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Juan Felipe Lopez Arbelaez Written Works / Stage 3
Juan Felipe Lopez Arbelaez B4016558 Academic Portfolio BA (Hons) Architecture 2016/2017 Newcastle University
ARC 3014 Professional Practice + Management
B4016558 Word Count (excluding footnotes, annotations and bibliography): 2750
1. Project Overview – Pg. 9
2. Developing the project up to Stage 4 of RIBA Plan of Work – Pg. 11 2.1 Key Consultants – Pg. 11 2.2 Contractor Involvement – Pg. 13 2.3 Budget Management – Pg.13 2.4 Planning Considerations – Pg. 14 2.5 Construction (Design and Management) Regulation Compliance – Pg. 16 2.6 Office Resources and Procedures – Pg.17
3. Discussion – Pg. 18 3.1 The client, other users and wider society – Pg. 18 3.2 The reputation of architects and the wider construction industry – Pg.19
Bibliography – Pg.20
Images – Pg. 21
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The proposal, MacAlpine Plaza, comprises of a mixed occupancy building which involves repurposing a dilapidated existing structure; while incorporating a much larger volume delicately placed within the original site footprint. There are two main clients that will occupy the complex: one is a Community Interest Company comprised of emerging designers and artists while the second is a much more commercial and corporate entity; a global investment firm. The site’s location in Glasgow is on the fringe of the city centre, adjacent to the River Clyde and the M8 motorway allows for ideal transport links and potential client footfall which favour both entities equally. Presently, both the site and surrounding area is prime for redevelopment as various other sites have their own proposals going through the planning process under the local planning authority, Glasgow City Council. As such there exists great potential and opportunity in the area for a bold intervention in the urban fabric as this neighbourhood is the last to be gentrified along the waterfront. As the site is greyfield land, it is already flat and has no significant geographical features or impediments.
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The proposal is visually, occupationally and structurally divided into various sections: The lower, existing part will cater to the Community Interest Company. Here, extensive preservation, restoration and renovation of the existing industrial warehouse will be carried out. Following this, dedicated studio, gallery and workshop spaces for each of the company members, as well as public use spaces such as an event space, eatery and public open space in the form of a shopping promenade and plaza will be retrofitted into the space via reinforced in-site cast concrete structures. The upper part will house the global investment firm. Here the 50,000m 3 will be split into a 20,000m3 fixed space while the remaining will be variable volume spaces that will be sublet to tenants which they can configure to their needs through the insertion of prefabricated panels. This approach was favoured as the firm does not intend to fully occupy the total space immediately so this allowed for the structure to be constructed and used as efficiently and intensively as possible to reduce ‘wasted’ space, materials, labour and energy costs. As these spaces ‘hover’ above the renovated building below, the fixed volume portion will be constructed using a steel frame while the variable volume spaces will use an exposed steel frame in a Vierendeel configuration. Lastly, two reinforced concrete precast concrete cores will house the circulation, fire exits and main building services for the scheme. They also serve as structural anchoring points for the structure but also helping to aesthetically link the spaces for the two clients. The main aim of the project is to highlight the innate potential value (both economic and ideological) and beauty in all pre-existing structures on a site. It will be endeavoured to retain as much of the existing elements of the site, while reimagining their use and simultaneously involving new, unexpected elements and participants that will socially, culturally and economically reinvigorate the local community.
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Appropriately selecting which areas of the project will benefit the most from a supplementary consultant can aid in the more effective and efficient delivery of the project from as early as Stage 1 all the way to completion at Stage 71.
Structural Engineer The structural engineer forms part of the core project roles in which they will be expected to be involved throughout Stages 2 to 62. During this time, they will be tasked with carrying out the structural engineering design3 which forms a crucial aspect of this project. This is because the design involves a daring approach to its structure by having various cantilevers and having minimal connection points between the structure and ground level. Furthermore, as mentioned prior, there are three main structural systems that all need to be functioning harmoniously to ensure the structural integrity of the building for the safety of its users. The structural engineer is to establish a high level of communication between themselves and the architectural practice, especially in Stages 1 to 34 where they will be appointed as sub-consultants to the practice5.
