Academic portfolio Masters of Architecture (M-Arch) 2012
2014
B e e b y
A
cademic portfolio is the summation of all work completed in the two years of my Masters of Architecture that took place from September 2012 to June 2014. The works shown cover all modules covered including Architectural Design, Linked Research, Architecture and construction and Tools for thinking about architecture. Each module has been devised to meet the revised criteria set by the Architects Registration Board (ARB) of 2011-2012 and have allowed me to demonstrate my interests, influences and skills learnt and performed as part of the qualification. Jonathan Beeby
Academic portfolio Masters of Architecture (M-Arch) 2012
2014
J o n a t h a n
B e e b y
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Contents Page no.
14 38 46 84 90 104
Architectural design ARC8054
Kreuzberg Housing Crisis Project 01
Why do Architects dream of a World without them? Essay
Detail, Narrative, Memory Project 02
Page no.
138 154 160
Linked Research ARC8058
Ucafe Project 01
Drawing the line between Disciplines Linked Research Essay
Stargazing Pavilion Project 03
Professional Practice Architecture & Construction
Primer Thesis
Silt Screed Printing Thesis
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ARB | Assessment Criteria GA2 With regard to meeting the eleven General Criteria at parts 1 and 2, the part 2 will be awarded to students who have: 2.1
ability to generate complex design proposals showing understanding of current architectural issues, orginality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;
2.2
ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals;
2.3
ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;
2.4
critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design;
2.5
understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation;
2.6
problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances;
2.7
ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.
GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. The graduate will have the ability to: 1.1
prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief;
1.2
understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project;
1.3
develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.
GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. The graduate will have knowledge of: 2.1
the cultural, social and intellectual histories, theories and technologies that influence the design of buildings;
2.2
the influence of history and theory on the spatial, social, and technological aspects of architecture;
2.3
the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.
GC3 Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of: 3.1
how the theories, practices and technologies of the arts influence architectural design;
3.2
the creative application of the fine arts and their relevance and impact on architecture;
3.3
the creative application of such work to studio design projects, in terms of their conceptualisation and representation.
GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. The graduate will have knowledge of:
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4.1
theories of urban design and the planning of communities;
4.2
the influence of the design and development of cities, past and present on the contemporary built environment;
4.3
current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.
GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of: 5.1
the needs and aspirations of building users;
5.2
the impact of buildings on the environment, and the precepts of sustainable design;
5.3
the way in which buildings fit into their local context.
GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The graduate will have an understanding of: 6.1
the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, coprofessionals and the wider society;
6.2
the role of the architect within the design team and construction industry, recognising the importance of current Methods and trends in the construction of the built environment;
6.3
the potential impact of building projects on existing and proposed communities.
GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of: 7.1
the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;
7.2
the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context;
7.3
the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.
GC8 Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of: 8.1
the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design;
8.2
strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques;
8.3
the physical properties of building materials, components and systems, and the environmental impact of specification choices.
GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have knowledge of: 9.1
principles associated with designing optimum visual, thermal and acoustic environments;
9.2
systems for environmental comfort realised within relevant precepts of sustainable design;
9.3
strategies for building services, and ability to integrate these in a design project.
GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to: 10.1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 10.2 understand the cost control mechanisms which operate during the development of a project; 10.3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of: 11.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 11.2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 11.3 the basic management theories and business principles related to running both
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GA
GC
8 2.1
2.2
2.3
2.4
2.5
2.6
2.7
1.1
1.2
1.3
2.1
2.2
2.3
3.1
3.2
3.3
4.1
4.2
4.3
5.1
5.2
5.3
6.1
6.2
6.3
7.1
7.2
7.3
8.1
8.2
8.3
9.1
9.2
9.3
10.1
10.2
10.3
11.1
11.2
11.3
Professional Practice A&C:P&M Written Assessment
Detail, Narrative, Memory Design Project 02
Tools for thinking about Architecture Essay
Kreuzberg Housing Crisis Design Project 01
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Stargazing pavillion Linked Research Project 02
Drawing the line between Disciplines Linked Research
UCafe Linked Reseach Project 01
Silt Screed Printing Thesis
The Density Pavillion Thesis Primer
10
KReuzberg Housing Crisis
Berlin | Field Trip We visited Berlin for one week, in which time we tried to get to grips with this incredibly complex and ever changing capital city. The trip took us from the macro to the meso scale. This started with walks and talks around the city, allowing us to visit the cities notable buildings and spaces. Once we gained an overview of the cities physical and cultural topography we turned our attention to four possible urban scale sites. Our selection was made midweek and the remaining time was spent getting under the skin of our chosen place of interest.
Berlin: A Very Brief Introduction Berlin is endlessly fascinating and surprising. It is now a city with a young population bursting with creative energy and industry, home to many vibrant sub-cultures and counter-cultures – and there’s nowhere like it. But it’s impossible to appreciate Berlin’s distinctive spirit and curious urban fabric without appreciating the city’s violent and contested history. Wherever you are in Berlin, history is always in attendance. In the late eighteenth and nineteenth centuries, the city was the cradle of the European Enlightenment; seen, for example, in the fine neoclassical architecture of Karl Friedrich Schinkel and his contemporaries. By the turn of the twentieth century, Berlin had become capital of the newly united Germany and the cradle of European civilisation. Following the bankruptcy of Germany after the First World War, its capital became the epicentre of the Weimar republic, characterised by simultaneous political stalemate and cultural invention, attested by the architecture of Erich Mendelsohn and latterly the arrival of the Bauhaus from Dessau. The Nazis, famously, envisaged the city’s reinvention as Germania, the centre of a thousand year reich made architectural in the granite edifices of Albert Speer, while simultaneously sending the city’s million Jews to their deaths or into exile. By 1945, 80% of the city centre had been destroyed and many of its outlying districts were in ruins. Post-war Berlin, its skyline punctured by three new hills made from the rubble of its destruction, was no less troubled. As the wartime allies fell-out, it was divided into administrative sectors (following the somewhat arbitrary boundaries of postal districts) and relations between the powers became increasingly tense. Blockaded by the Soviets, the American, French and British sectors were supplied solely by air in the remarkable Berlin Air Lift (Luftbrücke) of the winter of 1947 which required the hurried construction of two new airports. On 15 August 1961, residents awoke to find the city partitioned into East and West by the infamous Berlin Wall (Berliner Mauer), into two competing cities: the East (part of the GDR, German Democratic Republic) characterised by Soviet-style reconstruction; the West (part of the FRG, Federal Republic of Germany) characterised by huge US ‘Marshall Plan’ investment and the symbols of big corporations. Standing as a symbol of the Cold War, the wall’s ‘fall’ (die Mauerfall) in 1989 was equally symbolic, pictures of parties at the Brandenburg Gate beamed to television sets worldwide. A rushed reunification (seen by many East Germans as a western takeover) was accompanied by the instigation of huge infrastructure projects – of both practical and symbolic value – which almost bankrupted the new state, many of which have only recently been finished. It has also been accompanied by curiously traditional urban fabric and the gradual erasure of East German architecture. The city’s cheap rents and vibrant culture now attract a huge diversity of people, Europe’s fashionable young creatives rubbing shoulders with ‘guest worker’ communities (predominantly Turkish in origin) and Cold War veterans. Contemporary Berlin – exactly fifty years after the construction of the wall – bears conspicuously the traces of this uniquely troubled past. The new Berlin may be the centre of the state which has become Europe’s economic powerhouse but it is a curiously understated, selfconscious and informal capital. The legacies of its post-‘89 squat-culture remain as strong as those of its Enlightenment heritage and prominent memorials to Nazi crimes. Questions of what Germany was, is, and will be (mirroring similar questions about Europe itself) are playedout in the buildings and spaces of the city, where the politics of memory – who remembers what, when, where, how and for whom – are made manifest. Any new architecture inevitably implicates the past when anticipating the future, but in Berlin the issues are particularly acute. There is nowhere better to study the complex issues at work in urban fabric. [Excerpt from project brief]
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Gathering Spaces
Protest / Political Cafes Informal Night-time Green landscaped areas Market
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Graffiti
1
Art Community Religious Politics
1 1 1 1
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2
5
1_RAUCH HAUS_FORMER HOSPITAL BUILDING TURNED SQUAT, NOW INCORPORATES A MUSIC SCHOOL, TURKISH LIBRARY & ART GALLERY. IN SUMMER THE GARDEN DOUBLES UP AS AN OPEN AIR CINENMA _MARIANNENPLATZ
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5
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4
2 5
2 12
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67
1
4
1
1 3
2_1ST MAY RIOTS_VIOLANT
ANTI-CAPITALIST PROTESTORS CLASH WITH RIOT POLICE ANNUALLY HOWEVER IN KREUZBERG THE CAR-BURNING & STONE THROWING TEND TO GIVE WAY TO MORE PEACEFUL MY FEST STREET PARTIES & CONCERTS.
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3 9 10
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3_WORTH UP, RENT DOWN
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_SKALITZERSTRASSE
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11 8 9 4_DIVERSE WORKING COMMUNITY
_ALLOTMENTS, BETHANIENDAMM & ADALBERTSTRASSE
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KReuzberg Housing Crisis
Kreuzberg | symposium From the four urban scale sites I selected Kreuzberg, an area populated by a large Turkish community who moved into the area to provide a work force for Germany following the second world war. Over recent years young creatives have been attracted to the area by cheap living, squatting opportunities, the graffiti and creative expression throughout. As a result, Kreuzberg has become increasingly gentrified and the cost of living has substantially increased, making life difficult for the local residents. The symposium was an opportunity to demonstrate our findings during our visit and provide a well rounded understanding of the area.
Home to a rapidly changing and multicultural population, Kreuzberg has experienced major changes to its social, cultural and physical fabric over the course of the last century. It is this quick succession of demographic change and ebbs and flows of its status within Berlin that makes Keuzberg an invaluable place or exploring the fluidity of space and culture in the urban environment as it encompasses so many of the layers turbulent history. When exploring Kreuzberg, the task of unraveling and understanding these layers is initially very daunting; yet Kreuzberg has a great charm about it, and one that only increases the more time you spend there. To effectively analyse the area we split Kreuzberg into three zones with members of our group exploring the individual zones in depth as a series of smaller groups. The information was later gathered together and shared between the group. The zones were, the Berlin Wall, Kottbusser Zentrum and the Canal. Analysis included sketching, photographing, and interviewing the locals. The research was centered on a number of key themes highlighted across the three areas to provide an effective comparison between the group. These included space/building use, cycle routes, gathering spaces, themes in graffiti, building typologies, night-life, local ethnicity amongst many others. This was backed up by in-depth research performed both on site and off site in the weeks that followed prior to the symposium when we were able to combine our understanding of the areas rich social, cultural and political history into a presentation in the form of a symposium to the rest of the school.
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“Skyrocketing housing
In Berlin
Can’t be blamed on
An influx of ‘foreigners’, Are in fact fuelled by the
Global financial
Crisis” The guardian 14
KReuzberg Housing Crisis
design project 01 | kreuzberg housing crisis Mass gentrification
Berlin
prenzlauer berg friedrichshain
kreuzberg
HOUSE PRICES HAVE GONE UP BY NEARLY
% 40
BETWEEN
2003 &2011
PEOPLE IN CONFLICT
LOCALS VS VISITORS
• Old Berliners • Wonder how long they can stay • Trying to get home
• New Berliners • Foreigners • Seeking life with alternative edge • Quick turnover
The international financial crisis triggered by the us housing bubble, led to Berlin’s property boom. Germans who normally would have invested their savings on the stock market are now putting their money into relatively secure real estate. This run on property is fuelled by historically low interest rates. - Jochen Hung, The guardian Cheap rents and urban glamour have attracted trend-seekers from around the world to central Berlin neighborhoods such as Kreuzberg. But it is the current residents who are paying the price of gentrification. They are being pushed out to high-rise developments on the edge of the city, where poverty and violence are part of daily life. - Peter Wensierski, spiegel
Population density 1880 - 2010 4 mil
3 mil
2 mil
1 mil 1880
1920
1960
2000
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Housing | Mietskaserne
The ‘Mietskaserne’ emerged as an urban block scheme in the early years of industrialisation. Berlin provided fertile soil for the rise of ‘rental barracks’ with several buildings on a single plot separated by small courtyards. This building type was supposed to house a maximum number of tenants mostly workers. Kreuzberg is based almost entirely on the ‘Mietskaserne’ scheme. A number of buildings were bombed during WWII and have since been replaced with a cheap/quick alternative [post-war buildings] or left as unappropriated space.
16
KReuzberg Housing Crisis
Population density
1-4
5-30
31-70
71-150
151-250
251-350
351-450
451-550
550+
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Precedents | Torre David Torre David is a 45 storey office tower in Venezuela which was almost complete when development stopped following the collapse of the Venezuelan economy. Today, Torre David is the improvised home for a community of 750 families, living in a tenuous & extra-legal occupation some have called a ‘Vertical Slum’.
Christiania Christiania is a self-proclaimed autonomous neighborhood of about 850 residents, in the borough of Christianshavn in the Danish capital. What began there as the spontaneous occupation of some empty buildings on a former military site in the early 1970’s burgeoned into a flourishing colony of people seeking an alternative lifestyle, until it eventually achieved legal recognition as an autonomous community.
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KReuzberg Housing Crisis
Incremental housing The architects designed half-built houses for one hundred families in Iquique, Chile. They provided what they couldn’t afford; the structure, bathroom, kitchen & roof. The residents are responsible for the other 70%
diagoon dwellings The idea underlying the ‘Skeleton Houses’ is that they are essentially unfinished. The houses consist of two fixed cores and a number of split levels. It is a half-product which everyone can complete according to their own needs.
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Approach Possible approaches
01 | Ownership
02 | Cost effective housing
4 possible routes as to how to approach the project became clear through the precedent studies
- Subsidized Housing - Government Funding - Relocation / Allocation
- Cost Analysis - Very Cheap Construction - Cheap Materials
03 | Self Governance
04 | self build
- Autonomous Communities - Alternative ‘way of life’ - Legal Implications - Land Allocation
- Experimental Housing - Encourage Creativity - Individual Development/ Expression
The solution |
Typologies
Rapid gentrification meets mass densification by densifying the urban environment housing and work can be provided for the masses
In order to densify the area, I had to establish where and how because of the time restriction it wasn’t possible to do all
01 Rooftops 02 Roads / Tracks 03 Empty Buildings
01
02
03
04
05
06
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04 Open Sites 05 Courtyards 06 East Berlin Blocks
KReuzberg Housing Crisis
Typologies
Courtyards
Sites
East Berlin blocks
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Development | Parameters Maximum Depth of Flat
Maximum width of building
6m
3m
6m
Sample of 1 - bed flat
1.2m
6m
Minimum width of courtyard
6m
kitchen
bathroom
2x 6m bedroom
living space
x A number of simple rules are provided in order to ensure that sufficient light / ventilation is provided to any dwelling space as small as a 1 bed flat* In order to avoid development like Kowloon walled city. *based on apartments in the surrounding area
kowloon walled city - Hong Kong 22
KReuzberg Housing Crisis
Development | Site Sample 01 |
Establish absolute site boundary of 5.3m from existing buildings (with windows) & pavements. Based on minimum courtyard space according to original Mietskaserne design. Too small by modern courtyard standards but possible for lower floors.
