Wilson J. Master of Architecture Portfolio by Joseph Wilson

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CONTENTS

01 - 05 INTRODUCTION THEORY & WRITING

06 - 21 LINKED RESEARCH: INTERNATIONAL BRUTALISMS

22 - 45 [AN]OTHER ARCHITECTURE: REMATERIALISING ROTTERDAM

46 - 53 TOOLS FOR THINKING: OH WOW, YOUâ&#x20AC;&#x2122;RE AN ARCHITECT?!

54 - 77

78 - 145 POTTERIES THINKBELT #2

146 - 155 PROFESSIONAL PRACTICE: PROCESS & MANAGEMENT

COLLABORATIVE RESEARCH

THE URBAN HACKER ARCHITECTURAL DESIGN

ARCHITECTURAL DESIGN

THEORY & WRITING

CONSTRUCTION REPORT

CONTENTS

INTRODUCTION SITUATING MYSELF WITHIN THE BROADER LANDSCAPE OF THEORY AND PRACTICE

To position my architectural development and experiences from the Master of Architecture within the broader landscape of theory and practice, it is important to understand where my interests and skills first developed. My professional résumé portrays a wealth of first hand experiences in various project scales and stages thanks to my two-year work placement at Napper Architects. Napper are a relatively small but multi award winning practice in Newcastle upon Tyne. It was here where I was exposed to a broad range of architectural projects, working closely with project architects, clients, and other industrial professionals. Notable projects that I was involved with include Barnard Castle Quad Emergency Service Station (pictured below), a prototypal facility that can act as a litmus test for the Emergency services, due to being the first of its kind in the UK. I also worked on the sensitive restoration and redevelopment of

Newcastle City Pool and Turkish Baths (pictured above); and Seaham North Dock – RIBA North East Building of the Year 2014/15. I shared responsibilities within small project teams and through my professional duties I was given a platform to develop my skills in structural detailing and working with existing buildings. Gaining such experience in a diverse architectural practice is relatively uncommon at Part 1 level and I feel extremely grateful to have had such an experience. The placement massively influenced my own interests and broadened my architectural thinking and critical approach to design, which I applied to my projects during my Masters degree. The Masters course at Newcastle University provided a different platform to that of practice, it gave me the chance to creatively explore architectural design through theoretical, research based thinking – a stark contrast to the parameters of real life architecture. I was excited

INTRODUCTION

to apply my knowledge and understanding of real life construction to projects that derived from my own conceptual thinking and critique my own capabilities as an architectural designer. I was highly intrigued with the attitudes towards architects and their own attitudes and actively sought to approach my projects in a nontraditional manor. This portfolio showcases a range of literary and design projects that I have completed over the course of the past two years and reveals the thematic strands that constitute what type of architect I aspire to be. [Orientation through the portfolio can be achieved through different speeds and depths. The coloured, anchor ribbon allows quick navigation through the projects and colour intensities offer insights into the preceding and succeeding projects that thematically overlap.] The projects have been situated within rich historical and sociological contexts, and have briefs that actively seek experientialism. In doing so, I have been able to ascertain to what extent architects impact society. The academic portfolio also served as a reflective exercise that offered the opportunity to look back on the past two years and for me to take pride in my growth as a designer and as a person. The diverse representational techniques and use of mixed media highlights the skills, styles and proficiencies I have honed. The first project exhibited within my portfolio is the International Brutalisms linked research module, titled The Architectural Journal of US Brutalism. The explorative nature of this module enabled an open approach to architectural theory and research; and its resultant representation. The wider aim concentrates on current discussions regarding the cultural significance of Brutalist architecture. This is because discussions regarding the qualities and status of Brutalist buildings continue today on a global scale. Long before the term Brutalism entered my vocabulary, I had a strong affiliation. I grew up in Gateshead and Newcastle, a town and city which respectively have a strong Brutalist presence. Owen Luderâ&#x20AC;&#x2122;s imposing multi-story carpark in Gateshead was a place where my

INTRODUCTION

family would often park when commuting into the town and city centers and is a piece of history that has left me with ambivalent nostalgia. I believe that it was these early encounters that naturally stoked my interest in the movement and led to my desire in questioning what it is about Brutalist architecture that makes it so iconic and loathed in equal measure. It can therefore be assumed that this longstanding fascination with the architectural movement is what led me to choosing a module that called for the careful documentation, cataloguing and analysis of buildings that are reaching the end of their life cycle. My dissertation led with the question â&#x20AC;&#x153;what characteristics constitute to defining Brutalist architecture in the United States of America, and do they focus on architectural aesthetics, as opposed to having an ethical stance promoted by British Brutalism?â&#x20AC;? This question was posed because North America did not suffer the same physical devastation as that of the UK and other European countries during the Second World War. I conducted extensive field research by travelling across the USA and Canada, across July and August 2016 and spoke first hand with North American architects, academics, and the public to analyse their understanding of the movement in an effort to build on and add to the British debate. Prior to choosing the linked research module, the design studio offered a project that resonated similar themes about architectural preservation, again in this case centered on brutalist architecture, [the host]. This project was called [An]other Architecture. This project offered the exploration of detailed design that included a thorough precedential analysis of an architectural ghost [an architecture that has lost its original purpose or no longer exists], and a technological body [an architectural system that can influence and maybe even lead the design process]. The host [which was a brutalist flourmill], was exclusively made of concrete, and given that the programmatic brief had community living at mind, for me, the thermal continuity of the structure played an important part of the design process. Starting with this material aspect allowed me to question the ethic v aesthetic question posed by architectural critic Reyner Banham in his book

The new brutalism: ethic or aesthetic?. To retain the structures authenticity, I chose to wrap the building in an unauthentic ‘skin’ that preserved the nature of the existing concrete and added to the community’s urban grain. My analysis of concrete’s materialistic properties, in line with examinations of contemporary aesthetic takes on the material, such as Glass Reinforced Concrete, meant that I could investigate (as in my linked research module) the methodology and principles of brutalist architects, in addition to being able to simply appreciate concrete’s tactile and structural composite nature. In addition to informing the project’s structural makeup and detailing, brutalism also helped aid the representation of the project. I rendered my visuals to tie in with the pop art aesthetic with which brutalism has close creational ties.

The work that I conducted at Napper was led with the community in mind and it was this ethos that I wanted to carry into my work during the Masters. The first project of Stage 5, The Urban Hacker, encouraged alternative approaches to design with more experimental research and analysis. This was a master planning project that required sensitive analysis and critiquing of Rotterdam’s existing urban fabric and questioned to what extent the urban fabric can be manipulated to increase the city’s social success. I developed a keen interest with experiential mapping [pictured directly below] and questioned how can architects respond to social needs in a more positive manner. My primary focus for the proposed intervention was to bring people together, believing that it is ‘the people’ that make a city work.

As for the detail nature of this project, I thoroughly enjoyed investigating alternative detailing methods and carefully articulating how the design would be constructed, which would overall impact the projects design and construction. [An example detail from the project is pictured below, depicting the unauthentic concrete column - which responded to Banham’s binary question of ethic v aesthetic.]

The vision from the outset for this project was to foresee future growth for southern Rotterdam, by planning a new public development within a dense urban area along an existing transport route that previously divided five boroughs and communities – and create a new civic backbone for the region. I believed that public spaces hold more value than building and that they play a pivotal role when planning for a better area and way of life.

Another theme that stemmed from my architectural practice experience is inclusivity and social cohesion.

If a space is unsuccessful then people will stay away – and the area will fall into a gradual decline. The

INTRODUCTION

key to designing a public space is that everyone wants two things: comfort and greenery. These two items will naturally attract people, who in turn will attract more people. The themes present in these previous literary and design projects, coupled with my interests that were developed during my time in professional practice played an influential role in my Stage 6 thesis project that stemmed from the studio called Potteries Thinkbelt #2. My thesis project explored the pressures of the local government, that are evident in Stoke on Trent, and the resultant opportunities for Third Sector Organisations. I developed a new type of facility, that moves away from the monumental scale often associated with civic structures, by introducing an architecture that is accessible, more comfortable, less intimidating, and more inclusive towards the community. The project was situated within a rich urban fabric. The chosen site was immediately bordered by the town’s Civic Centre, Stoke Minster, old market hall and Spode Pottery works. With respect to its immediate context the project intentionally utilised an existing terraced structure to retain a discrete domestic-scale; building upon the existing history and memories of the site and adding to the existing urban fabric and identity of the town. My interest in conservation stemmed from childhood visits to Durham and York and having flourished architecturally during a Stage 2 restoration project, based in Jesmond Dene’s Banqueting Hall. As part of my material research for my thesis project, I was inspired by Herzog and de Meuron’s Kuppersmuhle. The way the practice have boldly, yet tastefully approached the restoration of the existing structure by using a sense of material honesty, is beautifully done. Whilst my thesis project’s programme was at the forefront of my project, I was keen to demonstrate my structural and material detail understanding. I have also been inspired by Caruso St John’s materialistic approach to brick-based architecture and I resultantly aspired for a design that that utilised the existing structure.

INTRODUCTION

Within the thesis project, the use of the existing structure meant that I could implement clear design rules that would later influence my materiality and inform the projects contemporary design choices and construction methods. Such contemporary approaches to traditional construction methods are especially apparent in the interventions new roof construction. My thesis project explored how material honesty can clarify new and old interventions and how the juxtaposition of such materials can accentuate their detailed finesse. I believe that my architectural approach has been shaped due to the opportunities that arose during my Part One placement. It was during this placement where I was given the opportunity to explore my interests in detailing and actively contributing to projects which had the community in mind. The size of the office meant that the small design teams greatly exposed me to the design process, which was rewarding when working on the Newcastle City Pool project, which in turn aided my own thoughts and approaches to my thesis project where I set out to successfully situate a modern architectural intervention within rich, existing urban fabric that benefited the community.

ENERGY STRATEGY. 1:50 SCALE

nEW BRICKWORK GABLE BEYOND TO EXPRESS THE DIFFERENCE IN OLD AND NEW. ALL NEW BRICKWORK HAS A DIFFERING BOND TO THE EXISTING.

nEW GLAZED ROOF SYSTEM TO BE SUPPORTED BY A NEW FLITCH BEAM, COMPOSITE TRUSS SYSTEM THAT WILL SIT ON THE EXISTING STRUCTURE.