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RIBA Plan of Work: Overview (2013) Pg.39 Assembling a Collaborative Project Team Pg.10 3 Assembling a Collaborative Project Team Pg.56 4 Assembling a Collaborative Project Team Pg.64 5 Assembling a Collaborative Project Team Pg.65 2
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Fire Engineer As a huge proportion of the compound features exposed steel structures both for future adaptability and the aesthetic approach of the proposal they will aid the structural engineer throughout Stages 2 to 6. Traditionally an additional project role, in this instance the Fire Engineer will form an invaluable addition to the team due to their knowledge of the fire performance and requirements of materials. Their main role is to provide fire engineered solutions and advice in relation to fire aspects of the Building Regulations6. This is also another vital task as there the two cores need to meet fire exit distances and dimensions to be in line with the intended visual style.
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Assembling a Collaborative Project Team Pg.57
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The relationship between the contractor and the design team is highly important to the development of the project and the decision of when to include them marks a pivotal point. However, before this can be established, the client must first choose, alongside the project lead, whether a more traditional or contractor-led project team is favoured for procurement7. On this occasion the contractor will be fully involved at the start of Stage 3: Developed Design; but will be appointed at the end of Stage 2. Thus, resulting in a two-stage design and build/management contracting. Here, the contractor would take on pre-construction tasks towards the end of Stage 28. This enables them to provide their insight and advice to alter the design before it is finalised by involving and leading specialist contractors and subcontractors9 such as a dedicated structural engineer to handle and inform the design of the structure which consequently has a significant impact on the overall appearance of the project. This approach to contractor involvement in turn complements the scale and complex nature of the project. The relationship dynamic within the project will therefore change by adopting the two-stage design and build/management contracting. Throughout Stages 0 to 2 the main point of contact for the client will be the architect to enable the creation of a design which accurately responds to their needs in an innovative manner; from Stage 3 onwards, the main point of call for the client will shift to the contractor who will liaise between them and the architect to deliver the project in a feasible and viable manner thereby hopefully achieving a successful balance between a traditional and contractor-led procurement method.
The first and perhaps most important action that will be taken to ensure that the project remains within budget is to employ someone to have an overarching influence, management and measurement of the cost of the project from the very start – a cost consultant. They carry out various operations; the most useful to this project being guiding the client towards a realistic budget which allows for their requirements10. The reason behind having a dedicated member like this is due to the Community Interest Company client being monetarily limited; it is imperative that the scheme is delivered as economically as possible without sacrificing usability or key architectural design merits. In addition to this, various other actions can be implemented between Stages 0-4 which have been detailed below:
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Assembling a Collaborative Project Team Pg.51 Assembling a Collaborative Project Team Pg.53 9 Assembling a Collaborative Project Team Pg.54 10 Handbook of Practice Management Ninth Edition Pg.17 8
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Stages 0 and 1 During these stages the Cost Consultant will be brought in to do the tasks as stated above11. Due to the large amount of restoration work involved, outside sources of funding such as Glasgow City Council or English Heritage can be approached to aid with specification costs of specific materials12. Stages 2-4 Review cost information and adjust/compensate for any new design or specification changes before allowing the Cost Consultant to begin creating a Cost Plan alongside an Elemental Cost Plan13; the latter of which, will be using information from the Building Cost Information Service (BCIS)14. These will be reviewed once more before being implemented. Always maintain communication with the clients at agreed intervals and at the end of every following stage15. Certain design actions have also been included: having a simple plan shape; an exposed steel frame and exposed precast concrete structure allow for accurate calculation of amount and cost required. This reduces material waste or the need for supplementary elements added to structures; but also, expedites its erection meaning reduced labour and material costs.
The local planning authority, Glasgow City Council provides information which clearly shows that the site is not found within a conservation area16, nor are the structures found within the site listed 17 (Map 1). This would drastically reduce any immediate opposition for the project proposal in the early stages while also allowing for the bolder visual route taken to gain planning permission. The site location forms part of the Glasgow Development Policy Principles (Map 2) which denotes the surrounding area as being a “principle office area”18, thus showing how the design’s use would seamlessly fit into the forthcoming urban fabric. As stated previously, the site is in a community prime for redevelopment as this is substantiated by the various similar large scale complexes having gained planning consent as part of the Clyde Waterfront development19. This also justifies the scale of
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RIBA Job Book Ninth Edition Pg.30 RIBA Job Book Ninth Edition Pg.85 RIBA Job Book Ninth Edition Pg.165 14 Professional Practice and Management Lectures 5 and 6 15 RIBA Job Book Ninth Edition Pg.139 16 Glasgow Central Conservation Area Appraisal 17 Glasgow City Council Website 18 Glasgow City Council Website 19 Clyde Waterfront Website 12 13
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this project as in due time it will not dwarf surrounding plots to become an unsightly addition to the Glasgow skyline. The proposal intends to become part of the Glasgow City Centre Strategy: 2014-2019. It aims to ensure that Glasgow remains as one of the top city centres in the UK and Europe20; and this project will aid in that by providing a unique intersection between the cultural and corporate worlds.
