING WILL BRING A CORRESPONDING ARTEFACT INTO EXISTENCE IS A HIGHLY MISLEADING NOTION. THE IDEA OF ARCHITECTURE IS NOT JUST A BUILDING, FOR ARCHITECTURE TO EXIST IN HUMAN CONSCIOUSNESS SOMEONE HAS TO DRAFT A STORY”.5 I INTENDED FROM THE OUTSET FOR GEOMETRIC SKYLINE TO PAINT A PICTURE WHICH TELLS A STORY.

IF WE WERE TO EXECUTE THE ‘COMMON RENNAISSANCE PRACTICE OF DIVIDING THE UPRIGHT DRAWING ALONG ITS CENTRAL AXIS INTO A FRONT ELEVATION AND A SECTION’ WE WOULD FIND THE HIDDEN AND COMPLEX CONSTRUCTION OF THE UNIQUE TRIPLE DOME STRUCTURE BASED ON ROBERT HOOKE’S THEORY OF THE ARCH.6

“THE PROBLEM OF LOOKING FROM OUTSIDE TO INSIDE… DOES NOT IMPART PURE KNOWLEDGE, BUT PROVIDES A PARTIAL OBJECT, REQUIRING THE ENGAGED IMAGINATION OF THE VIEWER. WHILE CONCEIVED TODAY AS TWO SEPARATE DRAWINGS, ELEVATION AND SECTION ARE EXPERIENTIALLY CONJOINED TWINS SHARING THE SAME BODY PARTS”.7 WHILE SERLIO AND PALLADIO TREATED ‘ELEVATION AND SECTION AS ESSENTIALLY A SHARED DRAWING TYPE’, I PURPOSELY OPTED TO

AS EMMONS STATES A ‘CUT ITSELF REVEALS DEEP TRUTH’ WHICH THE CONCLUSION OF MY DISSERTATION STATES HAS BEEN GREATLY NEGLECTED ON THE SUBJECT OF HOOKE’S INVOLVEMENT IN THE CONSTRUCTION AT ST. PAUL’S AND TO SOME EXTENT STILL NEEDS GREATER CLARITY.9 UNLIKE, A SECTION THAT HAS BEEN DESCRIBED AS A ‘WINDOW TO THE SOUL’ MY EXHIBITION PIECE ILLUSTRATES A SOLIDITY, WHICH RESEMBLES HOOKE’S NATURE AS A MODEST, UNDERSTATED, AND SOMETIMES A SECRETIVE GENIUS.10 THE OBJECTIVE OF THE PIECE WAS TO DRAW ON MARCO’S OBSERVATIONS THAT, “THE ONLY THING THAT THE FACTURE OF ARCHITECTURAL DRAWING MUST BE ASSUMED IS THAT THAT WHICH IS MARKED, INKED, PENCILLED, BRUSHED, CHALKED, AND PRINTING COMES INTO BEING. ARCHITECTURAL DRAWING IS WHOLLY BASED ON A SAPIENCE OF A PROCESS OF MATERIALISATION, IN WHICH THE MATERIALITY OF THE LINES BECOMES THE CARRIER OF FLUID, AND GENERATES INVISIBLE LINES THAT BECOME LINES OF THOUGHT”.11 Keene, D., A. Burns and A. Saint (eds), St Paul’s: The Cathedral Church of London (London: Yale University Press, 2004), 215. 2 Ibid.,215. 3 Paul Emmons, ‘Size matters: virtual scale and bodily imagination in architectural drawing’, Architectural research Quarterly, 9, 3-4, (2005), 5. 4 Ibid., 4. 5 Marco, F, Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect’s Imagination (Taylor and Francis, 2011), 12. 6 Paul Emmons, ‘A Window to the Soul: Depth in Early Modern Section Drawing’, in Kunze, D., Bertolin, D., Brott, S, in Architecture Post Mortem: The Diastolic Architecture of Decline, Dystopia, and Death (Ashgate Publishing Limited, 1988), 155. 7 Paul Emmons, ‘A Window to the Soul’, 156. 8 Ibid., 155. 9 Ibid., 157. 10 Ibid., 153. 11 Marco, F, Eleven Exercises in the Art of Architectural Drawing, 35. 1

MARITIME HIERARCHY MY DESIGN, THE FISH CREEL REPRESENTS A UNIQUE ARCHITECTURAL APPROACH WHEREBY THE STRUCTURE IS DEPENDENT ON THE INTERACTION OF INDIVIDUALS WITH THE IMMEDIATE ENVIRONMENT BOTH EXTERNALLY AND INTERNALLY. THE ILLUSTRATIVE FIGURE, MARITIME HIERARCHY, GIVES AN OUTLINE APPROACH TO THE STRUCTURE, WITHOUT REPRESENTING THE EXACT APPEARANCE. THE NATURE OF THE PIECE IS TO CLARIFY THE ARCHITECTURAL CONCEPT, STRATEGIES AND PROCESSES MORE CLEARLY, THEREBY MAKING THE OBSCURE APPARENT. AS A RESULT, MARITIME HIERARCHY CAN BE LABELLED AS A DIAGRAM.