02 |
Provide extended boundary line (11m)based on atrium rule, half that of building height (22m) Line taken to 12m to permit cantilevered balconies
03 |
Apply tartan grid of 6m for maximum flat depth and 1.2m for potential circulation. Provide courtyard spaces greater than 12m x 12m to allow light to reach both sides
04 |
Relieve space in corners to allow light to reach interior spaces, maximum of 6m x 6m Exceptions can be made for non habitable spaces such as commercial or retail spaces
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Maximum densification open site Total internal floor area = 35,000 m2 Enough residential space for 1,200 occupants* *(assuming 30m2 Per Person)
Residential Commercial Retail
60% 25% 15%
Residential Commercial Retail
60% 25% 15%
Residential Commercial Retail
60% 25% 15%
Summer shading
Winter shading
Medium densification Total internal floor area = 25,000 m2 Enough residential space for 800 occupants* *(assuming 30m2 Per Person)
Summer shading
Winter shading
Minimum densification Total internal floor area = 15,000 m2 Enough residential space for 400 occupants* *(assuming 30m2 Per Person)
Summer shading
Winter shading
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KReuzberg Housing Crisis Maximum
Medium
Minimum
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Maximum densification courtyard Total internal floor area = 30,000 m2 Enough residential space for 650 occupants* *(assuming 30m2 Per Person)
Residential Commercial Retail Parking
60% 15% 5% 15%
Residential Commercial Retail Parking
60% 15% 5% 15%
Residential Commercial Retail Parking
60% 15% 5% 15%
Summer shading
Winter shading
Medium densification Total internal floor area = 19,000 m2 Enough residential space for 400 occupants* *(assuming 30m2 Per Person)
Summer shading
Winter shading Winter shading
Minimum densification Total internal floor area = 35,000 m Enough residential space for 250 occupants* 2
*(assuming 30m2 Per Person)
Summer shading
Winter shading
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KReuzberg Housing Crisis Maximum
Medium
Minimum
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Maximum densification Total internal floor area = 35,000 m2 Enough residential space for 800 occupants* *(assuming 30m2 Per Person)
Residential Commercial Retail Parking
70% 10% 5% 15%
Residential Commercial Retail Parking
70% 10% 5% 15%
Residential Commercial Retail Parking
70% 10% 5% 15%
Summer shading
Winter shading
Medium densification Total internal floor area = 28,000 m2 Enough residential space for 650 occupants* *(assuming 30m2 Per Person)
Summer shading
Winter shading
Minimum densification Total internal floor area = 23,000 m2 Enough residential space for 400 occupants* *(assuming 30m2 Per Person)
Summer shading
Winter shading
28
KReuzberg Housing Crisis Maximum
Medium
Minimum
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Maximum densification | Space for approximately 29,000 people
+50%
30
KReuzberg Housing Crisis
Medium densification | Space for approximately 24,000 people
+40%
31
Maximum densification | Space for approximately 19,000 people
+30%
32
KReuzberg Housing Crisis
Development | Example
Site & Service Each floor can be divided into many different ways to provide an apartment suited for any individual. Each flat is built up of bare walls and a basic kitchen and bathroom and Each residence starts with enough interior space for at least one bedroom. There are also Spaces left open to be used as balconies or extensions, as and when the user wishes
Kitchen Bathroom
Residential Commercial Retail
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KReuzberg Housing Crisis
Development | OVER TIME
Initial construction
Further construction
The construction is deliberately left unfinished and basic encourage the users to alter and expand whenever they wish.
The walls highlighted give an example of how the building might develop. Though each space would appear different their is a sense of uniformity thanks to the original structure.
summary As Germans are currently seeking to invest in the property market rather than the stock market, a further investment opportunity is presented. The scheme is designed to show developers the extent of what is possible according to set parameters, and provide an example for how it might be realised.
Advantage to existing residents
Advantage to new residents
Though they would have reduced external space and a greater number of neighbours, access to light and ventilation would remain more than adequate and their standard of living would not be affected. Any disadvantage they feel could easily be compensated by a reduced rental rate from the property owner.
New, cheap properties that can be adapted or expanded according to their own needs and desires. The site & service approach means that they can have a reduced initial spend and can develop the property once they have more money.
Advantage to the developers
Advantage to the government
The developers, though possibly having to let their current properties at a reduced rate, would have a greater number of lettable properties. This would result in a greater income for a relatively small investment.
The resultant population increase would mean more tax income from new properties and greater expenditure from new residents. This would also provide opportunity for new businesses to start, allowing for greater economic growth.
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KReuzberg Housing Crisis
GA 2.1 GA 2.2 GA 2.3 GA 2.4 GA 2.5 GA 2.6 GA 2.7 GC 1.1 GC 1.2 GC 1.3 GC 2.1 GC 2.2 GC 2.3 GC 3.1 GC 3.2 GC 3.3 GC 4.1 GC 4.2 GC 4.3 GC 5.1 GC 5.2 GC 5.3 GC 6.1 GC 6.2 GC 6.3 GC 7.1 GC 7.2 GC 7.3 GC 8.1 GC 8.2 GC 8.3 GC 9.1 GC 9.2 GC 9.3 GC 10.1 GC 10.2 GC 10.3 GC 11.1 GC 11.2 GC 11.3
K
reuzberg Housing Crisis was a particularly brief project to begin the Master’s degree. It focused mainly on research, developing a brief based on the studios on offer and then doing a very high level design in response to it. I took this as an oppotunity to get to grips with Urban Design and designing on a large scale which set me up very nicely for future projects. This also gave me the opportunity to take influence from a number of different countries and evaluate the urban setting in which different cultures exist. Given more time I would like to have developed the scheme further and explore the possibility of a site and service proposal and how additional developments might have plugged into the scheme. However, given the brief nature of the project I felt my response delivered the resolution of project necessary. The project was ultimately presented as a business proposal for developers to encourage densification of the urban fabric and offering more properties at a reduced rate rather than increasing Housing prices further. This was represented through my chosen graphic style to deliver relatively complex information and statistics as simply as possible. Jonathan Beeby
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Tools for thinking about architecture
Why do architects dream of a world without them? Over the past couple of decades there has been an increasing interest by Architects in forms of architecture that don’t require their intervention as an expert.1 In particular, the informal settlements and substandard housing in the cities of Latin America, Asia and Africa.2 This has given rise to a number of projects that have attempted to harness the natural development processes evident in these communities, some interesting, some crass and unjustified, but there is little explanation as to why architects have suddenly become fascinated by a world in which their efforts are unaffordable and often unwelcome.
1 Lambert, L. (2012), Architecture Without Architecture Why do Architects dream of a World without them?, http:// thefunambulist.net/2012/08/16/ 2 Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, Forward.
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It is easy to dismiss this fascination as a fad amongst the architectural community, but this sudden interest raises a number of intriguing questions such as; Why has this form of development not previously been recognised in the architectural world? Is it a purely philanthropic desire seen as a generous donation to the collectivity?3 Is it considered an obligation to contribute to some of the social issues in the countries Western architects now work? Or, is it in fact where the world of architecture is heading?4 When discussing the substandard developments in these cities, the language that is often used are words like; slum,
squatter district, chaotic and economically depressed, to name a few. In order to establish what this fascination stems from it is important to pull away from these derogatory terms and preconceptions in order to analyse this phenomenon subjectively. This mistake is often highlighted amongst architects and philosophers interested in the subject who instead favour the term ‘informal’.5 It is however worth noting that in order to assist developing policy response, UNHabitat has readopted the pejorative term ‘slum’ in order to define the broad range of substandard housing. The definition of which is: insufficient access to safe water / sanitation, poor structural quality, dangerous setting, overcrowding and insecure residential status. Though an apt definition in particular circumstances, it makes defining the scale of informal housing quite complex. This is because a number of developments that could have previously been termed slums have since been improved and regularised and can therefore no longer be classified as such, which gives further justification for adopting more lucid terminology.6
1 Favelas - Rio De Janeiro
2 ‘Slum’ Interior
3 Lambert, L. (2012), Architecture Without Architecture Why do Architects dream of a World without them?, http:// thefunambulist.net/2012/08/16/ 4 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 11.
5 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 17. 6 Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, 12.
why do architects dream of a world without them? a lack of form or structure. Instead, it is used to define a form of community based development that arises from itself and its makers. It is a certain vernacular, often unfinished and not yet fully recognised, that is subject to its own rules and procedures that are potentially as specific and as necessary as those governed official in ‘formal’ citymaking.9 In addition to the terms ‘formal’ and ‘informal’ the words ‘static’ and ‘kinetic’ are often used to appropriately explain the distinction between these paradigms. The static city is epitomised by its architecture, a twodimensional entity that is relatively simple to comprehend.
3 Community Development
The important consideration, often missed, is that slum dwellers don’t choose to live there that they are victims/recipients of circumstance. They make the most of any raw material; even if it is rubbish, in order to survive. This actually makes them innovators. Slum dwellers have many positive things in their lives, often a sense of community and of family, looking after your neighbor and a sense of pride and achievement. The mistake often made is the assumption that because they are poor, they are unhappy, which is simply not the case.
that eludes the architects control. From this you can affirm that the term ‘formal’ denies any responsibility for any alternative forms of space, eliminating different spatial representations outside of the traditional Western sense in an attempt to present a certain homogeneity and therefore confirm its legitimacy.8 Pioneers of the current movement both embrace and reject this definition as they accept its alternative and little recognised connotation but deny its insinuation of
Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, 1.
“Cities are the crystallisation points of social and cultural change and play a central role in the development of societies. In addition to the views of urban development held by economists, sociologists and land-use planners, it is necessary to strengthen the cultural perspective in this debate.”
Historically, Architects and Architectural Historians have appropriated the terms ‘formal’ and ‘informal’ in order to theorise about what they are primarily concerned with - the form of buildings and [by extension] cities.7 Traditionally, the word ‘formal’, in architectural terms, represents the buildings and parts of the city that have either been planned or designed by an architect. The term ‘informal’ therefore represents the rest - the parts of the city that have developed without participation of an architect. In this sense, the term ‘informal’ might also appear a derogatory term as it dismisses anything 7
The ‘kinetic’ city on the other hand is in fact harder to comprehend and therefore often dismissed. It is a ‘city in motion’ - a three dimensional construct of incremental development that might appear erratic and poorly conceived. However, the ‘informal’ or ‘kinetic’ city is not represented through its architecture but instead has its own ‘local’ logic that is represented by the patterns of occupation in order to define form and space. The kinetic city is not hindered by a fear of the modern, while the static city tries to erase the local in an attempt to impart a common formal order.10
4 Urban Redevelopment - Paris
Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, 2.
8
- Hubert Klumpner 2006
No city questioned the rationale behind urban planning until the 19th century when Baron Haussmann attempted to bring a massive urban renewal to Paris. The absence of zoning codes and well established property rights paired with the existence of alternatively organised communities was seen as both primitive and problematic. Throughout the twentieth century, Western city planning was occupied by the establishment, promulgation, and the enforcement of rules/regulations. Despite 9 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 18. 10 Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, Forward.
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this, modern planning has failed to cease informal development, therefore making the idea of a totally planned city a myth. This preconception can therefore be perceived to be the downfall of urban planners, designers and architects as they fail to embrace, even capitalise on the informal aspects of urban development; partially because they often lack the professional vocabulary to describe them and often because their vision has been shaped, and therefore limited, by preconceived theories.11
Rudofsky’s exhibition is considered, amongst certain architects, as one of the major influences for this recent trend.14 Though it could be seen as an attempt to alleviate blame, given Rudofsky’s occupation as an architect, it is still an influential example of literature that attempts to break the narrow concepts of “the art of building” in an effort to introduce the world of ‘non-pedigreed’ architecture.15 “To no small degree, this situation came about through the diligence of the historian. By invariably emphasising the parts played by architects and their patrons he has obscured the talents and achievements of the anonymous builders, men whose concepts sometimes verge on the utopian, whose aesthetics approach the sublime.”
5 Cliff dwellings of the Dogon tribe - Sudan
According to Bernard Rudofsky, curator of the 1964 exhibition ‘Architecture without Architects’, the reason for the dissociative relationship between the architect and the informal city can be considered the fault of architectural historians. He discerns architectural history, as having only ever been concerned with only a few select cultures. As a result, chroniclers present us with a “fulldress pageant of ‘formal’ architecture”, which is as arbitrary a way of introducing the art of building, as “dating the birth of music with the advent of the symphony orchestra”.12 It would seem then, that architectural history is socially biased. Concerning itself with the work of architects who commemorated power and wealth, and only providing an anthology of buildings of, by and for the privileged, with little exploration of the houses of ‘lesser people’.13 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 18. 12 Rudofsky, B. (1964), Architecture without Architects: a short Introduction to non-pedigreed architecture, London: Academy Editions, Preface 13 Rudofsky, B. (1964), Architecture without Architects: a short Introduction to non-pedigreed architecture, London: Academy Editions, Preface 11
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Unfortunately, things did not progress as intended. Following the failure of modernist public-housing there was a huge loss of confidence in architectures ability to improve lives. Even as early as the 1930’s and 1940’s architects were beginning to question their role concerning the needs of those who can least afford their service. Some claiming that architects are being tripped up by their ego driven pursuit of wealthy clients; stating that they “had lost sight of the requirements for elementary shelter.”19
- Rudofsky 1964
From his attack on architectural historians you can make the assertion that the exclusion of all other forms of architecture in favour of architectural nobility might be understandable as late as a century ago; when the relics and ruins of the ancient world were the epiphany of excellence to the architect.16 Today however, when the trend to mimic classical architecture has waned, limiting design potential according to this pre-conceived level of ‘excellence’ is simply illogical. As neoclassical architecture gave way, the modernist movement was able to flourish. It began as an attempt to exploit the promising potential of industry in order to produce low-cost buildings. The assembly line was revolutionising the production of everything, so why not housing?17 In 1914-15, Le Corbusier best expressed this new rational as “a machine for living in.” From this he developed a simple, universal housing unit called ‘Maison Dom-ino’. The unit could be stacked upon itself and repeated endlessly which thanks to the free-plan construction, the occupants are able to configure the interior spaces according to Lambert, L. (2012), Architecture Without Architecture Why do Architects dream of a World without them?, http:// thefunambulist.net/2012/08/16/ 15 Rudofsky, B. (1964), Architecture without Architects: a short Introduction to non-pedigreed architecture, London: Academy Editions, Preface 16 Rudofsky, B. (1964), Architecture without Architects: a short Introduction to non-pedigreed architecture, London: Academy Editions, Preface 17 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 35. 14
their own needs and desires.18
6 Maison Dom-Ino, Le Corbusier
During the post-war years, and in particular the 1950’s, the dramatic demographic changes resulted in massive population increases and the subsequent densification of cities. The architectural community called into question the absolute rationalism of the functional city and started to turn their attention to ‘primitive’ forms of development, arguing for the incorporation of the body, movement and gender issues prevalent in the informal city. This was reflected in architecture schools in the 1960’s where they encouraged the connection of physical form and sociocultural needs for a more psychological and anthropological perspective on the city.20 This helped spawn the ‘self-help’ housing movement. At the crux of the movement was the basic principle that Homeowners had been building their own homes without the aid of architects, external funding or government 18
Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 35. 19 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 42. 20 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 44.
why do architects dream of a world without them? Unfortunately, the problems of professional influence persisted and with the failure of many large-scale public buildings done in the 1960’s a further movement developed, this time toward greater community engagement in the worlds of architecture, planning and design. This, paired with the rise of the environmental movement, encouraged some architects to start seeing themselves, not only as professionals striving to meet the needs of their clients but believed it was their responsibility to aim for more sustainable development.24 The world of informal architecture is a remarkable form of sustainable development because, when living on $4 a day, you’re living on survival and therefore there is no option but to be sustainable.25
7 New Gourna Village, Hassan Fathy - Egypt 1946 (failed slum-replacement scheme)
assistance very successfully. Slums are just another form of self-built housing, so rather than using government funding to rehouse ‘third world’ communities into social housing blocks, why not use it to encourage owners to upgrade and build their own homes?21 This change in attitude meant that slum redevelopment slowly gave way to “upgrading”. The sites-and-services and self-help methods were unlike previous government-managed programs.22 Many architects participated in and in most cases initiated self-help housing programs such as John F. C. Turner, who launched a program to rebuild approximately 10,000 homes destroyed by an earthquake in Peru in 1958. He later adapted/simplified the model to implement a number of slum-upgrade programs. This didn’t however change the fact that the entire concept negated the traditional role of the architect. In the self-help housing model, architects merely fulfilled the role of trainer and were often nothing but inconveniences. Turner, one of the movements pioneers, expressed it in the following way:23 21 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 42. 22 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 45. 23 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 45.