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Glasgow City Council Website
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To comply with the Construction (Design and Management) (CDM), myself, as a designer would be primarily tasked to “eliminate, reduce or control foreseeable health and safety risks through the design process, such as those that may arise during construction work or in maintaining and using the building once it is built�21. These health and safety considerations should be addressed from the very start; as failure to do so can result in time delays and costly changes to rectify this22. Beyond this, CDM requires by the appointment of the designer: A realistic programme. Early appointment of key people with defined duties. Competent duty holders. Health and Safety information at the beginning, during and end of project. Promoting cooperation, communication and coordination between duty holders. As a designer, preparing and modifying designs is a fundamental duty 23 to comply to CDM regulations; the project presented here must aim, as far as reasonably 21 22 23
Managing Health and Safety in Construction Pg.26 Managing Health and Safety in Construction Pg.27 Managing Health and Safety in Construction Pg.28
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practicable to eliminate, reduce or control foreseeable risks relating to building height through design24. Due to the elevated nature of the new construction of the project, maximum heights during construction can reach an excess of 60m which could result in a fatal accident should a worker fall from this height. Therefore, to reduce the occurrence of this; workers will be required to wear a safety harness and protective gear while being supervised by someone on ground where both will have been properly trained and informed (as will have everyone else involved in the project) in how to react should the situation go awry.
Having demonstrated that the project itself can reach Stage 5 of the RIBA Plan of Work; it is just as important to demonstrate that the architectural practice can deliver the proposal in the first place. This can be done by explaining two aspects of the firm. The first being the office resources required to fully execute the project: The firm will keep a log of the skills and experiences of current staff 25; this will allow the practice to monitor how adequate current staff are to tackle ongoing projects. However, recruiting the best possible staff is only one aspect, the firm will also persist in keeping employees motivated and loyal by offering training and personal development as well as financial rewards and benefits on top of the continuous flow of interesting work26. The establishment of clear financial management system by having a project-based system to guarantee resource needs and other project expenditure will ensure that the firm has the financial means to take on and deliver the project27. The premises for the office will provide adequate spaces to carry out the work for the project by having at least 85% of the total available area being useable. There will be adaptable spaces that can accommodate a range of activities by moving panels around28. The second being the processes and procedures to ensure the efficient delivery of this project: The firm will carry an annual audit to ensure that the (online) library provides up to date and useful material in an organised manner that can be accessed by all staff members to efficiently ensure the project meets regulations and other constraints. The office manual should also be included here29. 24
Managing Health and Safety in Construction Pg.29 Handbook of Practice Management Ninth Edition Pg.143 26 Handbook of Practice Management Ninth Edition Pg.149 27 Handbook of Practice Management Ninth Edition Pg.155 28 Handbook of Practice Management Ninth Edition Pg.178 29 Handbook of Practice Management Ninth Edition Pg.232 25
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By standardising drawing conventions for the firm, staff can produce clearer and more legible drawings that allow for the quicker transfer of ideas and reduced the risk of confusion both within and outside the firm, which can delay a project and have costly consequences.
Because of the clients’ involvement with this project, they will have the unique opportunity to be part of and spearhead a new use and construction model that will undoubtedly provide them with much public attention that can consequently have a positive impact on their businesses. The local community, which will comprise of its additional users, will also benefit from the project as they will be able to not necessarily experience a unique set of amenities; but they will be able to experience them in a unique environment sympathetic to its situation. This occurs because whereas other proposed projects in adjacent sites seemingly follow the recent norm of ‘junkspace’ to eradicate all notions of past, place30, identity and uniqueness31 in their designs; contrastingly, here the additional structures are informed and greatly respect the existing spaces. They serve not as a nostalgic reminder of the past but as a newly invigorated re-imagination of them which will help to retain the industrial character of the local neighbourhood.