THERMAL CONTINUITY REQUIREMENTS OF THE WINTER GARDEN DO NOT HAVE TO comply WITH THAT OF THE REST OF THE BUILDING.

BRICK INFILL (OFFSET AGAINST THE EXISTING BRICK COUSE) WHERE OLD FENESTRATION IS NO LONGER REQUIRED FOR THE NEW INTERVENTION.

nEW GLAZING FITTED NEW FUNCTION WITHIN AND A BRICK INFIL AGAINST THE EXISTING WHERE OLD FENESTR LONGER SUIT

INTRODUCTION

LINKED RESEARCH INTERNATIONAL BRUTALISMS

THE ARCHITECTURAL JOURNAL OF U.S. BRUTALISM

LINKED RESEARCH

RESEARCH OVERVIEW ABSTRACT

My dissertation led with the question “what characteristics constitute to defining Brutalist architecture in the United States of America, and do they focus on architectural aesthetics, as opposed to having an ethical stance promoted by British Brutalism?” This question was posed because North America did not suffer the same physical devastation as that of the UK and other European countries during the Second World War. I found that US ‘Brutalist’ architects’ ideologies did not carry the social missions as British Brutalist architects. From my conversations with U.S. architects, I discovered that it was the heavy, monumental, and sculptural aesthetic qualities of Le Corbusier’s work that captured U.S. architects’ imaginations. Le Corbusier presented concrete as a building material that offered sculptural plasticity. This freedom offered US architects an escape from the rectilinear style of sharp modernism, instead providing endless variability in form allowing inhabitants to engage with the architecture more intimately. I sought to confirm whether U.S. Brutalism is exclusively associated with concrete, and identified that the expressive use of concrete in the USA often resulted in three recurring features: - Monumentality - Sculpturalism - Experientialism I explored Brutalism’s reception in the USA, with regards to the architecture itself and the terminology. I found that US architects believed that the word ‘Brutalism’ held negative connotations and that they referred to their work as ‘concrete modernism’ or ‘expressionism’. I concluded that the term Brutalism within American architecture is a superimposition by journalists for assemblage of aesthetically similar buildings that were constructed in concrete during the late modernist period.

LINKED RESEARCH

CHAPTER ONE OVERVIEW RISE AND FALL

This chapter builds upon the literary introduction by outlining the prolific rise of Brutalism in the USA. It describes how the essence of Brutalism and material honesty took hold in Britain, however it importantly denotes that architects in the United States were instead being influenced by the aesthetics of Le Corbusier and his bold sculptural architecture. Le Corbusier’s ‘béton brut’ offered an alternative to the International Style. The chapter continues to go on by explaining how architectural critic, Reyner Banham documented that by the start of the 1960s, it was this aesthetic style that US Architects and the US public referred to as Brutalism.

LINKED RESEARCH

CHAPTER TWO OVERVIEW A MONUMENTAL EXPERIENCE

This chapter begins by comparing the postwar situations of North America and Europe. North America did not suffer the same physical devastation as that of the UK and other European countries during the Second World War. They did not need to rebuild and rehouse on a large scale and therefore embraced the notion monumentality differently to Europe.â&#x20AC;? North America used monumentality as a tool to express their desire to grow in the 20th century. The USA developed architectures to express their energy, enthusiasm and passion, and such buildings are far from being un-extravagant or ordinary. As a result, U.S. architects had a different agenda to their British/ European counterparts. They were not bound by feelings of anger and austerity. Instead, the sought exciting new forms through technologies, while attempting to be in keeping with the dominant culture.

LINKED RESEARCH

CHAPTER THREE OVERVIEW ARCHITECTURAL SCULPURALISM The third chapter within my research explored how concreteâ&#x20AC;&#x2122;s structural capacity could support sound fluid spaces. The chapter evaluates how concrete allowed architects to break free from the rectilinear forms that dominated the International Style, meaning that many of the designs were sculptural. Sculptural aestheticism within U.S. Brutalist architecture was pursued to invoke a positive aesthetic experience. Articulate craftsmanship meant that incredible artistic forms could be achieved, thus transforming the spaces that users inhabits and therefore enrichening their experience of that space.

LINKED RESEARCH

CHAPTER FOUR OVERVIEW EXPERIENTIAL CONCRETE

Achieving an architecture that was “humanly engaging” surrounded the thinking of architects during the post-war period. The fourth chapter looked at how architects, critics and academics came to view the International Style as inhumane. Its lack of interaction with users left the inhabitants feeling disengaged and numb to their surroundings; thus, the response of America’s Brutalist architects. U.S. Brutalism is an architecture that seeks to bring unparalleled engaging experiences. The use of concrete provided architects with a ‘medium’ to produce monumental, inquisitive forms that called for engagement. Often ornate and sculptural the expression was to create strikingly aesthetic architecture that added to the user’s experience. The monumental forms tempt users to embark on discovering what the architecture has to offer. In doing so, the user’s interaction with and consciousness of the unique configuration increases.

LINKED RESEARCH

CHAPTER FIVE OVERVIEW CONCLUDING STATEMENT

Having explored the key characteristics and examined specific case studies, I contended that the evidence alluded that U.S. Brutalism was centred upon an architectural aesthetic, as opposed to having an ethical stance like that of the British Brutalist architecture. Unlike the “militant declaration of conformity” that the Smithsons pursued in their Brutalist architecture to realise an ethic and express materials ‘as found’, I concluded that U.S. Brutalist architects were creative vanguards, who desired to achieve an architecture that was bold in its expression and used concrete exclusively.

LINKED RESEARCH

[AN]OTHER ARCHITECTURE REMATERIALISING ROTTERDAM [UN]AUTHENTIC CONCRETE

“NO ARCHITECTURAL MOVEMENT POLARISES OPINION MORE THAN BRUTALISM. BOTH BETWEEN ARCHITECT AND THE GENERAL PUBLIC, BETWEEN HISTORIAN AND PRACTITIONER, AND WITHIN THE ARCHITECTURAL COMMUNITY ITSELF, THE ‘B’ WORD HAS COME TO REPRESENT AN ATTITUDE AS MUCH AS AN ARCHITECTURE AND IS USED AS AN INCENDIARY DEVICE OF ARCHITECTURAL CRITICISM, THROWN IN TO BLOW UP ANY DISCUSSION ON ANY DISLIKED POST-WAR ARCHITECTURE. TO BORROW FROM PIERRE BOURDIEU, IT IS A QUESTION OF TASTE: A MARK OF DISTINCTION TO LOVE THE UNLOVABLE.

[AN]OTHER ARCHITECTURE

THE ARCHITECTURAL GHOST THE FORMER WHITNEY MUSEUM [THE MET BREUER] The Brutalist ghost precedent that I chose to act as a catalyst was Marcel Breuer’s Whitney Museum. The Whitney Museum’s heavy design is a drastic change to the “normal” steel and glass modernist buildings of that period and is a more forgiving interpretation of Brutalism. Breuer’s opulent use of materials distinguishes the Whitney Museum from the main stream form of Brutalism that was being produced during that period. Breuer’s assertive, reversed ziggurat design and concrete moulded central window contribute to the building being one of the most identifiable institutions in New York. These attributes create an aesthetic that has a gravity and dignity that surpasses that of other Brutalist building’s across America. The following section shows my interpretation of Breuer’s methodology through my own hand drawings - that were produced to explore the building in greater detail and to understand Breuer’s design process.

[AN]OTHER ARCHITECTURE

THE TECHNOLOGICAL BODY THE SHARD

The technological precedent that I looked at for this project was Renzo Piano’s The Shard. The development, in central London is envisioned as a vertical city with retail, entertainment, residential units, luxury hotel, offices, and observation galleries. Through the extensive use of the latest energy saving techniques and materials, the Shard achieved a BREEAM rating ‘Excellent’ rating. A ventilated double-skin facade considerably reduces heat gain and increases comfort levels close to the façade, while permitting the maximum natural day light. Naturally ventilated winter gardens with operable windows are located on each of the office floors, allowing the occupants to connect with the outside environment. It is estimated that the new tower requires 30% less energy than typically required by conventional tall buildings. The image to the right is a hand drawing that I produced to express my exploration of the double skin facade used within The Shard. This is a key technology that will inform my environmental and design strategies - as well as my overall design.

[AN]OTHER ARCHITECTURE

THE HOST, THE SITE AND THE MODEL MEELFABRIEK LATENSTEIN The host for the project is the Meelfabriek Latenstein on the Rijnhaven basin, designed by J.J.M. Verget in 1948 and completed in 1952, with a large extension built in 1964. A number of large concrete silos dominate the building, they are mesmeric and monolithic. Huge industrial structures like silos, water towers, cooling towers, bunkers, blast furnaces, hangars and so on, are emblematic of modernism and were used in the early 20th century by Gropius and Le Corbusier alike to argue for a pure, stripped back machine architecture. But when they can no longer sustain their original use, what can be done with such largesse of Egyptian proportions, especially if listed or too expensive to demolish? The studio group were tasked with producing a 1:100 scale model of the Meelfabriek Latenstein.

[AN]OTHER ARCHITECTURE

THE PROGRAMME DAY CREWING PLUS RESIDENCE

To maintain a first-class service, Rotterdam’s Fire and Rescue Service carried out an overall review of their staffing arrangements. The result of this review was that it was highly recommended that the authority introduces a new Day Crewing Plus system - the first of its kind, to be used in the Netherlands. The proposed Day Crewing Plus scheme and Training Facility Fire Station was designed with the community of Rotterdam in mind. The local communities’ safety and emergency incidents’ prevention are extremely important to Rotterdam’s Fire Authority. As a result, accommodation which provides facilities for community interaction and engagement, while providing a state of the art emergency response service, is key. The theory of the Day Crewing Plus organisation is to offer residential accommodation for the families of serving staff, providing them with ample living spaces and their own private balconies. The scheme also provides ensuite living quarters and a suitably sized communal living spaces for visiting trainees / Fire Watches who are on call in the adjacent, fire station.