8 1960s Slum Replacement
9 Evora Housing, Alvaro Siza - Portugal 1977
“The certified professional makes a fool of himself, and often does a great deal of harm to other people by assuming that he knows more than the uneducated by virtue of his schooling. All that second- and thirdhand knowledge and intellectual exercising does for him, however, is to reduce his ability to listen and learn about situations significantly different from his own social and economic experience - with consequences that can be tragic when he has the power to impose his solutions on those who are not strong enough to resist.” - Turner 1972
Still, much can be learnt from the experiments of the 60’s as it left us with a vision of what the future would bring. The expanding cities and increasing discontent encouraged architects to venture outside of their discipline and express concerns in social and urban issues, inspiring designs that borrowed principles outside of the traditional ‘professional’ language of architecture. 24
Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 48. 25 Sinclair, C. (2006), A call for open-source architecture, http://www.ted.com/talks/cameron_sinclair_on_open_source_ architecture.html [Video]
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This lead to a multifarious approach inspired by conditions outside of the functionalist planning approach to the city; with its four zones for dwelling, work, recreation, and transportation.26 Despite this altered perception, serious problems still inhibit the development and progress of architecture. As evident over the last century, architects seem to be repeating the same mistakes over and over. Fifty years have passed since the experimental projects of the sixties but architecture isn’t getting closer to seeking solutions to the persistent problem of housing, nevermind a new vision of urbanism. That said, there are positive examples - Jorn Utzone’s 1956-58 Kingo Housing, Alvaro Siza’s 1977 Evora Housing, or Roland Rainer’s 1965-80 Punchenau Garden City, all of which seem possible on a metropolitan scale but without legislation that encourages lowrise dense settlements over contemporary suburban design, such projects won’t become the norm.27 The study of informal cities provides an influence to our own urban development but also encourages Western architects to aid development in the ‘Third world’. For many years it has been common for architects to be asked for solutions for world shelter crises. But despite the promise of the machine age, the projects of architects and designers have become ever increasingly technology driven, often utopian which have little bearing when dealing with the basic struggles of shelter in ‘third world’ countries; a roof, clean water and sanitation. Modernism has now become an aesthetic of steel and glass rather than a new form of social development. The assertion made is that there is a difference of outlook between that of architects and aid workers. Architects consider the situation a design challenge whilst aid workers consider it an issue of planning and policy.28 However, as technology has developed, a new hope has returned. In the twenty-first century global communication is now possible via the internet. For Cameron Sinclair, Cofounder of Architecture for Humanity, this realisation highlighted that architects and designers are able to work almost anywhere in the world, making him question whether architects are now obliged to respond to some of the social concerns Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 44. 27 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 44. 28 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 34. 26
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around the world.29 This prompted him to set up a number of competitions over the past few years that aim to respond to the world shelter crises. Thanks to the rapid exchange of ideas now possible via the internet. The competitions returned a vast number of entries meaning that architects and designers are now able to contribute where they might previously have been unable30
10 Super Adobe Structure, Cal-Earth - Iran
In addition to being able to spread awareness and highlight the importance of design in disaster mitigation and community development.31 This process has spawned a grass-roots movement of socially responsible designers that believe the world has gotten a lot smaller, and the we have the opportunity (not the responsibility) to get involved and make a change.32 Latin American cities are a particularly interesting case study when discussing the complex distinction between ‘formal’ and ‘informal’ cities. Cities such as Caracas, the capital of Venezuela, are said to demonstrate, and are even characterised by, the tensions between formal and informal development.33 After the discovery and successful exploitation of oil in the 1950’s, Caracas became a modern city; providing an 29 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 11. 30 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 11. 31 Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson, 11. 32 Sinclair, C. (2006), A call for open-source architecture, http://www.ted.com/talks/cameron_sinclair_on_open_source_ architecture.html [Video] 33 Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, 1.
11 Informal and Formal - Caracas
attractive location for the millions vacating post-war Europe or streaming up from the south in search of a better life. The promising future of the city prompted the government to invest heavily in centralisation and nationalisation schemes. They soon lost sight of the city’s expenditure and high foreign debt ensued. As a result, high internal and external pressure to pay off the debt forced the devaluation of the Bolivar in 1983, and their economy has been in a state of flux ever since.34 These problems have only been exacerbated by changes in rural practices and industrialisation, which has caused migration of labourers from rural areas to major cities to accelerate. With a severe lack of housing, numerous informal settlements now surround the modern city - known locally as favelas, invasions or in the case of Caracas, Barrios. These settlements are comprised of people from any number of different rural origins, races and sociocultural groups that work in the city centre or new industrial area, but are confined to dwell on the periphery of the city. Some migrants have attempted to recreate 34 Brillembourg, A. & Klumpner, H (2012), Torre David: Informal Vertical Communities, ETH Zurich: Lars Muller Publishers, 73-76.
why do architects dream of a world without them?
13 Formal Ciy - New York
12 Informal Ciy - Caracas
their previous rural environment, whilst others have attempted to mimic that of the more affluent classes.35 Evidence suggests that the conflict in Caracas and other Latin American countries existed before the acute influence of the Europeans, but the tension between its conflicting identities has escalated ever since.36 “Experts often note that the poor are resilient, resourceful and creative in discovering ways to survive in cities. Their survival strategies, however, are pitted against an array of socioeconomic, cultural and environmental obstacles. In Latin America, the urbanisation process has taken place on two opposite fronts: as formal and legal, and as informal and irregular development. These processes are closely intertwined and have considerable implications for the form and function of contemporary cities. For example, the modern city built by private developers and defined by detailed urban legislation coexists with a vastly larger urban fabric erected by the poor.”
- Ephim Shluger: World Banks Consultant,
35 Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, 5. 36 Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books, 2.
‘Urban Think Tank’, founded by Venezuelan architects Alfredo Brillembourg and Hubert Klumpner, are a group of architects and designers who use Caracas as a case point in order to develop an awareness among architects of the prospects of the barrios and provide pilot projects for the ‘informal city’.37 Their cultural origin could imply a biassed outlook regarding the future of the modern city; but their knowledge and evidence concerning the ‘informal city’ cannot be denied. “Consider the informal city: one billion people live in slums; the modern city is in crisis; the population will double by 2020; only the present matters.”
- Alfredo Brillembourg 2006
The world is currently in a state of flux; the recognised powers of the world are changing. Logical or ‘formal’ master plans are coming undone and dreams of a better life are diminishing. There are environmental disasters in Asia, war in the Middle East, genocide in Africa, terrorist attacks in the USA, world debt keeps growing. All the while informal settlements are ever expanding - what does this say for the future of the modern city?38 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 13. 38 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 17. 37
Global cities such as New York, London, and Tokyo are being challenged not only by their own ever-expanding suburbs, but also by secondary cities. Caracas, Venezuela, is one of these. Urban Think Tank claim that Caracas is in fact the model city for urban evolution in the 21st century as it provides alternative solutions to complex urban issues that are common to the worlds informal cities; “It uniquely embodies the interface - perhaps collision - between the ‘First’ and ‘Third’ Worlds.”39 There are no instructional buildings or manifestations of formal bureaucracy in the barrio communities. They also lack proper refuse and waste water disposal and the electricity is stolen. Yet, it is a functional environment whereby self-regulation creates living space for millions without government assistance. The informal process that takes place here is not the result of cracks in that framework but instead the alternative way of life and culture of the ‘urban poor’ who find modern city life an alien way of life.40 “The futures not going to be the sky scraping cities of New York but this. (see image) [...] One billion people live in abject poverty, we hear about them all the time, 4 billion live in growing but fragile economies, one in seven live in unplanned settlements. If we do nothing about the housing crisis that’s about to happen, in 20 years, one in three people will live in an unplanned settlement or a refugee camp.” - Cameron Sinclair 2006 Ultimately, the research undertaken by Urban Think Tank and other pioneers attempts to underline the ways in which popular culture, ideologies and the values of everyday life Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 17. Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 21.
39 40
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List of Illustrations 1. “Favelas - Rio De Janeiro” http://www.flickr.com/photos/ ben_petrucci/1335566042/sizes/l/in/photostream/
2. “‘Slum’ Interior” Baan, I (2012), Torre David: Informal
Vertical Communities, ETH Zurich: Lars Muller Publishers 3. “Community Development” Brillembourg, A. & Feireiss, K.
& Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel 4. “Urban Redevelopment - Paris” http://cabin15.com/ opinion/urban-laboratory/top-5-urban-innovations-2-5haussmannization-paris 5. “Cliff dwellings of the Dogon tribe - Sudan” Rudofsky, B.
(1964), Architecture without Architects: a short Introduction to non-pedigreed architecture, London: Academy Editions 6. “Maison Dom-Ino, Le Corbusier” http://www.studyblue. com/notes/note/n/midterm/deck/1307669
7. “New Gourna Village, Hassan Fathy - Eqypt 1946” http:// 14 The Future?
affects urban culture. The constant shifting and interaction of these within cities greatly influences our professional reality. This presents both a struggle and a synergy of social architecture and urban ideas as each influences, constructs and deconstructs the other.41 They are attempting to broaden the narrow view of squatter settlements around the world and attempt to show architects why they should understand this particular urban practice.42
say that informal development doesn’t have its problems but without the recognition or the awareness that is trying to be created, urban design and development will continue to fall short when dealing with the real social realities of the world.
It would appear then that this fascination is not a trend. It is a growing interest that has received little recognition in the past. Informal developments can provide the architectural profession and those striving for an unattainable utopia with realistic ideas of housing, of community living, of sustainability and of cultural development. Ideas that can not and should not be avoided, particularly given the current economical climate. The ‘slum’ is the crucible of life and those who fail to appreciate the humanitarian value of it and fail to produce homes for the people, create tomorrow’s ivory towers. That’s not to
Brillembourg, A. & Klumpner, H (2012), Torre David: Informal
41 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 23. 42 Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel, 39.
Bibliography Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel
Vertical Communities, ETH Zurich: Lars Muller Publishers Hernandez, F. & Kellett, P. & Allen, L. K. (2010), Rethinking the Informal City: Critical Perspectives from Latin America, New York: Berghahn Books Lambert, L. (2012), Architecture Without Architecture Why do Architects dream of a World without them?, http:// thefunambulist.net/2012/08/16/ Rudofsky, B. (1964), Architecture without Architects: a short Introduction to non-pedigreed architecture, London: Academy Editions Sinclair, C. (2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson Sinclair, C. (2006), A call for open-source architecture, http:// www.ted.com/talks/cameron_sinclair_on_open_source_ architecture.html [Video]
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www.postalesinventadas.com/2011/08/malagueira-evoradear-francesco-each-of.html
8. “1960s Slum Replacement” Brillembourg, A. & Feireiss, K. & Klumpner, H (2005), Informal City: Caracas Case, Munich: Prestel 9. “Evora Housing, Alvaro Siza - Portugal 1977” http://www. postalesinventadas.com/2011/08/malagueira-evora-dearfrancesco-each-of.html 10. “Super Adobe Structure, Cal-Earth - Iran” Sinclair, C.
(2006), Design like you give a damn: architectural responses to humanitarian crisis, London: Thames & Hudson 11. “Informal and Formal - Caracas” Baan, I (2012), Torre David: Informal Vertical Communities, ETH Zurich: Lars Muller Publishers 12. “Informal Ciy - Caracas” Baan, I (2012), Torre David: Informal Vertical Communities, ETH Zurich: Lars Muller Publishers 13. “Formal Ciy - New York” http://www.flyinphilsphotos.com/ nychud/1997-12-xx/album0
14. “The Future?” Baan, I (2012), Torre David: Informal
Vertical Communities, ETH Zurich: Lars Muller Publishers
why do architects dream of a world without them?
GA 2.1 GA 2.2 GA 2.3 GA 2.4 GA 2.5 GA 2.6 GA 2.7 GC 1.1 GC 1.2 GC 1.3 GC 2.1 GC 2.2 GC 2.3 GC 3.1 GC 3.2 GC 3.3 GC 4.1 GC 4.2 GC 4.3 GC 5.1 GC 5.2 GC 5.3 GC 6.1 GC 6.2 GC 6.3 GC 7.1 GC 7.2 GC 7.3 GC 8.1 GC 8.2 GC 8.3 GC 9.1 GC 9.2 GC 9.3 GC 10.1 GC 10.2 GC 10.3 GC 11.1 GC 11.2 GC 11.3
T
ools for thinking about architecture provided the opportunity to read and evaluate a series of texts and understand the social, cultural and political relevance of a number of Architectural precedents. Initially it was primarily geared towards Berlin, running in conjunction with the first design project. I then applied the tools learnt to a different culture and context (Venezuela) and applied its relavence to a wider urban context and the role of the architect within it. Unfortunately, I tried to cover too wide a topic for a relatively short text, meaning that some elements of the prose are slightly generalised and appear unconvincing, something that I aimed to address in later studies. Jonathan Beeby
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Chester
Shot
Tower 46
Detail, Narrative , Memory
design project 02 | detail, narrative, memory This project provided the opportunity to select my own site and create my own brief. It placed the emphasis on a particular detail of the building and how that informed the narrative that shaped the project from beginning to end. By selecting an existing building to work within, I was able to use the memory of the old structure to inform the narrative and then the detail which shaped the buildings functional, spatial and aesthetic qualities.
Some architects think about detail design separately from scheme design, parcelling them up as distinct activities. This separation is instituted in the organisational structures of some offices, where separate teams work on the ‘concept’ and ‘production’ phases of a job. This project challenges this dangerous distinction between ‘concept’ and ‘production’, between ‘design’ and ‘technology’. It proposes, instead, that detail is the microcosm of an architectural idea; that rich architecture contains an idea or ideas which pervade the proposal from site to strategy to fabric to environment to detail. The project asked us to design a detail. Through that detail, we design the building. A clear narrative - expressed through the cutting, joining, forming, layering and weathering of materials - is intended to link the detail with the strategies for the building. That same narrative threads the proposal’s environmental, structural, climatic, lighting and energy strategies together into a coherent whole. The detail in question is the meeting of two buildings: an existing building, and a new addition. For my existing building I selected Chester Shot Tower and Lead Works...
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Chester | Shot tower & Lead Works
Molten lead was poured through a pierced copper plate at the top of the tower, with the droplets forming perfect spheres by surface tension during the fall; the spherical drops were then cooled in a vat of water at the base.
Chester Shot Tower is a grade-II*-listed tower located in the Boughton district of Chester, England. Standing beside the Shropshire Union Canal the tower forms part of the disused Chester Leadworks. Built by Walkers, Parker & Co. in 1799, it is the oldest of three remaining shot towers in the UK and probably the oldest such structure still standing in the world. The tower was one of the earliest built to manufacture lead using the method pioneered in the 1780s by the Bristol inventor William Watts. Its original function was to make shot for muskets during the Napoleonic Wars. Although other methods were developed to manufacture shot during the 20th century, the Chester tower was still in use as late as 2001.