Finally, wider society will benefit as the project will strive to become exemplary case study of how to respond to the socioeconomic and cultural nuances of an area by correctly identifying that presently the lack of activity in the neighbourhood has resulted in stifling development and progress in a location this close to the city centre and with great transport links. To eradicate this, the construction will be phased so that different clients can start occupying certain areas while construction on the rest of the project continues to inject life and activate development. Furthermore, as the project houses two seemingly opposing groups, it will help to change public perception of corporate entities as here the clients’ individual successes will depend on their mutual inhabitation and use of the site as through forced interactions, they will develop a successful coexistence between both.
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Junkspace Pg. 184 Junkspace Pg.176
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Too often architects are misinterpreted as being too pre-concerned with attaining public notoriety by becoming ‘starchitects’ that they often sacrifice the intention and integrity of a project and both its design and functionality. In this situation, however, the architect is presented as a potential pioneer to provide society with radical alternatives, achievable through rational means, that question the norm and accepted truths while having everyone’s best interests in mind. The construction industry will also have the opportunity to present itself in a different manner to the wider community the associated aspects of construction: noise, disruption, wasted materials, time delays and cost miscalculations have all been mitigated as much as possible. As mentioned, the phased construction will mean that noise and other forms of disruption will only be present over short and infrequent periods. As a large proportion of the structure can be manufactured offsite in-between construction phases; precision in terms of its manufacturing and cost is better calculated so that the various phases can be delivered on time and on budget to demonstrate the successful marriage between the construction and design industry having taken special consideration towards the public.
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Title
Author(s) / Website URL
Assembling a Dale Sinclair Collaborative Project Team Clyde www.clydewaterfront.com Waterfront Website Glasgow Glasgow City Council Central: Conservation Area Appraisal Glasgow City www.glasgow.gov.uk Council Website Handbook of Nigel Ostime Practice Management: Ninth Edition Junkspace Rem Koolhaas Professional John Kamara via Practice and Blakcboard Management Lectures 5 and 6 Managing Health and Safety Health and Executive Safety in Construction RIBA Job Nigel Ostime Book: Ninth Edition RIBA Plan of RIBA Work: Overview (2013)
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Year of Publication / Date Accessed 2013
Place of Publication
Publisher
London, UK
RIBA Publishing
22/03/2017
N/A
N/A
2012
Glasgow, UK
Glasgow City Council
22/03/2017
N/A
N/A
2013
London, UK
RIBA Publishing
2002 22/03/2017
MA, USA N/A
MIT Press N/A
2015
London, UK
2013
London, UK
Health and Safety Executive RIBA Publishing
2013
London, UK
RIBA Publishing
All images are author’s own except where noted: Pg. 11 – Assembling a Collaborative Project Team Pg.64 Pg. 15 and Pg. 16 – Glasgow City Council Website
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ARC 3015 Theory Into Practice
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The Dilemma in Preserving Architecture The Very Hungry Caterpillar
Introduction Preservation is Overwhelming Us
Chapter One The Validity of Architectural Preservation
Chapter Two The Necessity in Expanding the Current Approach
Chapter Three The Test Chamber: McAlpine Plaza
Conclusion Architectural Conservation Through Distillation
Endnotes
Bibliography / List of Illustrations
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Introduction Preservation is Overwhelming Us
When a space begins to fall into dilapidation we, as architects, are encouraged to implement both architectural and non-architectural techniques to preserve this space by enabling it to be reinstated as a more effective model. This has been a core focus of my studio, ‘The Very Hungry Caterpillar’. Here, we are encouraged to salvage an underdeveloped site being currently used as a metal reclamation warehouse in central Glasgow in a neighbourhood primed for redevelopment. Presently, tearing something down could be interpreted as “barbaric” where “the old is seen as more culturally relevant than the new”1. This can be summarised as an approach to preservation through restoration and renovation. The issue with this method comes when we begin to look towards the future. Are we getting increasingly closer to an age where the socioeconomic, cultural and physical necessities of an area are being ignored in favour of creating an idealistic relic rendition to the point where useful, innovative and environmentally conscious strategies are being omitted and can no longer be appropriately retrofitted beyond a certain age? Should we continue to preserve all buildings with the same mentality of the current time or should we become selective of which built aspects are kept or by even extending beyond the physical realm – considering elements of the current space such as what the building represents for a community or what the possible use within it could become?