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[AN]OTHER ARCHITECTURE

The diagrams to the right summise the interventions made within the proposal, that can be seen in the coming sections. The upper near right diagram expresses the buildings current structural state of the building. The diagram directly below it denotes what existing structure is to be removed prior to the new intervention. The upper far right diagram expresses how steps with an integrated ramp have been added to create a plinth for the intervention to sit on - in addition to solving the connection been the external and internal ground floor levels. The diagram on the bottom far right depicts the new structure that is to encase the existing wing of the Meelfabriek, sitting upon the stepped plinth.

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[AN]OTHER ARCHITECTURE

PRECEDENT PROJECT MAISON LATAPIE LACATON & VASSAL This project is the result of a low budget commission to build a house for a couple with two children. Located in a discontinuous residential area, the house fits into the street profile. Itâ&#x20AC;&#x2122;s a simple volume on a rectangular base that posits two open platforms. On a metal frame, one half, on the street side, is covered with opaque fibercement sheeting, and the other half, on the garden side, with transparent polycarbonate sheeting, forming a conservatory. A wooden volume, clamped into the frame behind the opaque sheeting, defines an insulated and heated winter space opening onto the conservatory and the street-side exterior. The mobile nature of the east and west facades enables the house to change from its most closed to its most open state according to the need and desire for light, transparency, intimacy, protection and ventilation.

[AN]OTHER ARCHITECTURE

SELECTED FLOOR PLANS DAY CREWING PLUS RESIDENCE MEELFABRIEK LATENSTEIN Starting with the site plan and ground floor through to the roof terrace, the plans reveal that the wing of the Meelfabriek is split into two parts - the ensuite living quarters and communal facilities for the staff and trainees, in addition to revealing the self contained, family residences that have their own semi private and shared communal spaces. The scheme proposed a technological move that resembled a double skin. The first iteration proposed that the full facade was to be glass but with issue of over heating an alternate screen has been proposed as a playful response to the position of the balconies whilst responding to solar glare and over heating. The facade consists of openable glazed curtain walls, insulated panels and the solid GRC panels - that merge with the column and beam’s language. At higher levels the glazing system is to be integrated with PV panels.

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[AN]OTHER ARCHITECTURE

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[AN]OTHER ARCHITECTURE

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[AN]OTHER ARCHITECTURE

TECHNOLOGICAL & INTEGRATED SECTIONS DAY CREWING PLUS RESIDENCE MEELFABRIEK LATENSTEIN The construction detail below shows the structure from roof to wall with the inclusion of the top floor apartment and inner communal roof terrace. The detail reveals the use of GRC with the steel column and beam structure that encases the existing concrete wing of the Meelfabriek. The section reveals the considerations given to the technologies used within the design - by again focussing on the use of service systems, by showing the use of cable trays seen within the apartments exposed soffits, and the use of purposely exposed power outlets and cables that would often be hidden within structures. The detail also reveals the use of underfloor heating, with pipes running through the screed on the apartment floor. This ties in with the narrative that systems and components can be hidden and exposed depending upon the intent of the experience. In addition, this construction detail, as revealed on the following spread, shows the exploration of lighting and

[AN]OTHER ARCHITECTURE

atmosphere on the enclosed communal roof terrace, and within the residential apartment. The integrated detail section, to the right, is a key section through the main residential wing from foundation to roof. The animated section indicates the use of important materials such as Precast Concrete (for the access cores beyond), Steel and Glass Reinforced Concrete cladding. The section explores the use of service systems, by showing the use of cable trays seen within the apartments exposed soffits, and the inclusion of the external plant area on the roof - that house the air source condenser units for each of the apartments. The integrated section begins to reveal the hidden structural system that has been used within the project - the deceiving cladding system that was taken from the ghost project - and has been a key and constant component within the design process.

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THE MODELLED INTERVENTION MEELFABRIEK LATENSTEIN My explorative, structural model was a tool that was used to explore structural assembly of and the scale of the design. The model helped the design process by highlighting questions of how the new and old structure would be connected. The model is made from hand cut MDF and sprayed red to reflect the finish of the Glass Reinforced Concrete that has specifically been chosen as the primary finish to the building.

[AN]OTHER ARCHITECTURE

DETAIL 1 - GRC TO STEEL COLUMN Reveals a plan view detail of the Steel Column from the interventions’ primary structure. The steel column is wrapped in a cementitious board which has a VCL fixed to its outer face. The column is clad with a Glass Reinforced Concrete cladding system, creating the impression that the column’s materiality is different to it’s actual reality. The gutter system has also been enclosed within the detail to make the building’s façade seamless and clutter free.

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This sectional detail shows the steel beam from the intervention’s primary structure and how the secondary structure (glazing system) is fixed at head and cill level. The steel beam is wrapped in a cementitious board which has a VCL fixed to its outer face. The beam is clad with Glass Reinforced Concrete cladding system, creating the impression that the column’s materiality is different to its reality.

[AN]OTHER ARCHITECTURE

DETAIL 3 - ROOF DETAIL This sectional detail taken through the primary structure at roof level. The steel is wrapped in a cementitious board which has a VCL fixed to its outer face. The beam is clad with a Glass Reinforced Concrete cladding system that sits above and below the glazing system to create a seamless aesthetic.

DETAIL 4 - GRC FLOORING TO CURTAIN WALL This detail reveals the assembly of the cladding and how the panels are precisely joined to create the illusion of a precast concrete frame. The detail shows the GRC panels fixed to the beam and insulated structural steel framed system.

[AN]OTHER ARCHITECTURE

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TOOLS FOR THINKING OH WOW, YOUâ&#x20AC;&#x2122;RE AN ARCHITECT?! AN OBSERVATIONAL STUDY OF THE PROFESSIONAL & PUBLIC PERCEPTION OF AN ARCHITECT

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INTRODUCTION

THE CHAMPIONED ARCHITECT: A PROFESSIONAL IDEOLOGY

Often forgotten about in the literary field, the professional architect is a subject that possesses great diversity, strength and vulnerability – qualities that make the role of an architect an excellent research topic. Throughout history Architects have been involved in the construction industry, overseeing both the design and construction phases of architectural projects. However, in recent years, the architect’s role, as we now know it, has diversified and been “diluted” due to the creation of new technologies that have allowed construction projects to take on new complexities, which in turn resulted in the creation of specialised roles.

Within the architectural profession, Architects have an idealistic image of the ultimate professional architect. They are a figure with clear vision, pure ability and moral principles. A figure, filled with ambition, who always realises their objectives and boldly asserts their opinions via the world stage, and also a character who receives the acknowledgement, commendation and praise from the masses that they valiantly provided. This professional figure is the Championed Architect.

The Architect has always possessed fanciful, fabricated qualities, with stories claiming Architects have supernatural abilities. Examples of these stories go back to Roman times where master designers and planners would consult the gods with their design proposals. Throughout the course of time, the profession developed and so did the extraordinary stories and perceptions. In today’s society, public awareness and education of architectural profession remain a relatively untouched topic, especially within the UK. This lack of knowledge and insight invites the opportunity for preconceptions and stereotypes. It is considered that the stereotypical perceptions could be viewed as being the modern day equivalents to history’s extraordinary stories. However, such perceptions can either strengthen the profession or have adverse effects. This study observes how the UK’s architectural professional and statutory bodies’ codes of conduct define the Architect’s behaviour and compares the ideal Architect and the RIBA’s identity against the general public’s perception. In line with this observation, it is also suggested that Architects are aware of how their role is perceived by society and believe that it is their responsibility in today’s climate to try and lead this opinion rather than changing it. The terms of reference for this study were from the ARB and RIBA’s codes of conduct documentation, independent on-line research, reference books and periodicals, and a small series of interviews with an accredited Architecture practice.

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“No work is ever done collectively, by a majority decision. Every creative job is achieved under the guidance of a single individual thought. An architect requires a great many men to erect his building. But he does not ask them to vote on his design. They work together by free agreement and each is free in his proper function. An architect uses steel, glass, concrete, produced by others. But the materials remain just so much steel, glass, concrete, produced by others until he touches them. What he does with them is his individual product and his individual property. This is the only pattern for proper co-operation among men. The first right on earth is the right of the ego.” (The Fountainhead, 1949) The quote above, taken from the 1949 film The Fountainhead, architect Howard Roark states his beliefs by announcing that Architects can realise their utopian dreams on the world stage through exercising their individual expertise. Roark held firm his conviction, disregarding any criticisms he received or refusing to compromise. Portrayed by the actor Gary Cooper, the heroic character embodies the persona of the Championed Architect – a passionate, professional figure who fought against the opinions of the public to achieve their visionary masterpieces. (Saint, 1983). With the rare exception of Starchitects (Architects who enjoy celebrity status and critical acclaim) like Daniel Libeskind, Frank Gehry and Norman Foster, the idea that an architect single-handedly creates a project has almost died out, in today’s practice. Today’s construction industry is set up with multiple teams working together throughout the design and construction processes, and the Architect now plays the role of the conductor

in an orchestra rather than being a one man band. Despite this, the architectural profession’s vision of the Championed Architect is ever present, with growing views that Architects should be solely accountable for the influence their masterpieces have on the public, cultural and natural environs in which they reside (Libeskind and Crichton, 2004). The Championed Architect encapsulates the architectural profession’s drive to realise astounding architectural creations, pushing Architects to strive for more expressive and meaningful projects under the rules of the ARB and RIBA’s Codes of Conduct, so they conduct themselves with honesty, integrity, and trustworthiness when practicing within the UK.