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Detail, Narrative , Memory
Chester | Shot tower & Lead Works The circular red-brick tower is 41.2m tall and 9.1m in diameter at the base tapering to 6m at the top, with small arched windows spaced throughout. A lift shaft dating from 1971 remains attached to the exterior, now out of action, it provided access to the middle and upper platforms where melting pots still exist. The interior of the tower is a mixture of painted and exposed brickwork with steel elements protruding through at various angles. A rusting staircase circulates up through the tower to small platforms jutting out both in the middle and the top of the tower.
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Detail, Narrative , Memory
The building remains
Following the lead works closure in 2001, the buildings surrounding the tower have been left to crumble. None of the roofs remain on the warehouse spaces and a number of the perimeter walls have collapsed. Due to the collapsed roofs, the warehouse spaces are far more weathered than the tower. Like the tower, they are primarily painted and exposed brickwork with blue painted steel beams puncturing through. As a recent addition the steelwork remains in good condition, but now has little to hold up. The tower itself remains structurally sound and well maintained thanks to is listed building status.
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Detail, Narrative , Memory
Existing details In order to create a junction between new and old I first had to understand the existing details. Without detail drawings to go off it became an exploration through site visits, photographs and structural consultations.
Looking closely at the details or buildings can tell us a lot about the values, attitudes, and priorities of the culture in which they were produced
- Samuel Austin
01
This detail is typical throughout the structure. It is indicative of the ever changing nature of the lead works. The warehouses were built sequentially in the years following the construction of the tower and as technology improved further additions were made. In some areas the added steelwork provides additional structure for new openings and other places clearly used as runners for different lead manufacture processes. Though this provides something that could be build on, maintaining this construction could make cold-bridging impossible to avoid.
02
One of the most unusual details is the entrance to the tower. It is a traditional hinged door within a larger door - operated by a pulley system. Presumably used differently for individual entrance, moving large objects between spaces or when it needs to remain constantly open. This mechanical solution is something I tried to emulate later in the design process.
03
Though the factory roofs no longer remain, the structure does. The delicate steel elements have stood the test of time and are one of the best examples of functional aesthetic evident on the site.
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North East Corner
North West Corner
The North east corner of the site takes you into the heart of the residential surroundings. Parking for the adjacent buildings surround this corner of the site perimeter, separated by a road that would provide most public access to the site.
Also deep in the residential area, this corner provides the initial approach to the tower from the main access road into Chester and from the train station. The surrounding housing blocks rise up a number of stories, stopping the tower from dominating the area. This is amplified by the tower being set further back from the street.
South West Corner
South East Corner
The south west has a small green area separating the lead works and the canal side residences. To the west is a tranquil view along the canal to the old Steam Mill. From this view the canal provides a breaking point from the residential area surrounding the lead works and the more commercial properties across the canal.
To the south of the site lies the Shropshire Union Canal. At the corner is a footbridge that is closed at the end closest to the site. Surrounding the bridge is a myriad of different building types & ages. There are converted industrial buildings that now exist as residences and offices. The least contextually appropriate buildings are part of a small retail park south of the canal.
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Detail, Narrative , Memory
Site | context KEY 00 Site 01 Train Station 02 City Wall
03 Canal 04 Cathedral 05 High Street
06 River Dee 07 Amphitheatre 08 Roman Gardens
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02 00 03
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Detail, Narrative , Memory
Introducing...
“The contraption� What fascinates me most about the building is the process by which the shot was produced. The height of the tower was necessary to allow the perfect shot to form. The process makes the towers function the antithesis of most others. Other towers, such as chimneys, is operated from the base while the shot manufacture process occurs at the top of the tower. Whilst making a certain height a structural necessity it does make it an inefficient process by having to constantly move up and down to only a small platform at the top. The shot itself was made by pouring molten lead through a pierced copper plate or sieve at the top of the tower, causing the droplets to form perfect spheres by surface tension during the fall; the spherical drops were then cooled in a vat of water at the base. This sketch demonstrates this process whilst distorting the grandeur of the tower against the significance of the shot - The telescopic to the microscopic.
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Detail, Narrative , Memory 01
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Contraption Process Inspired by the process of shot production and a number of details within the shot tower I was inspired to build a Rube Goldberg style contraption. Going to the top of the tower to melt the lead and then back down to retrieve it strikes me as an inefficient method of production. This contraption animates stages of the production whilst distorting and prolonging it in a continuous kinetic motion while the construction itself mimics and subverts a number of elements around the site.
01 Ball in lift 02 Lift wind 03 Ball goes down ramps 04 Onto stairs 05 Falls to lever 06 Triggers other levers 07 Causes weight to fall 08 Hits central lever 09 Strikes matches - lights candle
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Lead | links to violence Lead poisoning is a medical condition in humans and other vertebrates caused by increased levels of the heavy metal lead in the body. Lead interferes with a variety of body processes and is toxic to many organs and tissues including the heart, bones, intestines, kidneys, and reproductive and nervous systems. It interferes with the development of the nervous system and is therefore particularly toxic to children, causing potentially permanent learning and behavior disorders. Routes of exposure to lead include contaminated air, water, soil, food, and consumer products. Occupational exposure is a common cause of lead poisoning in adults. One of the largest threats to children is lead paint that exists in many homes, especially older ones; thus children in older housing with chipping paint or lead dust from moveable window frames with lead paint are at greater risk.
One of the most surprising effects of lead is its apparent link to violent crime. As lead manufacture has risen and fallen, so too has violent crime - with about a 20 year lag. This is true from city to city and from country to country following the same correlation at different times, following the banning of lead additive in petrol and paint which has occurred at different times across the world. The link between lead and violence is notoriously difficult to prove as correlation doesn’t necessarily mean causation. However, there are hundreds of papers supporting the argument with very little opposition. The evidence has even been used to suggest plausible answers to why a huge number of youths are prosecuted due to exposure in early development and how black males generally living in poorer conditions are the majority population in prisons.
4
Young people prosecuted
For delinquency are Mo re likely t o h av e
High levels of T i m e s Lead in their bones
18 % 52 % Of white children Of black children
H av e o v e r 2 0 mg / d l o f l e a d
In their blood
Despite the effects of lead poisoning being common knowledge for centuries, the problems are still prevalent particularly in a lead heavy city such as Chester.
“If it is true that lead pollution, whose wider impacts have been recognised for decades, has driven the rise and fall of violence, then there lies, behind the crimes that have destroyed so many lives and filled so many prisons, a much greater crime.�
- George monbiot (the guardian)
Graph indicating the correlation between lead and violence
Gas lead in tons per 1,000 people 1.8
900
1.5
750
1.2
600
0.9
450
0.6
300
0.3
150
1937 1960
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Violent crimes per 100,000 people
1986 2009
Detail, Narrative , Memory
North West | mentality Innospec, based in Ellesmere Port is the last remaining manufacturer of tetraethyl lead on earth. The product has long been banned from general sale in the UK, but the company admits it’s still selling this poison to other countries including:
• Prevalence of heart disease & stroke
• Long term mental health problems
• Anxiety disorders • Schizophrenia • Depression
• Alcohol related hospital stays
• Violent injuries North Korea
Ellesmere Port Afghanistan
Burma
• Self reported violence
• Claiming benefits for mental and behavioural disorders
Algeria
The North West of England faces a number of serious challenges and the health of people in the region is poor in comparison to other areas of the UK and parts of Europe.
Yemen Sierra Leone
Life expectancy in general is low compared to the rest England and, despite action to address health inequalities in the region, the health gaps between different socioeconomic groups continue to exist and to widen in some areas. The region has the second highest death rate in England for cancer, for smoking related illnesses and for suicide in young men. The region also has the second highest rate in England of reported levels of “feeling in poor health.”
20%
It is plausible to think that these problems could be a direct result of high lead pollution in the surrounding area.
15%
10%
5%
0%
WM
NW
London
EM
East
SW
NE
SE
Y&H
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The solution The mainstays of treatment are removal from the source of lead and, for people who have significantly high blood lead levels or who have symptoms of poisoning, chelation therapy. Treatment of iron, calcium, and zinc deficiencies, which are associated with increased lead absorption, is another part of treatment for lead poisoning. When lead-containing materials are present in the gastrointestinal tract (as evidenced by abdominal X-rays), whole bowel irrigation, cathartics, endoscopy, or even surgical removal may be used to eliminate it from the gut and prevent further exposure. If lead encephalopathy is present, anticonvulsants may be given to control seizures, and treatments to control swelling of the brain include corticosteroids and mannitol.
Water Filtration System - Biosand Biosand filters remove pathogens and suspended solids through a combination of biological and physical processed that take place in the biolayer & within the sand column. BSF’s have been shown to remove 5-64% of heavy metals and 90-99% of turbidity and contaminants such as bacteria, viruses and porotozia. BSF’s also help to reduce discolouration, odour and unpleasant taste,
01
02
01 Diffusion 02 Fine Sand 03 Coarse Sand 04 Gravel
03 04
Lead has been used widely for centuries, The effects of exposure are worldwide. Lead is one of the largest environmental medicine problems in terms of numbers of people exposed and the public health toll it takes. Lead exposure accounts for about 0.2% of all deaths and 0.6% of disability adjusted life years globally.
Limestone 01 Filter 1 02 Untreated Limestone Particles 03 Filter 2 04 Iron Imbibed Activated Carbon 05 Iron Activated Carbon 06 Cartridge 07 Inlet End 08 Outlet End 09 Media 10 First Feed Container 11 First End of the Inlet Tube 12 Inlet Tube 13 Flow Control Valve 14 Outlet Tube 15 Second End of Outlet Tube 16 Second Container 17 Spigot
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Detail, Narrative , Memory
Bath house Hot Baths
10 Tips For a
Calm mind No01 Address the
Underlying Causes of Stress
No02
Relax
Learn New Skills No03 No05 Optimize o
N 04 Your Nutrition Move N07 Try No06 Supplement
o
Your NHerbs USE HEAT Body 08 THERAPY o
No09 Change Your Beliefs
No 10 Find a
Community
Hot baths or hot water showers can stimulate the immune system and increase circulation. By soothing nerves, hot water calms and relaxes the body. Hot water baths are used to treat chronic rheumatic manifestations in joints, fibrous tissue, and muscles; and colic in the gastric, intestinal, gall bladder, or urinary tracts.
Cold Baths Cold bath or showers can be used to stimulate metabolism. The feeling of exhilaration is achieved with cold water temperatures because the circulation becomes rapid in the body. The cold water temperatures are used as a metabolic stimulant, for obesity, and for atonic states. Cold water has a stimulating effect on the brains “blue spot�, the main source of noradrenaline for our bodies. Noradrenaline is a chemical that might be used to help alleviate depression.
Calcium Baths A calcium bentonite clay bath is a very powerful method of detoxifying internal organs and the skin. Environmental toxins play such a significant factor in the onset of autism amongst other illnesses. Experts agree that when you remove these toxins, all other behavioral and integrative therapies such as music therapy and applied behavioral analysis, work much more easily and effectively.
Salt Baths Magnesium is important for both combating stress and fluid retention, slowing skin aging and calming the nervous system. Calcium is effective at preventing water retention, increasing circulation and strengthening bones and nails. Potassium energizes the body, helps to balance skin moisture and is a crucial mineral to replenish following intense exercise. Bromides act to ease muscle stiffness and relax muscles. Sodium is important for the lymphatic fluid balance.
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Detail, Narrative , Memory
Design development Throughout the design process I switched between model making and sketching. The plan sketches indicate a development of spaces and layout while the models allowed me to test massing the building with different forms inspired by the surrounding context. This exploration is to see how the existing structure might be treated. This space lies centrally within the site, has a low ceilinged floor below, originally used as changing rooms, and a double height space above.
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model development
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Detail, Narrative , Memory
Final Design
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Plans | Sections
Site plan Site entrance
Staff entrance
Apartment blocks
Main entrance Plant entrance
Car Park
Escape route
Shropshire Union Canal
Section AA
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Detail, Narrative , Memory
Ground Floor Plan A
B
Jet pool
w/c
Showers
Changing Room
Foot baths
w/c
Hot Bath Sound Chamber
Change Room
Heated pool (Internal)
Plant Room
Reception
Garden
Heated pool (External)
B
Turkish Bath (cool) Turkish Bath (warm)
25m Pool
Turkish Bath (massage) Turkish Bath (hot) Sauna
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First floor
Calcium Baths
Reception
Treatment Room Treatment Room Treatment Room Treatment Room
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Detail, Narrative , Memory
Second Floor
Kitchen Office Office
Cafe Store
Calcium Baths
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Tower section At the heart of the building is the old Shot Tower which has been re-purposed in my design as a method of purifying rain water into drinking water through a series of chambers. By allowing the water to fall freely between chambers and grates it evokes a memory of the shot production process originally housed in the tower.
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Detail, Narrative , Memory
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Environmental strategy | 1:100 The key environmental process within the building is the water harvesting and purification which occurs within the tower which provides the main access to fresh water within the building. The central location of the tower allows a number of adjacent spaces to connect to it encouraging natural ventilation throughout the complex. Hot air and steam is able to rise up through the tower to the opening in the top where it can be cooled and vapour in the air can condense and circulated back into the water system.
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Detail, Narrative , Memory
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Diagrams
Cleansing
Brick Concrete Steel
Cleansing route
Cleansing Route
Existing walls - remaining Most of the existing structure has been
retained to express the memory of the old
Existing walls - removed building and how it has since been healed. A new structure is provided within the existing envelope to enclose and divide the complex which have been carefully organised as a journey throughout in which the user is fully cleansed en route.
Existing walls - remaining Existing walls - remaining Existing walls - removed Existing walls - removed
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Detail, Narrative , Memory
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1. 2. 3. 1.
2. 3.
5.
4. 4.
6.
5.
Filter Drum Detail 1:10
1. Existing Brick 2. DPM 3. 100mm Rigid Insulation 4. Aluminium Frame Double Glazing 5. Insitu Concrete Cladding 6. Copper Sill
1. Copper Sheeting 2. 100mm Rigid Insulation 3. Heating Pipes 4. Filter 5. Steel Structure
1.
Sill Detail 1:10
2. 7.
4. 3.
6. 3. 4.
5.
8. 5.
2.
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Stair Support Detail 1:10 1. Existing Brickwork 2. Wall Tie 3. Thermal Break 4. 100mm Rigid Insulation 5. Stainless steel beam
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Old/New Connection 1:10 1. Existing Brick 2. Embedded Gutter 3. DPM 4. Flashing 5. 100mm Rigid Insulation 6. Cladding Bracket 7. Alucobond Lacquered Aluminium Cladding 8. Insitu Concrete Structure
Detail, Narrative , Memory
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Detail, Narrative , Memory
Evolution | through time One of the greatest considerations was the treatment of the old and new structure. Whilst I wanted the memory of the old structure to live on, I intend for it’s adopted function to literally shine through. The use of metals throughout the building is synonymous with the healing qualities certain metals demonstrate in water, the past link with the lead produced and as a method of transformation throughout the building. One such example is the use of calcium in the baths which has proven healing qualities for both mind and body - not to mention a preventative substance against lead contamination. The limestone filtration process used within the tower causes the water to become infused with calcium, magnesium, sodium and other minerals. This process is a synthetic and exaggerated example of how water is filtered in nature, producing calcite, the building blocks for stalactites and stalagmites. Over time the baths and tanks would gain a bright white mineral coating - taking an initially grey environment into a light and colourful space.