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Chapter One
The Validity of Architectural Preservation
Preservation has provided not only architecture, but society at large, with a vast array of important benefits which have encouraged great developments in both areas. From an architectural perspective, preservation ensures that great works do not fall beyond the point of repair and fade away from general consciousness2. Concerning society, the preservation of architectural works has provided improvements in the environmental3, economic4, atmospheric5 and cultural6 situations.
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Rem Koolhass, who’s writings on preservation have greatly informed the work.
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Frank Gehry, who’s ideologies regarding architecture helped the author discover the issue in preservation.
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Architectural preservation will never cease to exist as a highly important practice in the profession. This is because it has always played a vital role as it is often considered to be “an origin of architecture”7. If one is to accept this, then it inherently suggests that as an approach, it has been present in the profession from the very start. If architecture is to be of a “time and place” then so should its practices. Moreover, for architecture to achieve “timelessness”8 then it, along with its practices, should be open to adaptation as a way of improvement to meet the necessities of the built environment at the time. This sets up the issue regarding preservation; despite its method not remaining the same since its conception9 to remain contemporary; we are increasingly approaching a time where once again it will require not necessarily a revolution but perhaps a new consideration.
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Chapter Two
The Necessity in Expanding the Current Approach
The work undertaken in the studio does not attempt to devalue the importance of a strategy which works towards the retention of preexisting built spaces; instead, it strives to highlight a significant flaw in the present approach.
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If one is to look at the buildings which often undergo extensive and intensive preservation works such as the Battersea Power Station and Neues Museum10, a pattern quickly begins to appear. Here the works often hold a level of historical importance or cultural prominence that almost immediately substantiates their preservation. The attempt to keep as much of the original building fabric in both examples has resulted in astronomical project costs, ÂŁ150m11 and ÂŁ210m12 respectively. This results in two undesirable situations. The first being that it establishes an unspoken precedent that to preserve architecture one must devote a substantial amount of capital and time to prolong the existence of a space; and secondly, that once these developments have been finalised, the costs of acquiring space within them is so high that only an elite group of individuals or entities can afford to reap the benefits of occupying such a place.
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Top - Neues Museum / David Chipperfield Bottom - Battersea Power Station / Frank Gehry, Norman Foster + Others
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This approach, therefore, has marginalised new kinds of emerging clients and buildings and has resulted in a detrimental impact on a more localised socioeconomic, cultural, physical and historical framework. Complementary examples of this are smaller scale postindustrial buildings and grass-root start-up clients. Surely, it would seem illogical to suggest that this combination of space and end-user have either the same requirements or the same capacities as the ones for the two buildings mentioned prior. It is at this point that a new approach to preserving architecture should be established that seeks to expand the dialogue to actively include seemingly disposable spaces and a wider array of clients in architectural preservation through alternative means to still provide its local community with the same benefits as seen in larger scale projects.
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Chapter Three The Test Chamber: McAlpine Plaza
Soviet preservationist Evgenii Mikhailovskii was one of the first to predict the change in approach to preservation when he “argued that the work of preservation did not involve changing architecture, but changing the way that architecture was perceived�13.
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McAlpine Plaza - Rendered Elevation
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My proposal, McAlpine Plaza, becomes the testing ground for the alternative approach to preservation. Initially, the existing elements of the site were refined to the point where ‘historical’ elements are not necessarily being discarded, but instead, only the distinguishing aspects of the site remain. In this case, the retention of the exposed yellowcoloured steel frame was deemed not only a unique aspect but also one which possessed much aesthetic merit. They had been obscured by the current state of the surrounding building, however, by removing the unnecessary, the essence of the space was revealed, exemplified by the frames – a post-industrial atmosphere with a tectonic and structural honesty to its finish. In this way, the site was distilled to the point where it changed the way in which the architecture of the space was perceived – going from one where the structure was exclusively functional; to one where the structure became both functional and decorative.
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McAlpine Plaza - Axonometric showing the site as it currently stands.
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McAlpine Plaza - Axonometric showing the site with the desing proposal. Note the exposed frames in the ground floor.