THE STATUTORY & PROFESSIONAL BODIES OF UK BASED ARCHITECTURE In the UK, the architectural profession follows the guidance of the two leading statutory professional bodies; the statutory body being the Architects Registration Board (ARB) and professional body being the Royal Institute of British Architects (RIBA). Both connect with UK registered Architects, but play very different roles. Membership of the RIBA is not compulsory while all Architects who want to practice within the UK must register with the ARB. The ARB is the statutory body for the registration of UK Architects; it was founded under the Architects Registration Act, 1931, and known as the Architects’ Registration Council of the United Kingdom (ARCUK). The ARB operates under the Architects Act 1997 and carries out duties and responsibilities with regards to architectural education, registration and regulation. In comparison, the RIBA, which was awarded chartered status in 1837, is the professional body for UK-based Architects – whose mission is “to advance architecture by demonstrating benefit to society and promoting excellence in the profession.” (Chappell and Willis 2010). The RIBA maintains a library of architectural literature, campaigns for good architecture and publicly champions projects of high architectural merit through its big awards schemes. Both bodies have a published set of standards and

codes. The ARB set out The Architect’s Code, while the RIBA have A Code of Conduct. Both codes are binding on their members and were published to ensure that Architects act professionally and with competence. The RIBA’s current code has been active since 2005 and concentrates on clients and the wider public (Chappell and Willis 2010). Both the ARB and RIBA’s Codes regulate Architects’ behaviour, with concern towards themselves, fellow professionals, clients and the community. Examination of both professional codes reveals that Standard 1 of the ARB Code: “Honesty and Integrity” strictly relates to Principle 1 of the RIBA Code. Both parts stipulate that Architects are to conduct themselves with total honesty and should not support or suggest anything that may be a conflict with their professional opinion. Also, Standard 4 of the ARB Code: “Manage your business competently” is similar to Principle 3 of the RIBA code, as the standard specifies how Architects should engage with their clients. (Chappell and Willis 2010). As well as acting as professional regulators, the ARB is involved in the educational criteria mapping and collaborate with the RIBA for the joint visiting boards of educational accreditation. In comparison, the RIBA is a learned society that celebrates magnificent buildings, community, environmental schemes and approaches through recognising its members and their merited architecture. One of the RIBA’s schemes that celebrates the profession is its awards ceremonies. The Stirling Prize is the most noteworthy accolade that the RIBA gives for architectural excellence at the ceremonies. First awarded in 1996, the annual award celebrates the building of the year. It acknowledges the building’s architect and rewards their influence on the built environment. The community recognises the Stirling Prize as having the same stature as both the Turner Prize and Booker Prize – the highest accolades of different professional fields. Channel 4 annually broadcast the award’s presentation ceremony and the professional publication, Architects’ Journal sponsor it. A short-list of six projects is whittled down from an extensive list of contenders that have received a

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RIBA Award that year. This shortlist, identifies six architectural (often large) practices that instantly become representative of the 34,000+ Architects in the UK, via a very narrow media stream of architectural delivery that is going to influence public perception massively. This portrays Architects in a different light to the reality, because approximately 50% of the registered Architects are sole practitioners, and the vast majorities are small scale practices – who tend to be practicing in very different ways to the shortlisted practices.

THE PUBLIC PORTRAYAL OF AN ARCHITECT In nearly all professional fields, the general public usually possesses a fundamental level of knowledge of what the profession does and its role in society. Other than being aware of this vague “definition”, the public isn’t usually free to have the profound insight and understanding that those within a particular professional field have. In some professional fields, the details of what they do are relatively simple and straight forward but within the Architectural profession, the role of the architect holds deeper complexities. Through the use of mainstream media, with particular reference to television and film, Architects are often portrayed as romantics who declare their opinions and disprove any criticism, as previously mentioned when examining the character Howard Roark, in the earlier section that titled: The Championed Architect. Within this media genre, the Championed Architect is not a crusader nor do they possess supernatural powers. Instead, the Championed Architect is incredibly aplomb, which allows them to act in a moral and ethical manner and habitually succeed. (Saint, 1983). The Architectural profession not only aids society through its physical contribution but its active hands on approach with schemes and initiatives also. Also individual Architects contribute by enthusiastically sharing their insights, skill sets and keen appetites with the public to create a more idyllic society. These qualities and actions of the modern architect do not possess any undesirable associations, but these positive traits are not usually touched upon when the profession draws attention from alternative types of media.

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Broadcasting and alternative media platforms act as an interface between the architectural profession and the general public, often offering insight. The general public doesn’t necessarily understand Architects the same way that they probably don’t about lawyers and accountants etc. and without being involved first hand with an architect it is difficult for them to have this. The public doesn’t comprehend the level of rigour that Architects endure to realise a design and then have it become a reality. As well as viewing Architects in a different light to those familiar with the profession, the general public also views physical architecture in a different way. They primarily critique architecture with a simple reference to the external façades, while those within the industry see architectural merit through the design solutions of internal spaces, the interplay of light and how the spaces between buildings create a sense of place. In the first half of the 20th century, the architect was portrayed as a fairly heavyweight, egocentric character who received tremendous respect. The architect enjoyed generous championing from the media and was a pivotal component of the town planning process to release the potential of a city. The control that the architect had strongly resembled the Championed Architect. However, this championed character was occasionally an outlandish narcissist, whose work didn’t always reflect the brief or reflect the needs and actual desires of the client. One example of this is the American Architect Frank Lloyd Wright – a truly championed architect. With regard to the design for the Guggenheim in Manhattan, Frank Lloyd Wright, when criticised about the height of its ceilings, disregarded the comments and responded by saying that the paintings should be cut in half if they were too large and would not comfortably fit the wall. Even though it is easy to view Frank Lloyd Wright’s bold response in a bad light, it can also be considered as an insight into his resilient personality and that he will stand by his design choices to realise his utopian vision for the public. In 1966, Ronan Point located in Newham, East London, was a tower block built as part of the UK’s mass post-war social housing initiative. The tower was constructed using a method called Large Panel System building (LPS). The method involves the off-site casting of large concrete prefabricated units and merely assembled on-site by

bolting the units together. However, in 1968, a gas explosion caused the tower block to collapse, killing four people and injuring a further 17. In the eyes of the public the championed architect’s reputation collapsed with it. The building’s collapse was well documented across television, radio reports, newspapers and periodicals at the time. Media reports publicly damned Ronan Point’s poor design and construction and made the architect the public scapegoat by dropping the blame at their doorstep. The ARCUK (now acting as the ARB) and the RIBA recognised that Architects associated with the development should be held accountable for their involvement, but condemned that all responsibility should lie with them. Both bodies were quick to point out to the public that the construction industry is a collaborative one, and all those involved should take responsibility. Sadly, little notice was taken, and the damage was done. As a result of the complete loss of public confidence, leaders of the UK construction industry were quick to act and make significant changes to regulations and also its setup. In doing so, the architect’s governing role is no more. The introduction and rise of the Design and Build contract saw Architects have their responsibilities reduced. The architect’s bruised image slowly healed and grew in strength once more as practices brought vision and vibrancy back into British cities in the 1970s and 80s. In 1984, British architectural practice, Ahrends, Burton and Koralek (now practising under the name ABK Architects) won a design competition for the Hampton Extension to the National Gallery, in London. In the same year, at the RIBA’s Royal Gala Evening, the Prince of Wales presented the Royal Gold Medal to architect Charles Correa. With little reference to Correa, the Prince used the presentation as a platform to flat-out attack ABK’s proposed extension and Modernism in British architecture as a whole. “What, then, are we doing to our capital city now? What have we done to it since the bombing during the war? What are we shortly to do to one of its most famous areas - Trafalgar Square? Instead of designing an extension to the elegant facade of the National Gallery which complements it and continues the concept of columns and

domes, it looks as if we may be presented with a kind of municipal fire station, complete with the sort of tower thatcontains the siren. I would understand better this type of high-tech approach if you demolished the whole of Trafalgar Square and started again with a single architect responsible for the entire layout, but what is proposed is like a monstrous carbuncle on the face of a much-loved and elegant friend.” (Prince of Wales, 1984) Prince Charles used his monarchical influence to interfere in planning issues and influence public’s opinion of the winning scheme. His puzzling decree daubed the Architect as a Prima Donna. He portrayed a selfish professional figure who would make gross additions to “perfect” constructions. A figure who ignored budgets and believed they were above everything else. (Mann 2004) The Prince of Wales’ callous outburst generated public displeasure and ultimately resulted in ABK’s winning scheme not being realised. Prince’s intervention was well documented by the media, and its escalation severely tarnished the reputation of talented Architects within the UK. In response to the Prince’s infamous comments, the architectural community leapt to the defence of the profession and particularly ABK, with Richard Rogers describing their scheme as “a beautiful design, using a scale and palette of materials that responded to the existing National Gallery without resorting to imitation. The design was elegantly modern, with a small piazza that brilliantly separated their building from William Wilkins’ 1832 Gallery.” (Powell, 2011) A few years later, a closed competition was held to find an alternative replacement scheme. The winning scheme (won by Venturi, Scott Brown and Associates) was a visionless imitation of what was already there. This fluctuating public perception massively contrasts to the image of the championed architect and their duties defined by the code of conducts, of which have remained relatively consistent constant across the 20th and 21st century. It is mainly the public’s perception and opinions of the architectural profession that have swayed throughout time. This is due to the influence of prominent figures,stories and reports covered by different media sources.

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However, the RIBA didn’t help itself when awarding the Stirling Prize to the Scottish Parliament in 2005 - an overbudget and delayed project. This decision was seen by the public as “celebrating failure” in that Architects are not able to manage budgets, cannot control projects or deliver them on time. In response to the profession’s negative publicity, the RIBA and ARB tried to move public opinion, producing learned articles and having them circulated in the media; providing education guides and working with the Chartered Association of Building Engineers (CABE) in visualising better schools. During this time, the financial crisis struck and the eventual dissolve of the Labour Government occurred. In the events that followed, a new austerity-driven Government formed and in 2010, the UK Education Secretary Michael Gove withdrew the previous Government’s Building Schools for the Future Programme (BSF), to save £55 billion but ultimately scrapped the construction of 700+ new schools. Before its cancellation, Michael Gove was quoted as saying “We won’t be getting Richard Rogers to design your school, we won’t be getting any ‘Award winning Architects’ to design it, because no-one in this room is here to make Architects richer.” (Gove, 2011). It is these out of context comments that fill the media reports, feed public opinion. Gove’s comments suggest to the public that the architect is a professional who does very little, bar walk around construction sites - pencil in hand, and earns a substantial salary. In reality, especially within recent years, this couldn’t be further from the truth. In response to the Government’s actions and statements, Ruth Reed, the RIBA president at the time quick to defend the profession and stated that “the Secretary of State for Education was wrong when he previously accused architects of creaming off money from the Building Schools for the Future programme. Architects provided a good quality service at a relatively low cost for the size of projects they were working on.” (RIBA President, 2011).