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Detail, Narrative , Memory
GA 2.1 GA 2.2 GA 2.3 GA 2.4 GA 2.5 GA 2.6 GA 2.7 GC 1.1 GC 1.2 GC 1.3 GC 2.1 GC 2.2 GC 2.3 GC 3.1 GC 3.2 GC 3.3 GC 4.1 GC 4.2 GC 4.3 GC 5.1 GC 5.2 GC 5.3 GC 6.1 GC 6.2 GC 6.3 GC 7.1 GC 7.2 GC 7.3 GC 8.1 GC 8.2 GC 8.3 GC 9.1 GC 9.2 GC 9.3 GC 10.1 GC 10.2 GC 10.3 GC 11.1 GC 11.2 GC 11.3
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etail, Narrative, Memory was the pinnacle project of the first stage of the masters. This allowed me to cover a number of criteria not addressed in the previous project and set me up for the Thesis. The idea of instigating our own Brief and narrative for the project helped provide a coherent knowledge of my subject and how to appropriately express that through the design. The detail element of the project meant that aspects of the design were fully worked up to construction standard, but not enough emphasis seemed to be placed on it throughout the development of the project and the end result was not as refined as I would have liked. Ultimately, the Narrative and Memory of the project dominated the proposal, but the range of media I experimented with and the process of development explored throughout the project helped to develop a range of abilities. Jonathan Beeby
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Architecture & Construction - Process & management
Professional Practice This professional practice 01 | Project Description assessment provided the opportunity to plan how a project This document discusses professional might be seen through to fruition. practice issues of a proposed Bathhouse It explains various cost control located in the Boughton district of Chester, mechanisms, coordination with referring specifically to work stages 0 to 4 subcontractors, how the office (Strategic Definition to Technical Design) of would be managed and more the RIBA Plan of Work 2013. detailed issues specifically related to the project. It is assumed that the client for this project For this project I was able to discuss issues with listed structures, archaeological remains on site and risk assessment and management.
is Chester City Council who selected the project following an international open ideas competition which asked for an innovative redevelopment of a grade II* listed shot tower and its adjacent structures into a new public center for use by the residents of Chester. The tower is located next to the Shropshire Union Canal and formed part of the disused Chester Leadworks, built by Walkers, Parker & Co. in 1799. It is the oldest of three remaining shot towers in the UK and is considered the oldest such structure still standing in the world. The proposed redevelopment incorporates a series of pools and baths, both internal and external, which are geared specifically toward health and relaxation. The complex also includes spa facilities, a cafÊ / recreation space and utilises the tower for rainwater harvesting and purification into calcium rich drinking water. This is done by allowing the water to slowly filter through crushed limestone of varying dimensions. It is also assumed that the project will be carried out using a traditional method of procurement, in which I, as architect, am fulfilling the role of lead consultant. The following text demonstrates the key actions I would need to take to fulfill those duties. In particular the steps needed to keep the project on budget, obtain suitable input from other professionals, secure statutory approvals and manage the office’s resources. Site: Boughton Shot Tower and Lead Works.
Summary
Location: Chester Client: Chester City Council Site: Boughton Shot Tower and Lead Works. Program: Bathhouse Principal user: Residents of Chester Procurement: Traditional
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02 | Key actions A | Keep the project on budget at the various project stages With projects that incorporate an existing dilapidated structure, such as this, it is almost certain that there might be unforeseen complications relating to the integrity of the existing structure and any costly repair / renovation works that might need to be performed in order to maintain it. For this reason I have specified a consultation with a conservation specialist and suggested that an extensive site survey be carried out early on in the project (stage 0). This allows any issues with the existing structure to be taken into account early on and allow for a more accurate cost estimation to be created. Also, because of the age of the project and because the site have a grade II* listed structure assigned for its historical significance, there is a possibility there might be something of historical significance evident on the site so it is advised to have an archaeological survey performed in stage 0 to establish any risk of uncovering items of historical significance. For an indicative cost plan to be made, based on the developed brief, a quantity surveyor (QS) has been appointed as a cost consultant in the early stages of the project (stage 1). This would be performed in conjunction with the feasibility study, also performed in stage 1, which will assess the viability of the client’s desires in relation to their budget. A key duty in my role as Lead Consultant is to monitor the work of the QS and receive regular cost projections from them which have been specified during the various work stages (see Gantt chart) before passing them onto the client. This can be checked with a quality control mechanism (QC) which will be implemented to ensure regular updates of the QS and other consultants. This should also transfer into reduced costs for the contractor and a reduced project schedule overall, saving the client money in the latter stages of the project.1 1 Lambeck, R. (2008) Urban construction project management (McGraw-Hill Professional ) pg.58
Professional Practice
B | Obtain suitable input from other professionals in the construction industry.
C | Identify, negotiate and secure statutory approvals.
D | Organise and manage your office resources
Beyond the appointment of a Conservation Specialist and Quantity Surveyor (as previously mentioned) input is required from a number of different professionals.
Regular consultation with the local planning committee will also be necessary to identify the requirements for obtaining planning permission according to the local planning authority. This would be organised as regular meetings and conversations with a planning consultant from the beginning of the project through to submission of the planning proposal in Stage 3. The discussion would be informed by the site survey and appraisal of the clients needs.
Due to the relatively small scale of the project, the in-house project team will consist of myself as project architect and two architectural assistants. As the project moves into the concept design and technical design stages, it is likely that more assistance might be required on a temporary basis to meet certain deadlines. For this reason, design reviews and weekly project updates will take place in the office to keep any potential assistants well informed and ease transition. Conversely, any time the project might slow down due to unforeseen circumstances or external issues, assistants on the project should easily transition into another team on a temporary basis. At stage 0, a system for the issue of invoices following the completion of set work stages will be agreed with the client. This will inform monthly forecasting and monitoring across the project to predict hiatuses or shortfalls in workload. This combined with assessment of weekly timesheets which monitor performance in relation to cost and time will allow me to assign staff appropriately, and effectively manage the project resources.
As the design incorporates a grade II* listed structure, it is advisable to have early conversations with the local planning committee to provide an informed judgment regarding the treatment of the tower. This allows the client and design team to take this into account for the developed brief and avoid wasting time [and money] on a design that might not receive planning permission. Once a conservation surveyor has performed the site survey a meeting with structural engineer should be arranged to discuss any construction options that retain existing structures. Parallel to this would be regular consultations with a civil engineer to appropriately design the bespoke rainwater harvesting system as well as meetings with M&E consultants and an experienced swimming pool designer to reduce any risk involved with the pool design and its performance during operation. Regular input and exchange of information would be required from all of the specialists involved throughout the various stages of the project. This would be achieved through regular workshops in which all engineers and designers should be present in order to maintain a coordinated design process. Following planning approval in Stage 3, each specialist contractor will submit General Arrangement drawings based on our developed design which provide sufficient detail for the production of technical drawings to then be done. Following the workshops it should then only be necessary for myself, as lead consultant, to perform regular checks on any specialist drawings and information.
Before a detailed planning application can be produced it would be necessary to meet with the consultant team to determine whether an Environmental Impact Assessment (EIA) of the rainwater harvesting and purification system is required. As the tower is grade II* listed, the development would need listed building consent from English Heritage in addition to planning permission. This would require the approval of the conservation officer within the planning department. Due to the height of the tower and condition of the existing structures, numerous precautions will have to be taken to ensure the design conforms to certain heath and safety regulations. A CDM coordinator will be appointed in stage 1 to give advice throughout the design process regarding any health and safety issues that might occur during construction.
Project administrative procedures will also be in place to ensure quality control of documents, project drawings, specifications and schedules while the implementation of a filing system will ensure a systematic storage of documents and will be maintained following traditional numbering protocols.
After planning, when developing the technical design, a building regulations submission will be made according to the ‘Approved documents’ and informed by consultations with the design team. Studies will be performed as part of the design workshops to explore any regulation concerns outside of common practice knowledge, particularly in relation to contaminants, hygiene, drainage and waste disposal.
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03 | Discussion A | Retaining and Adapting a listed structure English Heritage first listed the Leadworks in 1981 for its historic interest. Primarily based on the shot tower rather than the surrounding structures, its listing was due to its importance as “evidence of the revolutionary process of shot production patented by William Watts in 1783� which was used primarily to provide shot for the Napoleonic wars.2 The significance of this grading means that consultation with English Heritage and the local planning authority would be necessary before a full planning application can be submitted. Preliminary consultation in Stage 0 would allow the client and the design team to gain a clear understanding of the structures listed status and what English English heritage (2007) Available at: http:// www.imagesofengland.org.uk/Details/default. aspx?pid=2&id=469839 (Accessed: 27th Mar 2014)
2
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Heritage consider historically significant in the structure. This knowledge can then inform what needs to be retained, what can be adapted and what might be required of the addition, both functionally and aesthetically. Similarly this allows English Heritage and the planning authority to understand the scale and scope of the proposed development. From a previously submitted planning proposal for the site, English Heritage have outlined some significant aspects. For example, it is considered key for the proposal to be in line with Chester’s wider vision, such as the connectivity between Chester railway station and the city center by encouraging a more public use of the canal. The statement also alludes to the condition of some of the structures, accepting the loss of some (but not all) gable walls in exchange for added usability, so long as the primary asset, the tower, is retained.3 Though this information provides a good Design and Access Statements (2014). Available At: http://www.planningportal.gov.uk/ planning/applications/howtoapply/whattosubmit/ designaccess (Accessed: 27th Mar 2014)
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starting point to develop the brief, additional consultations are required with structural engineers and conservation specialists to explore what is possible with the existing structure. This can then inform further consultation with the local planning authority and English heritage in stages 1 and 2, where they might also give indication for acceptable aesthetic treatment of both existing and proposed. The information gathered from a series of consultations with the planning authority, English heritage and other construction specialists not only prepares the design for planning submission but greatly informs the development of the project. The better informed the submission can be, the more accurate the building outcome can be predicted. This can be in terms of timescale, cost and scope. When applying for planning approval on a listed structure, it is necessary to supply a design and access statement as part of
Professional Practice the submission. This is a short report that explains why the development is suitable for the site. It allows a chance for the architect to demonstrate the proposals potential and the more informed that argument can be, the better chance that approval might be granted.
to gain planning approval however with the chance additional conditions. In which case, it might be possible that the planning authority might seek further and more thorough investigations. This would again be at the expense of the client and might be either a partial or full excavation with a detailed analysis of any findings.
B | Archaeological Remains
In the unlikely event that this should happen, it would severely delay the project before any construction work could begin, adding significant cost and extending the timeframe. My role as lead consultant would be to highlight the risks to the client, arrange third party consultations with archaeological experts and advise them at each stage of the project.
Because of the age of the site and its listing status being granted due to its historical significance, it is possible that their might be significant archaeological remains present on or around the site. In the event that such remains could be found it is possible that the project might not receiving planning approval in stage 3 and it having to be halted before construction work begins. As lead consultant I would therefore advise the client to seek professional guidance from a designated archaeologist before the planning proposal has been submitted to establish the risk of any remains being discovered and if they are, what impact that might have. That would then allow the client to make an informed judgment before investing too much money, whether or not it is worth accepting the risk and continue developing the project or not. After the preliminary consultation it is advised that the client commissioned a detailed excavation of the site by a professionally qualified archaeological contractor. As an initial investigation it would most likely be a non-intrusive geological survey.4 If the survey indicates that there are items of archaeological significance evident on the site I would advise the client to fund further investigations. However, make them aware that any archaeological work would have to be funded by them and that it would need incorporating into the project budget. The evaluation of any findings can then be included in the planning submission as an archaeological report which would include an evaluation of any possible findings. If something is found, there is still the potential of evidence being found later on. By taking measures to seek early consultation and investigation it should permit the project
English Heritage (2014) Available At: http://www. english-heritage.org.uk/professional/advice/ourplanning-role/greater-london-archaeology-advisoryservice/frequently-asked-questions/ (Accessed: 27th Mar 2014)
C | Risk Assessment / Management Due to the complexity of the project, incorporating existing listed structures into the design and having a large number of consultants involved, there is a certain element of risk involved both during the development process and building operation.
A critical risk to an architecture firm is the chance that they won’t get paid. It is for this reason that a fee strategy is established early on and that our level of engagement well established. As lead consultant, it is key to manage the numerous sub-consultants that have been appointed. Throughout each design stage it is important to review all of the reports and drawings submitted from each construction specialist before passing them on to the client, the planning authority or submitting it to tender. Failure to do so, could lead to the office being implicated in any breach of professional duty. Not only will it be necessary to monitor the consultants work, but also any members of staff involved in the project and ensuring any work submitted is carefully checked. One strategy for avoiding any implication is the implimentation of a good document storage and retrieval system. This would allow anyone in the office to find a document that might mitigate any claim made.
It is therefore necessary to establish policies and procedures to manage risk in an attempt to eliminate error. These procedures are established to prevent any time consuming insurance claim that would be a significant issue for the client and myself as lead consultant, in addition to any other party involved. Whenever a claim is made, time that is wasted resolving it could be used for more productive, incomeproducing work. Though not completely unavoidable, establishing procedures to identify and manage risks, greatly increases the chance of successfully avoiding any legal turmoil. This will reduce any additional work required to solve disputes, encourage a better working environment and result in a higher practice reputation which, subsequently means more commissions. Once any potential risks have been identified and assessed, a strategy should then be devised to mitigate the effect of the identified risks.
4
Mitigation might mean that you either accept, transfer, reduce, eliminate, or decline the risk.5 5
RIBA. (2014) Understanding risk management
Available At: http://www.architectspi.com/ Documents/RIBAIA%20Guide%20to%20 Understanding%20Risk%20Management.pdf
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Bibliography ARB code of Conduct Design and access statements. Available at: http://www.planningportal.gov.uk/planning/ applications/howtoapply/whattosubmit/ designaccess English heritage (2007) Available at: http:// www.imagesofengland.org.uk/Details/default. aspx?pid=2&id=469839 (Accessed: 27th Mar 2014) English Heritage (2014) Available At: http:// www.english-heritage.org.uk/professional/ advice/our-planning-role/greater-londonarchaeology-advisory-service/frequentlyasked-questions/ (Accessed: 27th Mar 2014) Guidance on Conservation Area Appraisals, English Heritage, (2005). Guidance of the Management of Conservation Areas, English Heritage, (2005). Lambeck, R. (2008) Urban construction project management : McGraw-Hill Professional. London Mynors, C. (2006) Listed Buildings, Conservation Areas & Monuments: Forth Edition. London, Sweet & Maxwell Ltd. 2006 RIBA. (2010) Architect’s Handbook of Practice Management: Eighth Edition. London: RIBA Publishing. RIBA. (2008) Guides to RIBA Agreements 2010. London RIBA Publishing. RIBA. (2013) RIBA Plan of Work 2013 Template. Available at: www.ribaplanofwork.com RIBA. (2014) Understanding risk management Available At: http://www. architectspi.com/Documents/RIBAIA%20 Guide%20to%20Understanding%20Risk%20 Management.pdf Speaight, A. (2010) Architect’s Legal Handbook: Ninth Edition. Architectural Press Ltd. Suddards, W. (1988) Listed Buildings: The Law & Practice of Historic Buildings, Ancient Monuments, & Conservation Areas: Forth Edition. Sweet & Maxwell Ltd.