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The revelation of the site’s essence meant that due to the original building’s distillation, an inherent adaptability could be retrofitted determined by the structural considerations of the added spaces contained within it. After all, “an approach with a static future vision, in other words, leads to disillusion and failure because it is often not able to adapt to its changing context”14. What this means is that through structural adaptability becoming elemental to the building’s design, McAlpine Plaza can respond to changing socioeconomic, cultural and physical landscapes; effectively preserving it since its construction by encouraging “restless reinvention”15.
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McAlpine Plaza - Render showing the exposed structure in the upper floors that will enable the insertion of prefab modules to continuously adapt the floorspace within the building.
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The Hive-Inn / OVA Studio The use of exposed structure to both adorn the form of the building but also to allow for constant adaptability of inhabitation through the insertion of modules.
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Furthermore, the added spaces employ a tactic of historical referencing under which its spatial organisation is heavily influenced by aspects of the site to help ground the design proposal to its locality so that native qualities transcend throughout the design to conserve a presence of its past and therefore helps to preserve the architecture as the history becomes integral to design.
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The arrangement of the spaces was heavily influenced by the footprint of the existing structures. It was originally intended that the volumes would completely be contained within this footprint so that when viewed from above it would hide the current buildings. However, due to structural and environmental requirements; the arrangement now enables the select views down to the original site. Irrespective of these changes, the strong correlation between the original site boundary and the added spaces helps to ground the design proposal to the site.
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These considerations mitigate the rift, “a gaping breach between ambition and reality”16, so common in new developments17 as the project encourages construction to be drawn out, only intended to be added as and when needed. This ‘phased’ construction approach will enable the site to be increasingly occupied as opposed to waiting for the full volume to be ready so that it allows the immediate neighbourhood to be activated in a socioeconomic and cultural sense and encourages further development to strengthen the bond between architecture and its users and location to ensure its protection by the local community by establishing a symbiotic relationship between the two.
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Quinta Monroy / Santiago Aravena The encouragement of a drawn out construction process to reduce building costs and to expedite the inhabitation of spaces to activate development more efficiently.
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The unifying aspect linking these strategies it to provide a space which caters to currently underrepresented bodies in current architectural discourse but which nevertheless play a vital role in the development of the profession; without completely dismissing the current approach to preservation but suggesting an achievable and reasonable improvement.
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Conclusion
Architectural Conservation Through Distillation
As alluded to previously, the current complication in preserving architecture is that it can be adopted to a level where it alienates the user. When this happens, its overarching function changes from one promoting human interaction, to one of human observation. Humanistic interaction is a vital aspect of architecture as it is through this that a building is actively inhabited rather than passively when it’s merely observed. Unless the building has a designated level of historical importance, eventually the space will once again be rendered obsolete. It would therefore fail to meet a key principle behind architecture; a consciously designed space is meant to stand the test of time. This will demand its improvement, however at this point, it will be provided not by preservation but instead by reconstruction.
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What this essay and McAlpine Plaza provides is a manifesto for the salvaging of ‘assumed’ spaces. Spaces which aren’t immediately deemed important or beautiful but which nevertheless possess a potential to serve as kick-starters in the redevelopment of a community and neighbourhood through the careful targeting of its users and/or clients; but crucially, through a visionary approach to its design and construction. What my project tries to evoke is the demonstration of the suggested progression to architecture’s approach to preservation while the essay serves as the guideline to this process.
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The dilemma can therefore be solved by shifting from preserving architecture to conserving architecture. Currently we stand at a point where preservation is attained overwhelmingly through restoration and renovation; when in fact we should strive to achieve conservation through distillation. The distillation of a space’s heritage ensures its pre-conservation by safeguarding it for the future. This is because of the nuance in the difference between ‘preserving’ and ‘conserving’. Preservation suggests an inflexibility to maintain a determined condition. Conversely, conservation implies the possibility of constant reinvention by injecting the building with an inherent sense of adaptability; while simultaneously retaining the space’s essence which has already been distilled to be interpreted in an adaptable manner by the architect – therein lies the attraction of this new approach. By placing a greater emphasis on reinvention and distillation, architects are then able to ‘preserve’ (read conserve) architecture in a malleable manner which provides spaces that can respond more sensitively to a locality’s current and future socioeconomic, cultural and physical requirements. By doing so it prevents the architecture from becoming fixated on the past but one that manages to embrace the developments in the profession without losing its heritage through the re-calibration of how architectural preservation-conservation is achieved.