DI·A·GRAM

NOUN NOUN: DIAGRAM; PLURAL NOUN: DIAGRAMS; NOUN: DIAG. IT ENCAPSULATES CROSS-DISCIPLINARY STRUCTURING OF THINKING, LAYERS OF ELEMENTS AND AN EXPLORATION OF OPPORTUNITIES FOR RELATIONS BETWEEN STRUCTURE AND ENVIRONMENT IN ONE SIMPLISTIC IMAGE.1 AS KAJUYO SEJIMA STATES WHEN YOU REDUCE A BUILDING TO A SPECIAL KIND OF DIAGRAM “YOU SEE A BUILDING AS ESSENTIALLY THE EQUIVALENT OF THE KIND OF SPATIAL DIAGRAM USED TO DESCRIBE THE DAILY ACTIVITIES FOR WHICH THE BUILDING IS INTENDED IN ABSTRACT FORM. AT LEAST IT SEEMS AS IF YOUR OBJECTIVE IS TO GET AS CLOSE AS POSSIBLE TO THIS CONDITION”.2 VIDLER GOES ON TO SAY THAT “IN THIS ASCRIPTION, ARCHITECTURE ITSELF BECOMES JOINED TO ITS DIAGRAM”. BY PRESENTING THE FISH CREEL IN A DIAGRAMMATIC FASHION “IT SERVES TO RENDER ACCOUNT OF IDEAS…., IT SERVES TO FIX IDEAS….AND FINALLY TO COMMUNICATE THEM AFTERWARDS, WHETHER TO CLIENTS OR DIFFERENT CONTRACTORS” IT “DISSIMULATES IN ORDER TO SEDUCE THE LAY CLIENT”.3 4 AS SUCH THIS ARCHITECTURAL DRAWING OPERATES “BETWEEN FORM AND WORD, SPACE AND LANGUAGE” BEING “BOTH CONSTITUTIVE AND PROJECTIVE; IT IS PERFORMATIVE RATHER THAN REPRESENTATIONAL”.5 I CONCLUDE WITH SOMOL THAT IT ACTS AS A “TOOL TO THE VIRTUAL RATHER THAN THE REAL AND A MEANS OF BUILDING A VIRTUAL ARCHITECTURE, OF PROPOSING A WORLD OTHER THAN THAT WHICH EXISTS”.6 IN THIS WAY, MARITIME HIERARCHY ACTS AS A VISUAL LANGUAGE EXPLAINING TO BOTH THE CLIENT AND THE USER THAT:

FISHING = FISH = MEAL = EATING, SIMPLIFYING IN FOUR BASIC ICONS THE ACTIONS AND PROCESSES THAT THE PUBLIC CAN EXPERIENCE UNDER ONE ROOF. IT’S A PRIMITIVE PROCESS, WHERE THEIR MEAL HAS BEEN SOURCED AND COOKED BY THEMSELVES, GIVING THEM A REAL SENSE OF PLEASURE, WHICH WAS A KEY CONCEPT WITHIN MY GRADUATION PROJECT. HERE TIME IS AN ACTIVE RATHER THAN A PASSIVE ELEMENT SIMILAR TO MODELS ASSOCIATED WITH THE NEO-AVANTGARDE.7 THE FISH CREEL IS OF A MINIMALIST DESIGN WHICH “OPERATES IN A DIAGRAMMATIC MANNER IN THAT IT SOLICITS AND UNDERMINES A KEY OPPOSITION OF FORMALIST MODERNISM – NAMELY THAT BETWEEN PAINTING AND SCULPTURE – AS IT CAN BE SEEN AS EMERGING IN RESPONSE TO DEVELOPMENTS IN EITHER MEDIUM”.8 IN CONCLUSION, THE FISH CREEL IS AS GILLES DELEUZE DESCRIBES IT “THE DIAGRAM IS THE POSSIBILITY OF FACT – IT IS NOT THE FACT ITSELF”.9 THIS INTERFACE BETWEEN STRUCTURE AND ENVIRONMENT, PUBLIC INTERACTION AND UNIQUE DINING EXPERIENCE REPRESENTS THE “EMERGENCE OF ANOTHER WORLD” WHICH IS “PRECISELY WHAT THE DIAGRAM DIAGRAMS.10 IT SIMPLIFIES FORM, LANGUAGE AND REPRESENTATION, MOVING FROM REPRESENTING IDEA TO PRODUCING IDEA. A FORMALISATION OF EXPLORATIONS AND THOUGHT. Somol, R. E., Dummy Text, The Diagrammatic Basis of Contemporary Architecture, (University of California, Los Angeles, 2007), 169. 2 Vindler, A., Diagrams of Diagrams: Architectural Abstraction and Modern Representation, (University of California Press, 2000), 3. 3 Ibid., 9. 4 Ibid., 13. 5 Ibid., 6. 6 Ibid., 6. 7 Somol, Dummy Text, 170. 8 Ibid., 169. 9 Ibid., 178. 10 Ibid., 178. 1