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GA 2.1 GA 2.2 GA 2.3 GA 2.4 GA 2.5 GA 2.6 GA 2.7 GC 1.1 GC 1.2 GC 1.3 GC 2.1 GC 2.2 GC 2.3 GC 3.1 GC 3.2 GC 3.3 GC 4.1 GC 4.2 GC 4.3 GC 5.1 GC 5.2 GC 5.3 GC 6.1 GC 6.2 GC 6.3 GC 7.1 GC 7.2 GC 7.3 GC 8.1 GC 8.2 GC 8.3 GC 9.1 GC 9.2 GC 9.3 GC 10.1 GC 10.2 GC 10.3 GC 11.1 GC 11.2 GC 11.3
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rofessional practice was aimed at increasing my understanding of the architect’s role in the process of procurement and building production in relation to one of my design projects. I think I have represented this to the best of my ability, based on the emphasis placed by the University. Ultimately, it might have been better to be armed with this knowledge throughout the design process to ensure a more coherent study, but this is now something that I can take forward to the next stage of my career. Throughout the process I got to grips with certain cost control mechanisms, practice management techniques and client and subcontractor relations. Also, due to the nature of my project I was able to understand the logistics of certain planning issues such as listed building status and the issues of archaeological remains. Jonathan Beeby
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thesis primer
Primer | the density pavilion “Vitruvius suggested in his texts ‘On Architecture’ that architecture is an imitation of nature, but what happens when architecture becomes nature and we begin, through the design of biological systems, to become architects of nature?”
The Density Pavilion is an exploration as to how we can become architects of nature, using ideas similar to the abalone shell. Our approach is that of the Organicist. This is opposed to that of a Reductionist approach, commonly used by scientists which looks at single cells. Or, a holistic approach which looks at it as one unified whole. The organicist approach allows us to look at both the individual parts and the emergent system in order to manipulate it according to our own design parameters.
Material
The abalone shell The abalone shell is composed of just one material, Calcium Carbonate. The Abalone uses chemicals [amino acids] in order to produce the Calcium Carbonate shell into a variety of crystalline structures. The assembly of these different crystals changes as the layers of the shell are produced. The result is that both a rough outer surface and a ‘mother of pearl’ finish on the inside can both be created.
Bacteria - bacilla subtulus
Fabrication
Assembly
Displays similar biomineralisation properties as those exploited by the Abalone So we devised experiments to... Manipulate it’s physical and chemical environment through In vitro [in glass] studies. Manipulate it on a cellular level through In Silico [computer simulation] studies Apply this to a site in an architectural sense we have termed In Vivo [within the living]. Geometry
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In vitro | changing the chemical environment Latin for “in glass” In vitro studies in experimental biology are those that are conducted using components of an organism that have been isolated from their usual biological surroundings in order to permit a more detailed or more convenient analysis than can be done with whole organisms. Colloquially, these experiments are commonly called “test tube experiments”.
Organisms even as simple as bacteria perform thousands of calculations in order to best reproduce. This is far beyond what we can hope to simulate using modern technology. So we are using the bacteria itself as a computational model as a basis for parametric design. By changing its physical and chemical environment we hope to encourage its signalling behaviors much like an Abalone might in order to create a variety of patterns.
Patterning Is a form of adaptive density which occurs in bacterial systems. This density is caused by the locomotion of bacterial communities which are actively adapting to the changing conditions in their environment. Signalling What enable bacteria to communicate useful information between each other is called signalling. Signalling is basically the way bacteria talk. They normally release specific chemicals in the environment, which trigger a reaction in all the neighboring bacteria. Parametric Design In parametric design you define a set of rules and establish input values. The final user of the system then manipulates the input values within the established limits, which causes the rules to produce varying results. Under this model, the designer defines the rules to reflect perceived relationships between different actors within the design context.
Using Biology as a Parametric design tool Nutrients Level
Surface Hardness
Placement
Paptone concentration
Agar consistency
Inoculation point
The concentration of food resources in the environment. In lab experiments, this comes in the form of Peptone, which is dissolved into the environment.
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The environment in itself. Depending on the consistency, bacteria will find it less or much harder to move around. This in turn determines how much energy the colony spends in locomotion.
The spot where the bacteria is first places in the experiment, and form where it will sprawl during the experiment.
thesis primer
Changing the physical environment As a group we designed a series of different agar plates for the bacteria to grow in. By creating different environments we were able to manipulate the patterns that the bacteria produced. This was done by providing certain obstacles or creating opportunites to either slow or encourage the growth of the cultures. Each experiment was carefully documented in a booklet for simple evaluation allowing us to predict certain behaviours of the bacteria when trying to design with them.
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Sample protocol Design
Method
Description
01 Lay plate down on long side 02 Pour agar solution 03 Allow to set 04 Stand on shorter side (as pictured) 05 Pour agar solution 06 Allow to set 07 Sterilise 08 Inoculate in centre of base plate 09 Store in upright position
The plate is designed to be inoculated in an area with a relatively small amount of space to move. Using a small amount of nutrient & easy to move solution, the bacteria is encouraged to spread onto the vertical plane.
Nutrients (peptone) = Low
= Inoculation Plan
Surface Hardness (agar) = High
Section
First observation
Results
Second observation
Third observation
Due to the size of the plate and the chosen consistency of nutrient, once initial growth had happened the agar became too dry and made it impossible for the bacteria to spread far enbough for it to move onto the vertical surface.
Final observation
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Results
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In Silico | changing its cellular properties In Silico is an expression used to mean “performed on computer or via computer simulation.� The phrase was coined in 1989 as an analogy to the Latin phrases in vivo, in vitro, and in situ, which are commonly used in biology and refer to experiments done in living organisms, outside of living organisms, and where they are found in nature, respectively.
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By performing In Silico experiments we are able to simulate bacterial growth using a Diffusion Limited Aggregation System (DLA) which is one of the patterns displayed by our particular bacteria. This simulation allows us to change set parameters in a similar manner to the In Vivo experiments. However, instead of changing nutrient level, agar concentration and placement we are changing reaction distance, velocity and cell amount.
We were able to simulate bacterial growth using a Diffusion Limited Aggregation System (DLA) Parameters: Reaction Distance, Velocity, Cell amount.
thesis primer
Learning “processing�
Created in Processing
3DS MAX Model (DWG Export)
Rendered in Vray
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Beginning Parametric design
Parameters: Reaction Distance = 10 Velocity = 1 No. of Cells = 500
Parameters: Reaction Distance = 15 Velocity = 1 No. of Cells = 500
Parameters: Reaction Distance = 10 Velocity = 1 No. of Cells = 1500
Parameters: Reaction Distance = 15 Velocity = 1 No. of Cells = 1500
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thesis primer float ez = uz / sqrt(len); float f = ex * vx + ey * vy + ez * vz; // f = e . v S.x = A.x + f * ex; // S = A + f * e S.y = A.y + f * ey; S.z = A.z + f * ez;
/* OpenProcessing Tweak of *@*http://www. openprocessing.org/sketch/64663*@* -SquaredDistancePointToLineSegment */ import processing.dxf.*; PShape tri; // frame “shape” name float q = 10; //VALUE FOR “d<Q” ------------------------------int dToTri = 10; Cell[]myCells = new Cell[500];// array of cells Cell myCell; PVector cONEL[]; PVector c1; PVector c2; PVector c3; ArrayList<PVector> locationsOfStuckCells = new ArrayList<PVector>();// new location list of the stuck cells positions void setup() { colorMode(HSB, 360, 100, 100, 100); // colour mode smooth(); frameRate(60); background(0); size (400, 400, P3D); beginRaw(DXF, “triangle dtotri10 v1 q10 500cell 100by300cube.dxf”); // dxf file name int seedW = 150;// with of triangle int seedH = 150;//height of triangle (only necessary for this perticular shape) c1 = new PVector((width/2)-(seedW/2), (height/2) (seedH/2), 100); // defines the points of the shape c2 = new PVector((width/2)+(seedW/2), (height/2) (seedH/2), 100); c3 = new PVector((width/2), (height/2) + (seedH/2), 200); tri = createShape();// create triangle frame tri.beginShape(); tri.noFill(); strokeWeight(5); tri.stroke(155); tri.vertex(c1.x, c1.y, c1.z); // c1 point of the shape tri.vertex(c2.x, c2.y, c2.z); tri.vertex(c3.x, c3.y, c3.z); tri.endShape(CLOSE); for (int i = 0; i< myCells.length; i++) { myCells[i]= new Cell(); if ( i < 0 ) { //( i < 4 ){ would have three starting seeds myCells[i].isseed = true; } cONEL = new PVector[myCells.length];
} } //----------------------------------------------------------------------------------------/*http://www.openprocessing.org/sketch/64663 calculate the squared distance of a point P to a line segment A-B and return the nearest line point S G.F.R.S ADDED Z AXIS*/ float SquaredDistancePointToLineSegment(PVector A, PVector B, PVector P, PVector S) { float vx = P.x-A.x, vy = P.y-A.y, vz = P.z-A.z; // v = A->P TOP OF LINE TO POINT X and Y AND Z float ux = B.x-A.x, uy = B.y-A.y, uz = B.z-A.z; // u = A->B TOP OF LINE TO BOTTOM x AND Y AND Z float det = vx*ux + vy*uy + vz*uz; if (det <= 0) { // its outside the line segment near A S.set(A); return vx*vx + vy*vy +vz+vz; } float len = ux*ux + uy*uy + uz*uz; // len = u^2 if (det >= len) { // its outside the line segment near B S.set(B); return sq(B.x-P.x) + sq(B.y-P.y) + sq(B.z-P.z); } // its near line segment between A and B float ex = ux / sqrt(len); // e = u / |u^2| float ey = uy / sqrt(len);
return sq(ux*vy-uy*vx) / len; // (u X v)^2 / len - ALLOWS US TO USE THE SHORTEST DISTANCE VALUE } //----------------------------------------------------------------------------------------boolean shouldStop(Cell c, PVector newLoc) { // should the cell Stop? (cell value, and new location (on line)) PVector cellLoc = new PVector(c.location.x, c.location.y, c.location.z); // the location of the cell - the cells x,y and z coordinates float D = SquaredDistancePointToLineSegment(c1, c2, cellLoc, newLoc); //distance “D” is shortest distance between (vertex c1,c2 and cell location) if (D < dToTri) { println(“#”); locationsOfStuckCells.add(newLoc); return true; } D = SquaredDistancePointToLineSegment(c1, c3, cellLoc, newLoc); //vertex c1,c3 if (D < dToTri) { println(“##”); locationsOfStuckCells.add(newLoc); // if the cell is less than 10 then it sticks and its location is added to the list return true; } D = SquaredDistancePointToLineSegment(c3, c2, cellLoc, newLoc);//vertex c3,c2 if (D < dToTri) { println(“###”); locationsOfStuckCells.add(newLoc); return true; } }
return false; // else return false
void draw() { // background(0); shape(tri); println(frameCount); // export countdown for (int i=0; i< myCells.length; i++) {//declare for loop, myCells[i].update(); myCells[i].display(); } PVector newLoc = new PVector();// creates newLoc PVector for (int i = 0; i<myCells.length; i++) { if (myCells[i].isseed == false) { // ignore if cell[i] is true for (int j=0; j<myCells.length; j++) { if (myCells[j].isseed == true) { //assuming the cell [i] is not a seed, the loop then looks through the myCell array again for seeds. float d; d= PVector.dist(myCells[i].location, myCells[j]. location);//distance function between the non-seed[i] and seed[j] if (d<q) { println(“>>>>>”+d); myCells[i].isseed = true; // stick if less than d strokeWeight(1); stroke(255); cONEL[i] = new PVector((myCells[i].location. x+myCells[j].location.x)/2, (myCells[i].location.y+myCells[j].location.y)/2, (myCells[i].location.z+myCells[j].location.z)/2); // set value representing centre of line drawn between ‘seed’ and if (cONEL[j] != null) { line(myCells[i].location.x, myCells[i].location.y, myCells[i].location.z, cONEL[j].x, cONEL[j].y, cONEL[j].z); // draws a line from the center of the last line drawn to the alreadyconnecte4d cell } line(myCells[i].location.x, myCells[i].location.y, myCells[i].location.z, myCells[j].location.x, myCells[j].location.y, myCells[j].
location.z ); // draws a line from the center of the cell } } } if (myCells[i].canMove && shouldStop(myCells[i], newLoc)) { myCells[i].canMove = false; //stuck myCells[i].location = new PVector(newLoc.x, newLoc.y, newLoc.z); //new location myCells[i].isseed = true; // becomes a seed } } } } void keyPressed() { endRaw(); println(“endRaw”); } class Cell { boolean canMove; PVector location = new PVector(200, 200, 200); PVector velocity = new PVector(); float dia; boolean isseed; float cellHue, cellSat, cellBri, cellAlph; float lineweight; float v = 5; float v2 = 5; float v3 = 5; //different velocities for each axis, also i thought maybe it was JavaScripts random function that wasn’t working as i kept getting diagonal lines... Cell() { location = new PVector(random(100, 300), random(100, 300), random(100, 300)); dia = 5; isseed=false; cellHue = 360; cellSat = 1; cellBri = 100; cellAlph = 100; lineweight = 1; canMove = true; } void display() { if (isseed == true) { noStroke(); fill(360, 100, 100, 100); } if (isseed == false) { strokeWeight(lineweight); stroke(cellHue, cellSat, cellBri, cellAlph); } // ellipse(location.x, location.y, dia, dia); } boolean newPositionIsGood(float pos, float delta) { return (pos >= 300 || pos <= 100 || (pos + delta < 300 && pos + delta > 100)); } void update() { cellSat = cellSat +1; if (cellSat >= 100) { cellSat = 1; } stroke(255); fill(cellHue, cellSat, cellBri, 80); if (isseed == false && canMove == true) { velocity = new PVector(random(-v, v), random(-v2, v2), random(-v3, v3)); if (newPositionIsGood(location.x, velocity.x) && newPositionIsGood(location.y, velocity.y) && newPositionIsGood(location.z, velocity.z) ){ location.add(velocity); } } } }
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in vivo Latin for â&#x20AC;&#x153;within the livingâ&#x20AC;? In vivo is the experimentation using a whole, living organism as opposed to a partial or dead organism. Animal testing and clinical trials are two forms of in vivo research.
Daylight study
Surface type
People flow
We divided the site up into a grid and calculated the amount of daylight in each space.
The surface type affects how a medium would grow.
We also recorded the number of people moving in and around the space.
So a similar process defines a parameter for surface type...
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GA 2.1 GA 2.2 GA 2.3 GA 2.4 GA 2.5 GA 2.6 GA 2.7 GC 1.1 GC 1.2 GC 1.3 GC 2.1 GC 2.2 GC 2.3 GC 3.1 GC 3.2 GC 3.3 GC 4.1 GC 4.2 GC 4.3 GC 5.1 GC 5.2 GC 5.3 GC 6.1 GC 6.2 GC 6.3 GC 7.1 GC 7.2 GC 7.3 GC 8.1 GC 8.2 GC 8.3 GC 9.1 GC 9.2 GC 9.3 GC 10.1 GC 10.2 GC 10.3 GC 11.1 GC 11.2 GC 11.3
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he primer created the opportunity to approaching an architectural design situation from a completely different perspective and using different techniques that I havenâ&#x20AC;&#x2122;t previously used. The project allowed me to question the role of nature in Architecture and the Architectâ&#x20AC;&#x2122;s relationship to it. Ultimately, the bacteria was used as a method of diagramming an approach to design something that could have been taken forward into the Thesis project. Though I decided not to do this it encouraged an alternative approach to the Thesis. Jonathan Beeby
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Silt Screed Printing
Thesis | silt screed printing What started as an exploration into 3D printing turned into an in depth study into the machine itself, its printing potential and a huge urban scale setting in which it could experiment. I was able to question 3D printers role within architecture and explore its potential on a number of levels and ultimately declare how this would respond to people inhabiting the structures it produces and the machine itself.