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Endnotes
Endnotes 1. Preservation is Overtaking Us (2014) 2. The Telegraph - Before and After: Historic Buildings Restored and Transformed (2017) 3. New Tricks with Old Bricks: How Reusing Old Buildings Can Cut Carbon Emissions, Pg.4 + Pg.7 (2008) 4. Preservation – Buffalo Niagara (2017) 5. Huffington Post - Six Practical Reasons to Save Old Buildings (2014) 6. LinkedIn - Why Preserve and Restore? Importance of Saving Historical Monuments (2014) 7. Preservation is Overtaking Us (2014) 8. Home, Pg.43 (1993) 9. Preservation is Overtaking Us (2014) 10. David Chipperfield Architects - Neues Museum (2009) 11. Construction News - Battersea Power Station Regeneration to go to Planning (2009) 12. Construction Manager Magazine - Neues Museum, Berlin (2017) 13. Preservation is Overtaking Us (2014) 14. ZUS - Schieblock (2009) 15. IBM - Design Thinking (2017) 16. Zus - Schieblock (2009) 17. BBC - Office Vacancy Warning over Marischal Square Development (2017) -63-
Bibliography List of Illustrations
Title Author(s)/Website URL Year of Publication/Date Last Accessed Place of Publication Publisher 1. BBC - Office Vacancy Warning over Marischal Square Development -bbc.co.uk -6/02/2017 -Aberdeen, UK -BBC Newspaper 2. Construction Manager Magazine - Neues Museum, Berlin -http://www.constructionmanagermagazine.com/client_ media/pdfcontent/Neues_Museum.pdf -26/04/2017 -N/A -Construction Manager Magazine 3. Construction News - Battersea Power Station Regeneration to go to Planning -Nick Whitten / www.constructionnews.co.uk -2009 -UK -Construction News 4. David Chipperfield Architects - Neues Museum -David Chipperfield -2009 -N/A -David Chipperfield Architects 5. Home -Kim Johnson Gross, Jeff Stone, Julie V. Iovine -1993 - University of Michigan, USA - A.A. Knopf -65-
6. Huffington Post - Six Practical Reasons to Save Old Buildings - Jack Neely (Julia Rocchi and Steven Piccione) - 13/06/2014 - N/A -Huffington Post 7. IBM - Design Thinking - IBM - 26/04/2017 - N/A - IBM 8. LinkedIn - Why Preserve and Restore? Importance of Saving Historical Monuments - Raffaele Archivolti - 11/11/2014 - N/A - LinkedIn 9. New Tricks with Old Bricks: How Reusing Old Buildings Can Cut Carbon Emissions - The Empty Homes Agency - 2008 - London, UK - The Empty Homes Agency Ltd. 10. Preservation – Buffalo Niagara - Todd Mitches - 2017 - Buffalo, USA - Preservation - Buffalo Niagara 11. Preservation is Overtaking Us - Rem Koolhaas and Jorge Otero-Pailos - 2014 - New York City, USA - GSAPP BOOKS
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12. The Telegraph - Before and After: Historic Buildings Restored and Transformed - www.telegraph.co.uk - 26/04/2017 - N/A - The Telegraph Newspaper 13. ZUS - Schieblock - ZUS - 2009 - Rotterdam - ZUS List of Illustrations: All images author’s own except where noted. Pg. 32: Portrait of Rem Koolhaas - alchetron.com/Rem-Koolhaas-686534-W Pg. 33: Portrait of Frank Gehry - speakerpedia.com/speakers/frank-gehry Pg. 39 (top): Neues Museum -yourholidayhomes.com/things-to-do/museums/neuesmuseum_291.html Pg. 39 (bottom): Battersea Power Station - www.huhmagazine.co.uk/3865/battersea-power-station-sold Pg. 50: Hive-Inn -www.designboom.com/architecture/ova-studio-travelingcontainer-hotel-rooms-hive-inn-04-14-2014/ Pg.55: Quinta Monroy -www.dezeen.com/2016/01/13/key-projects-by-2016-pritzkerprize-laureate-alejandro-aravena-elemental/ -67-
Studio The Very Hungry Caterpillar
B4016558