CONCLUSIVE REFLECTION Many questions play on the minds of Architects today,

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including ones that challenge the image of the profession and how the profession will fare in the coming years. Having teased their minds with these questions, the RIBA have begun to actively answer them, and forge a path for architecture to go down in the future. The RIBA have liaised with the construction council that for construction to move forward in a positive way Architects should take the reins once more and publish and validate papers in the way that the medical profession does when addressing issues of concern. Having recently been revised and implemented the Codes of both the ARB and RIBA are likely to stay the same for the next few years - so Architects will see no real reason to alter their view of the visionary Championed Architect that they strive to be. What will change though, is the public’s views, a factor that is beyond the architect’s control as proven recently via the BSF; Governments and the media will dictate who is cast as the pantomime villain. As a professional body, the RIBA could look to lead public opinion when forging their future, rather than following public views and defending the profession against the public and media, as they have done in recent years. However how to lead opinion is a matter of opinion in its own right, and there are arguments that Architects will never be able to dictate public opinions and perceptions at a national or political scale due to the makeup of the country’s political system. For example, the composition of the political parties sees a professional imbalance and sees the construction industry being poorly backed and represented. Arguably, this could only be addressed if the RIBA was to put forward candidates for each party to consider be an advisor or minister to gain the right backing, recognition and protection for the profession to flourish again and be viewed in a sustainable positive light. However, it would be wrong to assume that this is the way to go to protect the image and future of Architects, mainly because Architecture, as an institution, remains apolitical to parties. A more likely situation would be for the professional body, (if the RIBA are successful in their pursuit of the Construction Council) to publish their own research and reports that can be circulated through different forms of media. This controlled distribution of

direct information would then in time influence the public and politicians opinion regarding the Architect, allowing an integral, learned and idealistic figure to be created while bringing to light critical issues that haven’t been exaggerated or misconstrued by news reports. The heavily negative public opinions and perceptions lingered throughout the 90s through to the 00’s. However as media platforms such as TV and the Internet moved into the age of reality, with shows like Channel 4’s Grand Designs with Kevin McCloud; the Home Show, Restoration Man and Amazing Spaces with George Clarke, a more realistic insight was offered into the lives of Architects. Architects were finally shown in a more positive light, and this began to outweigh negativity – the vision of the championed architect rising once again. With this being the case, it highlights that TV and web-based medias are massively influential – be it in a positive or negative light. It is clear that professions as a whole, not just architecture, can’t get away from this and can either embrace this fact or ignore it at their own peril. Through embracing media platforms and using them to their best effect, while acting professionally, the RIBA, the ARB or the individual architect can successfully publicise themselves, filtering into different streams and directly gain the attention of the public. This interface between the professional and the outsider will build a natural rapport, offering insight and truths and create a more honest perception.

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THE URBAN HACKER ROTTERDAMâ&#x20AC;&#x2122;S URBAN FABRIC DE RUGGENGRAAT

THE URBAN HACKER

TARGET AREA: ZUID ROTTERDAM

Zuid Rotterdam covers the southern regions of the city beyond the Nieuwe Maas and is home to 200,000 inhabitants. Traditionally, this district was seen in isolation to the rest of the Rotterdam due to the physical divide created by the river. The Zuid region of Rotterdam is affiliated with “Individualisation” – one of the five I’s stated by the SCP. Individualisation was clearly evident during my exploration of Zuid Rotterdam. Even with the recent developments of Kop van Zuid, and the financial investment in the redevelopment of Katendrecht, the improvements to the Zuid region seem to stop there. The main roads and metro line that both connect the south with the north, ironically divide any lateral movement within the south and as a result cuts off the filtration of major redevelopment within the remaining Zuid areas. I noted that each neighbourhood within Zuid Rotterdam - mainly east of the Erasmusbrug Bridge are defined by segregated cultural territories rather than any geographical boundaries. Each neighbourhood appeared to be defined by a particular culture, with little

THE URBAN HACKER

integration with other neighbouring cultural communities that live within the vicinity. This has led to increased prejudices of each other and frustrations with the municipality’s development strategies. The map, to the right, shows the explorative route that I took via bike when investigating Zuid Rotterdam and highlights keys locations that I encountered upon the route. My route was determined by purposefully asking local residents for directions to one location and then asking them to recommend somewhere of their choice. Upon doing so, an image of the general perception of the south was built by the information on where I was encouraged to go and avoid. From asking for directions and recommendations whilst travelling around Zuid Rotterdam, I mapped my route via my own experience. This can be seen on the next page over.ht. The maps starts off in Kop van Zuid, then onto Katendrecht. There is then a distinct divide when crossing over to the Afrikaanderplein/Bloemhof area and then finally finishing in the Feyenoord neighbourhood.

THE URBAN HACKER

HACKING ROTTERDAM: CONNECTING CULTURES

“Urban hacking is the destruction of the urban and the rupture of the environment as well as its rules and systems. Something new is created by the deconstructions of the common surroundings and its symbols while a certain distance to the familiar arises. Given paradigms become defused and offer a completely new perspective on seemingly factual things.” Günther Friesinger Urban Hacking The Afrikaander neighbourhood was the chosen location to carry out the hack, as this is central neighbourhood within Zuid Rotterdam. The 100+ nationalities that can be found in Zuid use the outdoor spaces in different ways. The hack was the creation of a Connecting Cultures Festival - a vibrant event that’s aim is to celebrate all that

is great about that food, drink, music and art that are boasted within the diverse cultures of Zuid Rotterdam. The festival is to be ran by the local communities, in the surroundings of Afrikaandermarkt and the impressive Afrikaanderplein; and aims to bring all of the 127 nationalities together and celebrate their diversity with each other. Afrikaanderplein is a juxtaposition of fragments, where all of the different user groups once had their own “islands” within the park and sat with their backs to each other or were hidden behind the high fences that were installed to once discourage and keep other users out. The visitors will enjoy the food and drink on offer, and dance the evenings away to an impressive line-up of live music. The event will bring together the communities through the assembly of diverse street food vendors and trades.

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THE SITE A FRAGMENTED SOCIETY With reference to my proposed hack from the previous section, my main focus was to bring people together and my ‘design thought’ was that it was the people that make a city work. The vision from the outset for this project was to foresee future growth for Zuid Rotterdam, by planning a new public development within a dense urban area along an existing transport route that previously divided communities – and create a new civic backbone for the region. I believe that public spaces hold more value than building and that they play a pivotal role when planning for a better area and way of life. If a space is unsuccessful then people will stay away – and the area will fall into a gradual decline. The key to designing a public space is that everyone wants two things: comfort and greenery. These two items will naturally attract people, who in turn will attract more people. The proposal was to transform the isolated under-croft along the existing metro line. Turning the existing, undesirable area into a creative / connected public destination as well as an inviting linear urban trail. This is the location for Stage One of the overall de Ruggengraat proposal (as explained in the Programme section). The development of this site along with the Phase One master plan allows the reader to extrapolate on what the remaining Phases will be like. The metro line viaduct was chosen for the proposal as it currently divides the neighbouring communities - through strategic planning it was my intention to transform this site into an inviting destination that re-stitches the broken ties between the communities and be the catalyst to form a unified region, and spearhead further redevelopment and growth.

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PRECEDENT PROJECT THE HIGHLINE JCFO & DILLER SCOFIDIO + RENFRO The High Line is a 1.45 mile-long, linear park in Manhattan and an icon for innovative design. The park is a defining feature within its neighbourhood and is a powerful catalyst for investment as well as being an inspiration to cities worldwide. The design is characterized by an intimate choreography of movement, with alternating vistas and experiences. Distinctive paving, planting, furnishing, lighting and social spaces create an authentic and memorable New York City experience. The High Line is widely recognized as a huge success and demonstrates the value in creating new and fresh public spaces in the City.

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THE PROGRAMME CONNECTING THE DIVIDED

I noticed that there was a massive potential to connect communities via a strategical / place making project within Zuid Rotterdam. My aim was to transform an isolated city area into a creative and connected public destination which enhances life in Zuid Rotterdam – creating a socially driven project. It was my desire to make a bold statement of intent, declaring that the Zuid region is worth as much investment, as that of the north and that this part of the city can play an important part in the future of Rotterdam whilst establishing itself in its own right. The programmatic Master Plan (to the right) of the proposed Linear Park, is to run below the existing Metro viaduct. The project, titled de Ruggengraat, is to be delivered in 3 phases: Green, Magenta and Orange. Green is the first phase of the development that is to be completed. The study that is compiled within my portfolio explores the Green Phase’s Health and Recreation event zone - that is to be located within close proximity to the existing Maashaven Metro Station, and directly adjacent to the Maashaven Basin. The programmatic characteristics of De Ruggengraat, are as follows: - A strong identity that is clear to the public upon encounter. - Offers opportunities to move through the site but also move laterally. - Caters for a range of activities / programmes that are to occur along the route. Rooms for different programmes. Creating as many opportunities as possible for people to inhabit the site. - Its raw abandoned appearance symbolises Zuid Rotterdam’s history. - Act as a corridor in a movement sense in between the surrounding neighbourhoods. - Interaction is key – Socialisation of the site ensures that the site is not just a passive use of space.

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- Materiality – Strong use of Corten Steel reveals the narrative of the project – where its image contrasts with the image of the gleaming skyscrapers in the north – yet signifies expense and investment. The project strives to be an urban escape and is to be Zuid’s centre piece and spine that offers a range of experiences to all demographics. The diagram to the right is a graphical representation of the disconnected communities within Zuid Rotterdam. This divide is a result of the metro line’s viaduct – that acts as a connection to the north but as a result of its poor execution the line cuts off communities from each other, by acting as a large physical boundary. The diagram on the next page however, is a graphical representation of the proposal’s (de Ruggengraat) first phase. The diagram identifies where the key focal points lie acting as natural focal points to host key event zones that will naturally draw users into the space and act as overlapping connection points to the neighbouring communities.

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MASTER PLAN DE RUGGENGRAAT

Master plan of the Phase One Development of de Ruggengraat. Showing the sites overall relationship with the surrounding areas, and how the development will naturally branch out and begin to filter into its surrounding environs.