To most, 3D printing technology promises a world of perfect, digitally produced designs at the click of a mouse - and current uses of the technology reflect this. A product designer might spend thousands on a machine that is perfectly tuned and encased in a temperature controlled, plastic box environment. In order to achieve that plug in, click print, perfect thing comes out scenario. But is this process possible at an architectural scale? The world is not a clean room; it doesn’t operate under controlled circumstances. It doesn’t sit in a factory inside a plastic box. And would we even want it to be? To some architects, 3D printing implies the possibility that their visions can be instantly realised on site. There will no longer be a ‘middle man’ [construction team] sat between the architect and a realised design. No ‘bricky’ to mess it up, no stonemason implying his or her own creative intent. But all new technologies bring a new set of problems. Someone needs to build the machine, operate it and keep it running when things go wrong. Someone might need to develop the design to make them appropriate for printing. Before you know it, there is a whole new bunch of ‘middle-men’. In reality, 3D printing is not a process for architects to have a wonderful vision and have it appear on site – and it may never be. So with that it mind you can either completely reject the idea of 3D printing or say it is an extension of our practice - a building practice that is messy, open to the elements and constrained by everything present all number of things present in the urban environment. 3D printing can’t change that; it is just a new machine. With this understanding, the process of exploration is taking this advanced technology, but acknowledging the fundamental necessity of failure within that, as a creative generator for the next stages of development, by following an approach more in line with an artisan than someone more scientific. By incorporating more flexibility / fluidity into the process it should be possible to create works that are more complex, better in sync with this new means of production and that lie on the boundary between the machine and the hand. Stone masonry can be used to inform the narrative, which is a highly skilled and experimental activity. The process and development of production of which, has resulted in the cathedrals that we find so romantic are actually the result of an exploration and an understanding of the material properties, the size of stone than can be worked on and the means in which we can move and shape it. What appears to be a beautiful expression of form is actually born through a highly developed knowledge of engineering and rigorous practicality. By adopting this artisanal approach, by testing the machines limits and by using and making materials in particular ways, I am developing skills much like you would any craft – knowing how to work with the tools and the constraints of production.
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3d printer | construction The first stage of the process was building my own 3D printer. This was produced from a kit of parts that I constructured in its entirety. This allowed me to understand each and every component, analyse its function and decide how applicable it might be for large scale, outdoor printing. In simplest terms the machine is something that squeezes out material and moves it along an X, Y and Z axis. I have illustrated here, the parts required to perform this.
X
y
z
e
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Infill types Once I had a fully working 3D printer I was then able to start printing. Instantly the most fascinating thing was the way in which it produces objects. Rather than building something solid it produces it layer by layer in which each layer is composed of a series of lines. It is possible to change the way that it places these lines of materials by selecting a different infill type. It is then possible to alter the density and frequency of these infills.
Rectilinear
Concentric
Honeycomb
Hilbertscurve
Archimedean chords
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Early tests Using the different infill type I then started testing different prints for a number of standard properties such as light transmittance / quality, flexibility, structural quality etc.
Light transmittance
Flexibility
Variability
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Printing Principles 1. 2. 3. 4. 5.
The print builds up in layers - giving the object a striated appearance. Each layer is placed according to an â&#x20AC;&#x153;infillâ&#x20AC;? which can vary in density and type. Perimeters of various widths can be added. It is possible to vary layer height and extrusion amount. It isnâ&#x20AC;&#x2122;t possible to print an overhang greater than 45 degrees.
Challenging the 45 degree rule let to a series of experiments in which a number of forms were selected that deliberately opposed the rule in different ways.
What I found is that once the printer reaches the upper platform it continues as normal. But without any support to hold the material, it falls and assumes its own form. Once enough material has fallen it soon provides enough support for the upper platform to continue as normal. This suggests that if there should be movement in the print surface that gaps will automatically be filled or that an unpredictable landscape between platforms if where the true interest lies.
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Design file
Print file
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Material Studies | plastic Extruder The plastic tests provided me with a greater understanding of the machines properties and functionality rather than a tectonic understanding of what is possible as what was produced might only happen with that plastic and at that scale. So I started to use different materials. Initially I attempted recycled plastics, using the waster plastic from the printers and then plastic bags, milk bottles and so on. This was in the hopes to start producing items out of waste material with the possibility of combining it with an aggregate for increased structural properties.
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Recycling plastics
Plastic composite
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Extruders | waste plastic In order to print with the waste plastics that have been converted into filament using my plastic extrueder, I need a print head capable of handling the innacuracies of the material. This extruder combines the drive and the hotend into one component to remove the length of pipe between in which a filament might get struck. The opening in which the material is fed has also been increased to allow for a range of sizes to be fed in.
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Paste extruder
This paste extruder allows any material that can be broken down into paste form to be printed with. Unfortunately on experimentation, cement and plaster set too quickly and clay appears somewhat unpredictable (pictured above) yet still very interesting.
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Testing ground | uk flooding •
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The length of the UK coastline is around 12,429km or 7723 miles, compared to the coastline of italy (7,600km), Spain (4,964km), France (3,247km) or the Netherlands (451km). Annual flood defence spending must be increased to minimum of £750M (currently c. £500M) just to maintain design-specification levels of protection Around 10 million people, in 5.5 million properties, are in flood risk areas in England and Wales, with 2.6m of those properties at direct risk of flooding from rivers or the sea.
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In England the cost of claims from flooding in June and July 2007 exceeded £3.5bn. In Hull, after 100mm of rain fell in 24 hours in the Summer of 2007, 600 streets, nearly 9000 homes and 91 of the city’s 99 school were flooded. 1300 businesses were affected.
Silt Screed Printing
Flood defences | Problem & Solution The problem
Existing flood defences, apart from the cost is that when they are built, they are often placed at the waters edge, when the tide is in. When the sea level rises water is unable to move further up the coast, shrinking the intertidal zone.
The solution
Rather than creating one solid defence, print a series of permeable defences that encourage natural sedimentation and cause the sea bed to rise with the water level. This will maintain the same intertidal zone and therefore the habitat and wildlife within it.
This has a devastating affect on the wildlife that live within that zone, removing their habitat.
Standard defence
Standard defence - water level rise
Proposed solution
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Silt printing | variable density There is currently 30,000 tonnes of silt dredged in the UK every year. It is moved to maintain shipping channels but as there is no use for the material it is simply placed near to where it was excavated, only for the process to be repeated again. The material is naturally fine enough to provide the perfect material for printing. This combined with cement that can be sourced from further up the estuary can be used to produce the sructures. By controlling the ratio of silt to cement, it is possible to alter the properties of the material produced. By printing it, you are able to control exactly what type of material is placed where and therefore create structure that might degrade quicker than others. Anish Kapoorâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Between Shit & Architectureâ&#x20AC;? provides the perfect aesthetic example of how the material might look once it has been printed. This is particularly because it has been printed from a height which allows the material to assume its own form rather than needlessly sculpting it into position.
Anish Kapoor | between shit & architecture
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Silt printing | Icing sugar Using the Paste Extruder I experimented with a number of different materials to find the best scale representation os Silt and Cement using my desktop printer. I eventually found the icing sugar provided the best example as it displays similar properties, but at a much smaller scale.
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Silt printing | Icing sugar Arches By using a combination of wet and dry icing sugar I have managed to 3D print an cavelike, arch structure using the loose sugar as a support material for the wet. When printing with silt, loose material would be naturally washed out from the cavity over time allowing the cave structure to naturally form.
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Silt printing | Plaster model
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Increased sedimentation raises the sea bed ensuring a sufficient intertidal habitat is maintained rather than depleted as a result of the defences. By printing material loosely it provides cracks and crevices for birds and crustaceans to dwell.
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Marram grass
Groyne structure
Detached breakwater
Orientation: Either Infill: Hilbertscurve Habitation: Low-tide wildlife Sedimentation: Throughout
Orientation: To sea Infill: Rectilinear Habitation: Mid-tide wildlife Sedimentation: Adjacent
Orientation: Along Coast Infill: Split Rectilinear Habitation: High-tide wildlife Sedimentation: Behind
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Silt Screed Printing
Pier structure
Sea wall
Cave structure
Orientation: To sea Infill: Rectilinear Habitation: Human Sedimentation: Outside
Orientation: Along Coast Infill: Honeycomb Habitation: Human Sedimentation: None
Orientation: Either Infill: Closed Rectilinear Habitation: Human / Avian Sedimentation: Outside
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Machine | leg mechanism
Strandbeest Strandbeest creator Theo Jansen reinvented the wheel when he created his mechanism to allow his beests to walk over the loose uneven terrain of a beach. Taking his mechanism as a precedent and reinterpreting it allows my machine to move as much on a level plane as possible whilst printing.
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Machine | Development
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Machine | printer re-imagined
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Silt printing | over time
The strategy has been devised based on the typological study, the manoeuvrability of the machines and how it would expand over time. The development starts closest to the industrial region allowing it to spread onto the landscape as and when it is required. Appropriate spacing is maintained for effective sedimentation of the surrounding landscape. The structures are built up slowly over time, as and when they are needed. They rise with the water level and move along the coast, being inhabited by different species through ther development. This provides not only a defensive series of structures but a base for expansion and development over time.
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masterplan
Once the first flood defence is built a level platform provides vehicular access to refill the machines as they continue to print the coastline. Each machine has three compartments to store material (silt, cement & water). The materials are then specially mixed in the machine and deposited in varying ratios depending on the properties desired.
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the big image
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he Thesis project created the opportunity for me to thoroughly explore a subject that I was interested in. Encouraged by the Primer, I was able to take a particular process that might be considered outside the normal realms of architecture and explore it through different mediums and using different techniques. This process allowed me to create a unique design scenario and demonstrate my ability to make, and adapt very technical objects. Giving more time on the project I would have developed the technical aspects further rather than giving it a full stop on the Urban scale site of the project. The nature of the project meant that I was actually able to gain and present a wide understanding of 3D printing and demonstrate an alternative use for it within the world of architecture. Using this, I was able to show how people would interact with the machine and its creations but ultimately the breadth of research and development throughout the project made it difficult to then centre one particular aspect. Jonathan Beeby
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Ucafe
Linked research | ucafe Tetra Paks are difficult to recycle due to the mix of materials used to produce them. The UK alone produces over 8 million tons of cardboard for packaging every year, which amounts to about 140 large cardboard boxes for everyone in the country, per year. Cardboard is usually the largest single constituent of municipal solid waste worldwide. Each UK family uses an average of 500 glass bottles and jars annually. We have access to a machine that crushes glass into blunt pieces for efficient recycling. This allows more to be transported in one go. Britons drinks 165 million cups of tea daily or 60.2 billion per year. Most tea bags are thrown out rather than using their upcycling potential. The tea can be used as a fertiliser and tea bag material can be used as a fabric.
Westerners produce about 2kg of trash per person everyday 1kg of that is packaging Our project uses a modular structure composed of only two different cuts of cardboard that can be constructed in an innumerable variety of ways. The triangular cardboard lattice provides a sturdy structural framework in addition to shelving and storage space.
TEAM: Jonathan Beeby Katie Begley Caroline Brayson Katie Burgess Olga Gogoleva Zixi Lu
The Tetra Pak infill provides waterproofing for external applications and decorative shading for when used internally. Empty bottles can be crushed in the cafe as an interactive process and used to add weight to the structure and give a remarkable aesthetic to the furniture.
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Development
The beginning of the project saw all of us divided into three teams and competing for the design that might be realised. Using upcycled materials to produce a cafe was the ultimate goal in order to provide a pop up space to discuss the ideas of upcycling within the university.
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Ucafe
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Models | tetra-pak layering
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Ucafe
Models | 1:5 furniture
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Potential sites 01 Kings gate 02 Into building 03 Haymarket bus station 04 Eldon Square 05 Central Station 06 The Sage 01
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Ucafe
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Construction
Module connection
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Ucafe
Roof to Wall joint
Tetra pak & Glass infill
Plastic bag curtain
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Construction
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Completed structure
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GA 2.1 GA 2.2 GA 2.3 GA 2.4 GA 2.5 GA 2.6 GA 2.7 GC 1.1 GC 1.2 GC 1.3 GC 2.1 GC 2.2 GC 2.3 GC 3.1 GC 3.2 GC 3.3 GC 4.1 GC 4.2 GC 4.3 GC 5.1 GC 5.2 GC 5.3 GC 6.1 GC 6.2 GC 6.3 GC 7.1 GC 7.2 GC 7.3 GC 8.1 GC 8.2 GC 8.3 GC 9.1 GC 9.2 GC 9.3 GC 10.1 GC 10.2 GC 10.3 GC 11.1 GC 11.2 GC 11.3
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Cafe was the first opportunity that we had to do a full live build. Though it was an indoor project made of waste products it required a lot of team work, organisation and coordination with professionals from other disciplines. Throughout the project we had a Masters of Structural Engineering student assisting us with the design and build and we coordinated regularly with U-Tec (Upcycling to engage communities) who are a cross-disciplinary collective of researchers based in Newcastle University who fulfilled the role of client and helped orchestrate the build. Altogether this provided very useful experience in terms of seeing a project through to the end, allowed us to fully develop a design that could be built and have experience of building the design ourselves. Jonathan Beeby
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An Erasmus Intensive Program (IP) organised by The Newcastle university informs arguments for the difference in design approach between Art and Architecture disciplines.
Drawing the line between disciplines This essay reflects on experience gained through the Creating a Context [Erasmus] Intensive Program (IP) organised by Newcastle University.1 It argues that the distinction between art and architecture disciplines is a result of different interpretations of concept and the attitude towards compromise and collaboration during the design process. The experience engaged with a design scenario that required a combination of architecture, sculpture and landscaping as part of the IP, paying particular attention to the approach taken by students of each discipline rather than the material output of the program. In July 2013, myself and five other Newcastle University Masters of Architecture students participated in the Creating a Context IP. The two-week program took place in Duisberg, Germany and brought together postgraduate Fine Art and Architecture students from Newcastle University, Akademie der Bildenden Künste München, Politecnico Milano, Gerrit Rietveld Academie Amsterdam, Technische Universität München, Glasgow School of Arts, Université Catholique de Louvain Bruxelles and the Kunstakademie Münster.
The project presented the opportunity of developing a proposal for a permanently sited piece of public artwork as part of the Emscherkunst Triennale 2013. Sixty students working collaboratively in nine cross-disciplinary and transnational groups were asked to respond creatively to a designated site; a small strip of land running through the middle of the biggest steel manufacturing plant in Europe. The area forms part of a new cycle path that cuts through the industrial landscape. Two academics, again, cross disciplinary and transnational, were appointed to each student group to support them in the organisation and execution of their project. The students were asked to reflect upon the unique context and to design a place for human interaction/ contemplation. Its intention was to be a specially designed site-specific structure situated somewhere along the green belt area that incorporates steel as the main material.
The projects client was Thyssenkrupp, whose plant surrounded the site and city. The budget was 30,000 Euros and the submissions were assessed via an exhibition and formal presentation to a selection committee consisting of Thyssenkrup representatives, organisers of the Emscherkunst Triennalle and a selection of tutors who selected three out of the nine proposals to be fully realised.2
Over the two-week period each team had to work together to select an area(s) within the site, develop ideas and produce a proposal that included and A1 poster, a 1:10 maquette and a PowerPoint presentation. Presentations
1 Site surroundings
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included documentation of the developmental process (drawings, photographs, videos, maquette), Photoshop mock-ups of the final design on site, a list of materials, scale drawings and a cost plan.