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PHASE ONE AREA THREE SITE PLAN

The site plan depicts area three, within phase one of de Ruggengraat. The thoroughfare is to have lateral movement across the site where Health and Recreational activities are to occur. The on-site facilities include: - Designated Parking - Access to Maashaven metro station - Water Sports Activity Centre - Cafe - Swimming Pool changing facilities In addition, the site hosts extensive recreational lawns and seating areas that have walkways bordering them at different levels. The site also contains a sunken amphitheatre / performance space that can be used for organised fitness classes and general leisurely use. Via association through materiality, the site spills across the road at main junctions to indicate designated access points and act as a catalyst for future growth and sprawl. This first short section on the following page, shows the connection from the water front to the road level and the thoroughfare spaces that lie in between. It depicts the changing facilities and cafe hub and shows the connection to the floating swimming pool that is in the Maashaven. The second short section expresses the connection from the water front to the road level and the thoroughfare and activity spaces that lie in between. In contrast to the previous, this section reveals a sunken amphitheatre / activity space that acts as a direct connection to the water front from the higher pavement and road level. It also depicts the relationship between the raised walkway and the under-croft of the viaduct.

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POTTERIES THINKBELT #2 DESIGN THESIS TOUCHING GROUND: ENERGY & COMMITMENT WITHIN THE COMMUNITY OF STOKE

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STUDIO INTRODUCTION CEDRIC PRICE’S POTTERIES THINKBELT

Potteries Thinkbelt #2 takes inspiration from Cedric Price’s proposal for the area around Stoke on Trent (The Potteries). Price proposed to take the decaying industrial infrastructure to the Potteries, and turn it into a kind of High-Tech thinktank. It was to be a new kind of university, called the Potteries Thinkbelt. It was not a ‘building’ in a traditional sense, but a kind of circuit of network, with mobile classrooms and laboratories using the existing rail lines to move from place to place, from housing to factory to computer screen. Infrastructure forms the substrata of our lives. We live in amongst a web, a network of connections that intersects almost all areas of urban and rural environments. These infrastructures are always, to some extent, physical - they have a material existence that is in a constant state of flux: as technologies change, their distribution channels alter too. They also leave legacies - ones that offer the potential to be rethought, re-imagined and reintegrated

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into the fabric of the city. This thesis studio provided the opportunity to re-imagine a new or existing defunct infrastructure (road / rail / canal / education / industry), imagine a new industry (ceramics / new crafts/ making), and consider those in the context of education (grammar schools / tuition fees / technical colleges). I was challenged to see problems as time based and not static, developing proposals which allow for change... the architecture of affordance. Cedric Price’s Potteries Thinkbelt acted as a kind of manifesto - an example of an architect establishing a position or stance - a critique of the status quo and a suggestion of a new way of thinking.

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STOKE ON TRENT A CITY OF SIX TOWNS

Stoke on Trent is a poly-centric city made up of six towns. Hanley is commonly referred to as the City Centre. Stoke gives the city its name and is home to the main rail station. Longton and Burslem are rich in pottery heritage and Fenton and Tunstall are the smallest and often forgotten towns. Each town has its own unique character and atmosphere. Each studentâ&#x20AC;&#x2122;s project is located within the city incorporating a diverse range of existing urban environments, geographical elements, and unique features, which carries through to a comprehensive and versatile range of projects within the studio.

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PRIMER PROJECT THE STOKE-O-MATIC MODEL

COLLABORATIVE READING OF THE CITY The studio created kinetic model that metaphorically reflected the group’s collective preconceptions of Stoke on Trent. The model is made up of four elements that represent key themes within the city. Ball bearings interact with each element along a semi-defined route and are dependent on a combination of chance and user defined interventions. The ball bearings represent the city’s potential, eg people, knowledge, or traffic, etc. The model was purposely designed to include various ‘exit and entry points’ to highlight gain and loss within Stoke. From observing the model in full use, the studio could analyse how different elements can contribute to or negatively affect systems within the city of Stoke. These observations were then set to act as potential lines of inquiry subsequent thesis projects may take.

the model, takes the form of an Archimedes screw. It is angled upwards to represent the knowledge scale, potential arrives at the bottom of the screw with no knowledge and aims to leave the screw at the top with greater knowledge. The tray contains holes along the way which cause potential to be lost, representing the failures of the education system in Stoke on Trent. Plugging these holes allows more potential to reach the top of the screw and continue its journey through the model.

NATURE Like most cities, Stoke on Trent’s urban sprawl is continually encroaching on the surrounding green belt. Within the kinetic model, this element is represented by a box that acts as a metaphor for the city’s capacity. An inflatable bag located within a box represents the urban sprawl. The bag can only expand so much before reaching the confines of the box. The box is representative of the green belt.

TRANSPORTATION This element represents the transport evolution within the city of Stoke. Since the start of the industrial revolution Stoke on Trent has always been a city dominated by transport infrastructure. Initially the vast canal network carried goods to and from the city’s potteries, which was shortly followed by the railways. The railways provided vital links between the industrial hubs of Manchester and Liverpool to the north; and Birmingham and London to the south.

EDUCATION This element represents the education potential for the city. Stoke on Trent generally suffers from poor education standards with below-average pupil attainment and level of qualification. This element on

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IDENTITY The identity element of the Stoke-o-matic model is the final destination for the potential (ball bearings). The small wheels represent the characteristics that the vertical studio feel make up the preconceived identity of Stoke on Trent. Three larger wheels represent three key dates in the city’s history, 1916 – the peak of the Pottery Industry; 1966 – the decline of Pottery Industry and the birch of Cedric Price’s Potteries Thinkbelt project; and 2016 – the present-day city of Stoke on Trent. The final three wheels represent Stoke’s identity based on Culture, Business, and Education, - areas that are often considered when gaging the success of a modern city.

EDUCATION

TRANSPORTATION

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SITE LOCATION KINGSWAY, STOKE-UPON-TRENT

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The identified site for the project is in the town of Stoke. It sits within a rich urban fabric. It is immediately bordered by the townâ&#x20AC;&#x2122;s Civic Centre, Stoke Minster, old market hall and Spode Pottery works. The project will intentionally utilise the existing terraced structure to build upon the existing history and memories of the site and add to the existing urban fabric and identity of the town, instead of simply clearing the site and starting again.

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THESIS OUTLINE TOUCHING GROUND: ENERGY & COMMITMENT WITHIN THE COMMUNITY OF STOKE My thesis project, explores the pressures of the local government, that are evident in Stoke on Trent and the resultant opportunities for Third Sector Organisations. In doing so, I have developed a new type of facility, that moves away from the monumental scale often associated with civic structures, by introducing an architecture that is accessible, more comfortable, and less intimidating. I have named this facility the Kingsway Municipal Forum. Rather than designing the facility as one large new structure, I have planned a series of domestic-scale buildings with gabled roof profiles and strategically arranged them by connecting different, internal, complementary programmes which consist of a long-term shelter facility, community lounge, a wellbeing hub; book depot and study lounge.

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SITE PROGRAMME PROGRAMMATIC LAND ACQUISITION

The Municipal Forum is a project specific focal point of a wider proposal undertaken by a newly formed Community Land Trust(CLT). They are looking to bring affordable and sustainable growth and regeneration to the town having bought the site from the local government. The newly formed CLT is a local organisation that is run by volunteers who develop and manage genuinely affordable homes in addition to pubs, shops, community centres, specialist services. Stage A: Local people set up a CLT and buy land from the local government. Stage B: A custom build facilitator and architect are entrusted with the developments made to the community land trustâ&#x20AC;&#x2122;s site. Stage C: CLT provides homes, amenities and services that are affordable, sustainable and beneficial towards the community of Stoke on Trent.

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SITE PROGRAMME: PRECEDENT PROJECT GRANBY FOUR STREETS ASSEMBLE Once the most active and ethnically diverse communities in Liverpool, Granby minus four terraced housing street was all but demolished in the late 20th century. The remaining â&#x20AC;&#x2DC;Granby Four Streetsâ&#x20AC;&#x2122; were commandeered by a creative group of locals who wanted to bring new life back to the area and reintroduce community spirit. The Granby Four Streets Community Land Trust was set up in 2011 and they collaborated with the awardwinning design studio, Assemble, to redevelop the derelict terraces and create affordable housing in addition to other affordable amenities. It was the attitude of the CLT that caught my attention and influenced my thinking for my thesis project. Their bottom up approach is a refreshing change to the capitalist investments that appear in wealthier areas and their reasoning for producing such architectures has the community in mind.

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PHASED MASTER PLANNING COMMUNITY LAND TRUST DEVELOPMENT

This project does not have the luxury of large scale, capital investment. This is recognised by proposing the overall site scheme as being a phased development. Meaning that the aspirations of the CLT can be still achieved, just in a longer period with phases being funded by small investors, the local government, and benefactors of Third sector organisations. A strategic plan has been set up to deliver the scheme over 4 phases, which spans across a 10 - 15year period.

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SITE PLAN KINGSWAY MUNICIPAL FORUM

At street level, the newly paved, public plaza connects the public to the entrances of the Kingsway Municipal Forum. The plaza can be viewed as an extension of the main floor of the Kingsway Municipal Forum. This is evident via the plazas brick pavement transitioning into the forumâ&#x20AC;&#x2122;s tiled floor. This subtle transition can be metaphorically understood as a way that the Municipal Forum can breakdown or blur traditional thresholds. It can also be understood as establishing a relationship between the public and the everyday civic affairs and civic organisations.

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SITE PROGRAMME: PRECEDENT PROJECT HUBERTUS HOUSE ALDO VAN EYCK Hubertus House is a safe house based in Amsterdam, the Netherlands, that caters for single parents and victims of abuse. Built primarily from concrete and steel the building has a punchy, colourful, glazed façade, that seemingly naturally in amongst its immediate surroundings. The colours suggest that the refuge is a place of enjoyment, however what really intrigued me about this design is how Van Eyck has sensitively designed the facility. The entrance is hidden from the main façade and creates a distinct level of privacy when crossing the threshold. The spaces have been carefully arranged to create a protective buffer on the front street. Semi-public and office spaces border the front façade, with the children’s play spaces, bedrooms and other private spaces being situated deeper into the plan.

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THE PROGRAMME KINGSWAY MUNICIPAL FORUM

The diagram to the right represents the programmatic structure of the Municipal Forum’s Well Being Hub. Which allows the public to meet with Stoke’s public service organizations, for example a financial advisor, in one of the Municipal Forum’s neutral meeting rooms. These spaces can be identified on the axonometric plan [located on the next spread] relatively easily, they are enclosed spaces that are strategically situated throughout the forum, and have been furnished to reflect a front room or living room, as opposed to a traditional and daunting meeting space. The municipal Forum’s programmatic breakdown is represented in this strategic diagram below – which illustrates the logic behind the plan and the key movements into and through the spaces. The supporting parti diagram outlines that the project works on thresholds and has multiple front and back entrances offering varying degrees of privacy for the programmatic connections and the routes through the scheme.

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THE INTERVENTION AXONOMETRIC FLOOR PLAN

The axonometric plan provides a comprehensive overview of the spaces and depicts series of key movements through the spaces. Each colour represents the journeys of different individuals. These individuals are the 4 personas that I have used to help communicate how users interact with the architecture. Their stories, architectural engagement and the resultantly relatable building information will read thematically in the course of the coming pages to invoke how the design is inhabited and aids its users.

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PERSONA NO.1 DANNY VICTIM OF HOMELESSNESS Danny is one of Stokeâ&#x20AC;&#x2122;s victims of homelessness. He found himself in this position following leaving the army and not having any friends or family to help him. He has been fortunate to stay in Stoke Macari Centre for a short number of nights, every so often however to due to their short stay policies Danny had to move on, this came at a bad time, Stoke was experiencing extreme winter weather and Danny was sleeping on the streets. To counter the effects of the cold Danny was engaging in substance abuse and as a result he eventually hospitalised. Having shared his experiences with one of the nurses and expressed his need for help, she gave Danny a leaflet for the Kingsway Homeless Respite and long-term shelter. The facility offers Danny a s safe place to recuperate, socialise and tackle his problems, with the guarantee of a 2-year tenancy. The facility has various social spaces and meeting rooms and has different entrances and exits subtly designed to offer discretion, as noted in the plan and story boards. In addition to the homeless respite and shelter, the Kingsway Municipal Forum offers informal interaction with the architecture to those who do not feel the need to engage with the shelter. The facility offers postal addresses to those who may want to register to vote and gain what we assume to be basic and automatic rights. They can collect their post and can seek shelter beneath the covered way and the visual, but non-confrontational connections via the glazed windows and does offer subtle encouragement for is they eventually want to engage with the space.

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VISUAL #1 GLEBE STREET FRONT STREET ACCESS The atmospheric visual below, captures the more formal and regular “front street facade”. From street level the building appears to coincide with the domestic scale setting, however The patched brickwork and repeated materials suggest a unified whole.

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VISUAL #2 CRANMER STREET BACKLANE ACCESS The atmospheric visual below, captures the more informal access to the community forum via the old back alley, Cranmer Street. The divide created by the presence of the imposing wall and sheltered outdoor space creates a more relaxed setting, greatly contrasting the “front street” that is only yards away.

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PERSONA NO.2 DAVID RETIRED TEACHER The final person is David, David is a retired teacher who is originally from the north east but moved to Stoke to take the position of Head of Science at Biddulph Highschool, 25 years ago. David is also a keen gardener and has his own allotment. Now that both he and his wife are retired they enjoy most mornings heading out for a coffee and to read the morning papers before David goes and tends to his plot every other afternoon. Following a doctorâ&#x20AC;&#x2122;s appointment at the nearby practice, David first encountered the Kingsway Community Lounge and Coffee bar on his way home. He called in for a coffee and whilst placing his order he noticed a sign advertising for volunteers to help tend to the new community winter garden. He applied and got the position and now tends to the growth of new plants that and is responsible for maintaining the gardens upkeep for the community. From the axo and plans the winter garden has numerous thresholds, allowing entry from all of the surrounding programs and acting as a central anchor to the schemes.

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VISUAL #3 WINTER GARDEN

The atmospheric visual below, captures the character of the Kingsway Municipal Forum’s Winter Garden. The juxtaposition of the old and new brickwork, crowned with a new glazed roof and composite roof truss, signifies the intent of the third sector organisation’s investment and commitment to delivering quality.

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DETAILED SECTION WINTER GARDEN

nEW BRICKWORK GABLE BEYOND TO EXPRESS THE DIFFERENCE IN OLD AND NEW. ALL NEW BRICKWORK HAS A DIFFERING BOND TO THE EXISTING.

nEW GLAZED ROOF SYSTEM TO BE SUPPORTED BY A NEW FLITCH BEAM, COMPOSITE TRUSS SYSTEM THAT WILL SIT ON THE EXISTING STRUCTURE.

THERMAL CONTINUITY REQUIREMENTS OF THE WINTER GARDEN DO NOT HAVE TO comply WITH THAT OF THE REST OF THE BUILDING.

BRICK INFILL (OFFSET AGAINST THE EXISTING BRICK COUSE) WHERE OLD FENESTRATION IS NO LONGER REQUIRED FOR THE NEW INTERVENTION.

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DETAILED ELEVATION WINTER GARDEN

The winter garden section and detailed elevation denotes how the use of traditional building materials and methods in a contemporary way has revolutionised the space to best fit the new program. The accompanying elevation denotes the use of patched brickwork and new openings in addition to the new rood construction and revealing insights to the facilities energy strategy.

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USE OF SOLAR PANELS, LOCATED ON SOUTH FACING PITCHED ROOF. POWER IS ALSO PROVIDEd BY A COMMUNAL CHP UNIT LOCATED IN THE COMMUNITY CENTRE PLANT FACILITY.

COLLECTION OF RAINWATER VIA THE GUTTERING TO BE USED AS IRRIGATION WITHIN THE WINTER GARDEN AND USED FOR GREYWATER SYSTEM THAT SERVES THE COMMUNITY FORUM.

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ION. nEW GLAZING FITTED TO SUIT THE NEW FUNCTION WITHIN THE STRUCTURE AND A BRICK INFILL (OFFSET AGAINST THE EXISTING BRICK COUSE) WHERE OLD FENESTRATION IS NO LONGER SUITABLE.

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PERSONA NO.3 LYNSEY & SIMON STRUGGLING YOUNG COUPLE Simon and Lynsey are a couple who have lived in Stoke for the past 3 years, with their young daughter. Lynsey balances her time mainly looking after their daughter whilst studying part time health and social care at Staffordshire Uni and working one day a week in a local café. Simon works as a joiner, and currently provides the main source of income for the family however he has recently been made redundant and as a result the couple have experienced financial difficulties that saw the couple using credit cards to cover their rent. This was obviously unsustainable and resulted in the couple having to terminate their rental contract and move in with family and friends. It was Lynsey’s friend who recommended that the couple go visit the wellbeing hub at the Kingsway Municipal Forum and seek out a help financial advice. The diagram shows the key health and social wellbeing services that are located around stoke and identifies that they all interact with the facility to offer meetings in a neutral setting. The couple first encountered the facility when entering the wellbeing entrance and arranging an appointment with an external financial advisor, at the service desk. Soon after they met with an advisor in one of the forum’s neutral meeting rooms. These spaces can be identified on the axo relatively easily, they are enclosed spaces that are strategically situated throughout the forum, and have been furnished to reflect a front room or living room, as opposed to a traditional and daunting meeting space. One of these spaces overlaps into the 1.50 section and apparent in the Sections foldouts. These spaces can be identified by from the carpets that spill out of the rooms to the spaces beyond, to break the threshold down.

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PERSONA NO.4 GARY MATURE STUDENT Gary is a local Postman and has a long affiliation with Stoke. He grew up in the neighbouring suburb of Biddulph and attended Biddulph High school. Unfortunately Gary struggled at school, for all his efforts he did not achieve the grades he required to get the apprenticeship that he dreamed of. Instead he found work with the Royal Mail and has been a postman for 6 years.

study spaces allowed him to focus or work with others and meant that he could escape the distractions of a noisy family life.

Following the completion of Phase one, The Kingsway community Forum was added to Garyâ&#x20AC;&#x2122;s round and this was his first interaction with the facility. Gary is currently studying to gain the grades he missed out on at school as he wants to pursue a different career and apply t Staffordshire university. He learnt of the book depot and study lounge on his postal route, and decided to attend classes and conduct his private study there on his afternoons off. He found that the private and public

The atmospheric visual below, captures the bricked flooring sweeping through the ground floor, extending from the outer to inner spaces to signify that the street beyond is an extension of the building. In addition, the visual denotes the varying degrees of privacy within the study lounge via the range of permeable to solid partitions.

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Theses private and public study spaces are identifiable in the visual on Garyâ&#x20AC;&#x2122;s storyboard and the axo. The spaces are washed with subtle hierarchies in terms of the flexible partitions and use of furniture to divide the space.

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BOOK DEPOT & STUDY LOUNGE STRUCTURAL & ENVIRONMENTAL DETAILING

The section shows how the facility is of the domestic scale and how the existing structure has been utilized to maximise the success of the program. It depicts the carefully considering lighting and ventilation strategy to find a careful balance between creating an open, light space whilst still retaining a domestic scale.

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MATERIALITY & CONSTRUCTION: PRECEDENT PROJECT KUPPERSMUHLE MUSEUM HERZOG & DE MEURON The Kuppersmuhle Museum, designed by Herzog & de Meuron, was completed at the end of the 1990â&#x20AC;&#x2122;s as part of the redevelopment Duisburgâ&#x20AC;&#x2122;s Inner Harbour. The museum was formerly a flour mill that was reprogrammed to house an extensive art collection. As a result of the reprogramming it is the charming approach to conservation the Herzog & de Meuron have taken, that caught my eye. As a material finish I truly appreciate (and am influenced by) the bricked-up openings and the introduction of new openings. This statement clearly acknowledges and respects the new and old characters of the building and adds to the buildings character. The high-end finishing of the patched-up window, brick details suggest quality and commitment towards the scheme and it is this message through sound architectural detailing that I wanted to replicate within my own design.

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THE INTERVENTION: KINGSWAY MUNICIPAL FORUM FLOORPLANS

The following section exhibits the ground, first and second floor plans for the Kingsway Municipal Forum. The ground floor drawing highlights that the surrounding plaza can be viewed as an extension of the main floor of the Kingsway Municipal Forum via the plazas brick pavement transitioning into the forumâ&#x20AC;&#x2122;s tiled floor. This is a conscious attempt to breakdown traditional thresholds and establish a relationship between the public and the everyday civic affairs and civic organisations. The plans denote the retainment of existing structure and the introduction of new and specialized walls in order to appropriate the building. The floor plans are purposefully intended to read as a series of domestic-scale buildings that have been strategically arranged and designed in order to connect different, internal, complementary programmes. These programmes include a long-term shelter facility, community lounge, a wellbeing hub; book depot and study lounge.