2 Cycle Path
drawing the line between disciplines
3 Group ideas board
Collaborative Process Participating in the same group as myself was a structural engineer from Newcastle University, an architect engineer from Université Catholique de Louvain, a sculptor from Newcastle University, a performance artist from the Kunstakademie Münster and an installation artist from Akademie der Bildenden Künste München. The group dynamic was more diverse than others. The structural engineer was the only one on the IP who was neither an art or architecture student. Though he had experience of working with architectural students in the past, his interests were primarily aimed towards progress and results, rather than the creative process itself. On the other side of the spectrum we had a performance artist from Germany, whose previous work was often extremely creative and abstract. This made for a diverse, yet complicated design team. Our group followed a similar process to most others. The first week was spent discussing our inspirations, past experiences and what each person thought might be the ideal solution to the given design scenario. Initially, all was well received and we appeared to bond well as a group. However, a division soon occurred when it came to selecting one or two ideas to take forward. Four individuals were in favour of one idea, while the others, both German Art students, weren’t convinced by it as they felt that it didn’t portray the correct overriding concept or message. The performance artist stated that the idea was good, that if it were built, they would go and see it, they would tell their friends to go and
see it and that it was exactly what they [the client] wanted. However, what the client wanted was not their primary concern, in fact they seemed to be pushing for the opposite, to antagonise or oppose the clients directive, even if that wasn’t stated directly. The artists’ instinct to realise only their desires was somewhat disconcerting, particularly within a competition scenario in which the client was the judge. This signified a clear distinction between the two disciplines as during an architects education, particularly during the undergraduate program, every project is geared towards a specific brief and client, even if often fictional. Though they are encouraged to challenge the brief and apply their own rationale, the client’s desires or meeting the outline of the brief is still their primary concern. This is understandable because upon completing the degree, an architecture student will typically find themselves on the bottom rung in a practice, instantly having a client and brief to satisfy, not to mention the design directives of the project architect(s) or anyone who might be above them. Once an art student finishes university they become self-employed and don’t tend to work to a specific brief or client. A typical process might be for them to join/ form an artist collective and curate their own exhibitions. The work produced is of their own volition and is not dictated by a clients needs. That doesn’t mean that at certain points in an artist’s career they might not accept a commission as a result of financial pressure, but it is not what drives their artistic training and therefore informs why they might believe the clients desires are unimportant under usual circumstances.
4 Concept idea - Vacuum packed wedding dresses on site
The group spent a number of days suggesting one idea after another. Unable to agree on one, the architectural/engineering students and myself started to become uncomfortable with the lack of progress being made. Having not yet selected an idea to take forward meant that there would be little time to develop the concept into a working proposal and produce material for the presentation. The angst about meeting the deadline was not shared by some of the art students. The performance artist stated that she did not care about submitting anything, insisting she would rather submit nothing than something she didn’t believe in. This attitude wasn’t shared by all of the art students; the Fine Art student from Newcastle also expressed concerns with the amount of progress being made. However, her only concern was about having enough time to present it whereas the architecture students were equally concerned about allowing time to develop the concept or idea into a full proposal as well as have time to present it. Through this process the greatest distinction between disciplines was that the idea of developing a concept seemed unnatural to all of the art students, each seemed to believe that the idea or concept was the whole piece that we would then go on to present. The emphasis that they placed on the concept seemed to be the cause of the issues the art students had regarding the client and deadline, as they believed that adhering to the clients brief would not allow them to generate the strong concept they desired and without that they didn’t want to submit anything.
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Compromise & Concept To the art students in the group, the idea of concept appeared to be the entire design. That once that was found, there was nothing else that needed be done as the idea would speak for itself. To them, making compromises to satisfy others, or to develop the artwork, could only compromise the pieces message. This seems to differ greatly to an architect, or architecture student’s perception of concept. The concept serves as a starting point, an idea to build upon. It is the driving force behind the project and can inform many of the decisions made a long the way. Professor of architecture, Matthew Frederick, reiterates the importance of the idea or concept in an architectural design process in the quote below. Good design solutions are not merely physically interesting but are driven by underlying ideas. An idea is specific mental structure by which we organise, understand, and give meaning to external experiences and information. Without underlying ideas informing their buildings, architects are merely space planners. Space planning with decoration applied to “dress it up” is not architecture; architecture resides in the DNA of a building, in an embedded sensibility that infuses its whole.3
5 Concept Idea - Grand Stand obstructing site
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Through the process of development, an architecture student is encouraged to give justification to every design decision made along the way. This process allows the people critiquing the project and fellow students to understand the proposal, as well as the reasoning behind it. It encourages feedback as to how the student might develop successful ideas further, suggests strategies to edit projects and other issues to be considered.5 It is through this collaborative / informative process that we are able to develop and intensify a concept design. Architect Judith Lösing, lecturer at London Metropolitain University defines the role of concept in an architectural design process as follows: [An architectural concept] ‘should be something that overrides all scales. An architectural concept would need to be so clear that it runs through all scales and once that’s communicated and understood, any problem on site, at any scale, should be able to be solved.4 The process of justifying the reasoning behind each idea was an unfamiliar process to the art students. Not only where they not used to it, they seemed to think that it was an unnecessary and possibly detrimental exercise. In a collaborative process this was a problem because when an idea was put forward, they could not, or would not explain the rationale behind it, making it difficult for the rest of the team to get on board.
Artist Nathan Coley, who produced the sculpture “A Place Beyond Belief” recently exhibited at Durhams Lumiere Festival, strongly believes that the Artist is the last person that should be asked as to what their piece of work means. When speaking at the conference “art means business”, he revealed very little about the intended message of his artwork claiming that any meaning he might infer would block any interpretation we as the viewers might have and that actually by exhibiting it he is trying to discover its meaning.5 On this basis it is perceivable that it could have been difficult for the artists to divulge any reasoning into their intended proposal. A situation that would be understandable were the other members of the group simply a recipient of the piece rather than a participant in its realisation. This highlights an important consideration regarding the idea of collaboration and compromise and its place within the design process. An artists work is often done individually. Taking the group as a sample, only one other group member than myself, (the structural engineer) had ever worked collaboratively before. This meant that most of the people involved were working in a way that was very unfamiliar to them. Under normal circumstances an artist doesn’t have to collaborate. Compromise and concept development may in fact be an unnecessary exercise for them as artists are granted more freedom of expression in their work. How something functions, stands up and is connected together, is not as important to the artist unless it is important to their concept.
6 Nathan Coley - A Place Beyond Belief
drawing the line between disciplines The IP serves an example as to how far an artist might develop a proposal as the entire project was organised by an artist. The two week period only allowed each design to reach competition standard, and though an indication of budget and structural composition was a requirement, the detailing remained incomplete. The winning proposals have now been passed on to the client for them to detail and construct. For the architecture students whose pieces were selected it seems like this is limiting the projects potential without their input into further developing the submission and as a result the concept or message the piece delivers could be tarnished. The reality is that compromise is a necessary part of an architects design process as with nearly everything designed there is a social responsibility tied into it. There are regulations or legislation that one must adhere to in order
to see the project through to fruition. As a result, compromises are an inevitability, and it is for good reason. It doesn’t mean that a concept is weakened through compromise, in fact often the complete opposite. There are countless examples of projects where the buildings concept is evident from beginning to end and is often amplified as a result of a developmental process in which the constraints and compromises have shaped it. One example is ‘Zentrum Paul Klee’ by Italian architect Renzo Piano. The Paul Klee Centre is a multifunctional space: not only housing a permanent collection of Klee’s artworks, it also has temporary exhibition space, a concert hall, and an education centre. The building follows the curves of the surrounding landscape so as to become part of it. A challenge for a building of this scale, but the concept is visible right from the start and has driven its development right through to
construction, as illustrated below. An architectural concept can be expressed in a number of ways but is often done through a parti diagram. A parti diagram can describe any number of qualities that an architect is trying to instill into a design, be it experiential, aesthetic, structural or an expression of spatial hierarchy to name a few. Some will argue that an ideal parti is wholly inclusive - that it informs every aspect of a building from its overall configuration and structural system to the shape of the doorknobs. Others believe that a perfect parti is neither attainable nor desirable.6 So, to an architect, the concept is an idea that runs through the project and is the basis on which a number of decisions are made. It is shaped through constraints and compromises that are made along the process of development.
6 Nathan Coley - A Place Beyond Belief
6 Nathan Coley - A Place Beyond Belief
6 Nathan Coley - A Place Beyond Belief
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Notes
5 Concept Idea - Grand Stand obstructing site
Of course not the case for all architects, it is in line with the methods described by my own experiences during the IP and of architectural education as a whole. By participating in the linked research module we’ve had the opportunity to engage with live projects, to manage constraints in funding, time, skills and access to materials and tools and tackling each constraint and compromise as it happens. This follows the idea of ‘learningby-building’.7 which is an ever growing schema within architectural education that might not follow the approach of Traditional architectural education. For centuries, the image of the architect as form-maker has dominated the profession. There are numerous cases of structural strategies being post-rationalised in support of the buildings form and aesthetics. This emphasises the hierarchical nature of a design process as a ‘form first’ approach that drives structural and material strategies. A key example is the architecture of Frank Gehry, whose work is parallel to a ‘form first’ approach and influenced by the work ethic of leading structural engineers such as Arup and Buro Happold.8 I would argue that this approach to design is more in line with that of the artists I worked with during the Creating a Context IP. One where an idea, a form or possibly a concept is the design process in its entirety, and the structural, material and production is a post-rationalised and detached element of the design development.
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Altogether the experience gained through the Creating a Context IP was invaluable, though at times it was an uncomfortable working dynamic it provided an insight into a world of designing that was unfamiliar to me. Though I would argue that compromise is absolutely at the heart of creativity, I don’t think that one method of design development is necessarily beneficial over the other, as different approaches are appropriate for different people, disciplines and design scenarios. What is important is how to deal with these multi-disciplinary collaborative situations, through an understanding of what distinguishes one from another. Which is epitomized by Eveline Vondeling, a member of one of the winning teams, who discussed their successful working method in a booklet published as part of their project submission: A collaboration is not about giving up your individual statements, because the values and ideas of all collaborators are not the same. As we embarked on our exploration between one another, we had to set limits for each other. To work with these limits, which were set by people who are strange and unknown, we sensed a kind of humility and a decentering of ones self. [...] which means there needn’t be a hierarchy, not even within our selves [...] where the concept of ‘being humble’ became an important factor after days of filtering ideas, responding and getting to know each others working processes and letting some strings go.9
1. Creating a Context is an Erasmus Intensive Program organised by the Fine Art department at Newcastle University. Hosted by the Emscher Genossenschaft, this second Creating a Context Intensive Programme in Duisburg 2013 presented an authentic situation, as it is part of the International Public Art Triennale, EmscherKunst 2013. The curators of the EmscherKunst 2013 invited Newcastle University to lead the IP as a major contribution to their programme. 2. Weileder, W. (2013) Available at: http:// creatingacontext.co.uk/02/ (Accessed 15 January 2013) 3. Frederick, M. (2007) 101 Things I learned in Architecture School. Cambridge MA: MIT press, p.14. 4. Anderson, J. (2010) Basics Architecture 03: Architectural Design. Worthing: AVA Publishing, p.47. 5. Coley, N. (2013) Art Means Business Royal Gala Theatre, Durham, 15th November 6. Frederick, M. (2007) 101 Things I learned in Architecture School. Cambridge MA: MIT press, p.15. 7. Skotte, H. (2013) Available at: http://www. architectural-review.com/essays/skill/learning-bybuilding/8653891.article (Accessed 21 January 2013) 8. Oxman, N. (2010) ‘Structuring materiality: Design fabrication of hetergenous materials’, Architectural Design, 80 (7), pp.78-85. 9. Vondeling, E. (2013) Nom Fricto. Gerrit Rietveld Academie Amsterdam
Illustrations 1. 2. 3. 4.
Site surroundings - Authors image Cycle Path - Authors image Group ideas board - Authors image Concept idea - vacuum packed wedding dresses on site - Image courtesy of Susanne Griem 5. Concept idea - grand stand obstructing site Image - courtesy of Susanne Griem 6. Nathan Coley: A place beyond belief. Available at: http://www.lumiere-festival.com/durham/ programme/a-place-beyond-belief/ 7. Renzo Piano: Zentrum Paul Klee, Switzerland Parti Diagram. Available at: http://www.rpbw.com/ project/53/zentrum-paul-klee/ 8. Renzo Piano: Zentrum Paul Klee, Switzerland - Back. Available at: http://www.rpbw.com/ project/53/zentrum-paul-klee/ 9. Renzo Piano: Zentrum Paul Klee, Switzerland - Front. Available at: http://www.rpbw.com/ project/53/zentrum-paul-klee/ 10. Frank Gehry: Guggenheim Museum, Bilbao. Available at: http://www.darcyflynn.com/g-is-forfrank-gehry/
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his piece of research was based on first hand experience gained through the Creating a Context project, a two week Erasmus Intensive Program (IP) based in Duisberg, Germany. Throughout the project we were in mixed groups with nine other univerisities both Architects and Artists. Working first hand with students of a different discipline proved to be particularly difficult at times, but provided a great insight into different approaches to design which became the subject for my research. The essay itself was primarly based on first hand research, which I have little experience of how to appropriately balance the piece of writing. I think could have been improved further through more external input to avoid over generalising certain aspects, but with such a brief piece of writing this wasnâ&#x20AC;&#x2122;t possible. Ultimately, I was satisfied with the quality of the work and it will serve as a good basis for further written works. Jonathan Beeby
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Linked research | stargazing pavilion The Stonehaugh stargazing Pavillion was completed as part our linked research module involving the same group of students as the cardboard cafe. The project was a complete live build with the design and construction done by ourselves and some assistance from the local villagers.
We have been working with Kielder Art & Architcture and the Stonehaugh village community to design and build a new pavilion for star gazers and nature watchers. Inintiated under Kielder Art & Architecture’s Testing Ground programme, we have been working with the community since autumn 2012, first presenting our recycling project ‘Ucafe’, and subsequently developing designs for a star gazer’s pavilion that will become the focus for Stonehaugh’s forthcoming Dark Sky Discovery Site. We initiated a development process with the community enabling them to identified the best location for the structure, and using that information, we developed a number of concept proposals for that site. Our proposals were presented to the community who were tasked with deciding which of these ideas they would like to take forward. Community involvement was strong and ideas and opinions were forthcoming, resulting in the current design being chosen and subsequently receiving planning permission.
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Competition entries
Mobius Pavillion
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Chaise Lounge
Stonehaugh Circle
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Submission
Sedum roof Roof board
Primary structure - beams
Structure - Noggings brace posts and beams
Primary structure - posts
Floor joists with Timber decking sitting on top
Structural stone wall to put the shelter on
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Crushed gravel
Stargazing pavillion
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CONSULTATION
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Detail design
Working Floor Plan of Pavillion
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Design development & Exhbition
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Site test layout
Floor Test Build
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Roof test build
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Stargazing pavillion
Frame test build
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Construction | ground works
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Stargazing pavillion
Framework
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Frame erection
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Stargazing pavillion
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Decking & stonewall
Roof
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Completed structure
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Stargazing pavillion
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tonehaugh Stargazing Pavilion was an entirely student done design and build. Initially working as individual groups, we submitted competition entries which were presented to the Stonehaugh residents for selection. The design was then worked up to incorporate their comments and submitted for planning permission. Following planning approval we detailed the project through an intense week of building individual elements and combining them together into a BIM model which the final build was based on. Sourcing the materials, costing the project, organising deliveries and scheduling works was done entirely by us and the build was done by ourselves and assisted by the villagers. Throughout the process, certain problems were encountered and dealt with. For example planning permission was initially rejected due to a villager complaint. This put the project back and forced us to replan to build of the project. Other issues came from poor weather conditions and limited construction knowledge. All of which was soon resolved and worked through, making it a very steep learning curve and an invaluable experience. Jonathan Beeby
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Entire contents created, edited and published by Jonathan Mark Beeby Masters of Architecture: September 2012 - June 2014 School of Architecture, Planning & Landscape - University of Newcastle upon Tyne
Cover Art: Chad Wright - â&#x20AC;&#x2DC;Masterplanâ&#x20AC;&#x2122;