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FLOOR PLAN: PRECEDENT PROJECT WALMER YARD PETER SALTER “The project attempts to reinstate the sense of an interior found in the working mews and pubs that I recall from my childhood in the area, and tries to carry the intensity, the variation, something of the smaller scale of the locale. The design evolved as a spatial negotiation of give-andtake. Each house has a particular geometry in its form and orientation, in a ‘push-me-pull-you’ arrangement that maximises the use of floor area across the development.” Peter Salter This project is rich in every sense of the word, Salter’s use of gizmos through to his material finish intimately engages the inhabitant with the space. His floor plans at first glance may appear irregular and quirky but closer inspection suggests clear and careful consideration to each space with a clear language being defined. For instance, the staircases. The appearance of little / no hierarchy is a skill that I want to replicate within my own design. The thesis aims to evoke a sense of equality and a subtler approach to architectural hierarchies whilst still retaining a distinct language.

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THE INTERVENTION: KINGSWAY MUNICIPAL FORUM SECTIONAL DRAWINGS

The following section highlights three sectional drawings that cut through three key strategic points through the building. Short section #1 cuts through the book depot, study lounge, and community arts facility. Short section #2 cuts through the winter garden, wellbeing hub, and community arts facility. Long section #1 cuts through the Municipal Forumâ&#x20AC;&#x2122;s entirety and offers visual insight into each of the differing programmatic spaces along the lengthy route. This spread shows the two short sections and one long section in their entirety, but these sections can be viewed in the upcoming pages at actual 1:100 scale. The opportunity to view each sectional scene at this scale offers a greater sense of atmosphere within the spaces.

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PROFESSIONAL PRACTICE CONSTRUCTION REPORT

ARCHITECTURE & CONSTRUCTION: PROCESS AND MANAGEMENT REPORT

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PART A: THESIS PROJECT OUTLINE The results of a recent study on the increasing pressures placed upon local governments found that such pressures could be alleviated via the help of Third Sector Organisations. Acting upon these results, an experimental project has been proposed in the city of Stoke on Trent, to serve as a litmus test for the UK. The commission will see Stoke Council hand over responsibilities to a Third Sector Group called the Kingsway Foundation who will oversee the welfare of public and more sensitive matters, to restore successful engagement with the community. The study also recorded that global trends also indicate that new civic architecture is decreasing in scale, partly with cost in mind, but more so to increase the success between the rapport of the local authorities and the public. Considering this, the Kingsway Foundation have commissioned a phased, long-term project, envisioning a new complex with a domestic scale setting, set up for enabling self-betterment and attending to the public’s more sensitive needs. They want an environment that offers discretion and relative anonymity. The project is to utilise an existing terraced structure within Stoke. The proposal will provide 13 dwellings, with a new, similar scale development to the immediate North West of the existing structure. This collection of dwellings will form a wider resource network and will centre around two existing courtyard spaces. Each building will have its own, particular function and will be brought together to create an interconnected sequence of various spaces. The spaces will include a library, an education and wellbeing centre, community kitchen, food bank, lounges, workshops, gym, and a temporary residence facility. Also, a range of diverse rooms will be sporadically positioned across the proposal for informal and formal advice, therapy sessions, social interaction and learning, all having the user’s comfort and wellbeing in mind. As the site is situated within Stoke’s Conservation area, the proposal’s materiality will be applied sensitively and will be in keeping with the immediate surroundings; predominantly brick with subtle use of metal cladding and ornamentation.

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PART B: PROFESSIONAL PRACTICE REPORT SECTION ONE i) The Architect To comply with the RIBA and ARB codes of conduct a fully detailed form of appointment for the services of an architect must be signed. It is likely that if the client was from the commercial sector, they would insist upon having a bespoke form of agreement, made up of their “own particular terms and conditions.” However, as the business client is a charity they may well default to that of the professional body. One of the first responsibilities of the architect is to set up a contract that accords with the codes of conduct, and one such form is the RIBA’s own “Standard forms of agreement”, which would guarantee that the terms of both codes of conduct are met. The use Standard forms of agreement is highly recommended by the RIBA, it clearly outlines role specifications, design services and defines the responsibilities and obligations of the architect and other involved parties, to intentionally create an equal level of risk. Such obligations of the architect, outlined in the RIBA Standard forms of agreement include: -

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Duty of Care – The architect will exercise reasonable skill, care, and diligence in accordance with the RIBA’s standards. Duty to Inform – The architect will notify the client of the progress and notify them of an issue that might impact the client’s original brief, cost, timetable, project quality or need to appoint any other person with a connection to the project. Collaboration – The architect will work alongside those listed within the Project Data. Consultants Authority - The architect will act on behalf of the client when agreed. Confidentially - The architect will not share any confidential information about the project unless it is necessary.

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Should an Architect choose, or be forced down, a bespoke form of appointment then it is incumbent upon them to ensure that all their professional obligations are covered. In addition to the responsibilities and obligations that are outlined in RIBA Standard forms of agreement, the architect is accountable to uphold the responsibilities set out within the RIBA’s Code of Professional Conduct and ARB’s Standards of Professional Conduct and Practice. The architect will be expected by the regulatory boards to act with reasonable skill and care always. The architect is expected to be fully qualified and should be adequate to meet and exceed the demands of the project and satisfactorily complete client instructions. Should the architect fall short of meeting such standards, they could be accountable for professional misconduct or incompetence.

ii) Priorities and Constraints Time is not a great constraint for this project as they are not financially profiting from the development. The only time constraint that is associated with the project is the release of funding for the initial and later phases to enable the construction phase. One priority the charity has is the management of each project phase’s budget. Given that they do not receive a fixed income and must rely on donations, it is incredibly important that the project does not exceed expenses. In this scenario, as identified in the RIBA Standard forms of agreement, it is the duty of the architect to inform the client that it is in their best interest to appoint a Quantity Surveyor, to map out the project expenses and oversee that a cost plan is adhered to. Quality is another key priority of the client. The Kingsway Foundation view high quality as an outward expression of their organisation. Due to being dependent upon funding, it is key that each project phase is finished to a high standard to display to Stoke City Council that their funding is being well spent and will resultantly prompt another funding release for the next phase.

When considering a procurement route guidance, such as the Chappell “which contract” would suggest that time, cost and quality are the overriding selection factors; however, the NEC form of contract (and risk management techniques) would suggest that “risk and value” are a key part of determining the procurement profile. This is discussed later in the study.

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iii) The Site The site lies in the heart of Stoke, a central township within the city of Stoke on Trent, and is bounded by the A52 road and Stoke Minster to the east and Stoke Town Hall to the North. To the south of the site are Stoke’s old market place and post office, while the former Spode Pottery Works runs adjacent to the site’s western perimeter edge. The site is open and easily accessible. The site is situated within the Stoke Conservation area. The architectural character of the conservation area is largely Victorian and Edwardian, emphasized with the use of local building materials including brick, stone, and ceramics. While there is a diverse style of existing buildings on the site, there is a strong commercial identity – and even though their current state is dilapidated, their overall quality is reputable.

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iv) Statutory Approvals The project must achieve planning permission and building regulation status under the Stoke on Trent City Council Planning Department in order to go ahead. The proposed site is not listed and should, therefore, be relatively straight forward with statutory approvals. However, given that the proposed site is located within the Stoke Conservation area the proposal is subject to the policies which govern development within such areas, I would recommend that a pre-application enquiry is submitted in advance of a formal application. This has the advantage of being confidential (should you tick the box requesting confidentiality) and will identify all the required supporting reports to allow the application to be validated. Given that the client has full ownership of a standalone site, the party wall act is not applicable to this project, however statutory approvals that may well affect this project include: Planning approval and discharge of any planning conditions. This will require supporting reports, for example, an Ecology Report (to conduct bat surveys within the existing structures) and a Flood Risk Assessment (due to nearby by canal systems and reservoir). If the proposals conflicted with the local plan and planning policies for the area, then there would be the risk of refusal, or inspector “call in” should the planning committee approve the application. - - -

Building control approval. Rights of light – Due to being located within a built-up area. Environmental Health Approval – For the kitchen and food offer as they would be considered a “commercial” facility. Consideration of end user/operator requirements; o Occupiers Liability Act. o Requirements to maintain an asbestos register. o Public liability insurances. o Fire plan and evacuation procedures. o Waste management regulations and

licence certificates. o Tenancy agreements (the 1954 Tenancy Act) for any of the registered tenancies In addition to this, the proposed site sits adjacent to the Grade 1 listed Stoke Minster. Due to the proposal encroaching on the setting of a major listed building, the architect is obligated to call upon a conservation architect (unless he/she has the expertise in-house) to prepare a Heritage Impact Statement. The Heritage Impact Statement will be submitted alongside other required documents within the planning submission, to demonstrate that a calculated assessment has been carried out on the potential level of impact placed upon the area. The Heritage Impact Statement will also provide statement of justification for the proposal and outline any specific mitigation measures that will be proposed. v) Other Professional Disciplines To complete the delivery of the overall project via a partnering contract, a Core Group consisting of Partnering members will be created, involving: - - - - - - - - - - -

Client – Commissioned the project. May call, attend and minute meeting. May instruct constructor. Project Manager Architect Contract Administrator (the term an individual will vary depending on which contract is selected). Principal Designer Quantity Surveyor Civil and Structural Engineers M&E Engineers Principal Contractor Contractors Funding Co-ordinator

In addition to the design team the following list of consultants are necessary for the delivery of the overall project: - -

Partnering Advisor – Provide knowledge and offer enthusiasm for the Partnering Contract. Reports to support planning will likely require the input of an ecologist and transport

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engineer Conservation Architect – Assist with the setting of the project. Acoustics Engineers – Design the building’s acoustic strategy. Fire Advisor – Oversee the fire safety regulations within the building. Environmental Surveyor – Conduct site assessments.

SECTION TWO Issue One: Procurement Method Before the tendering of Phase 1 of the project, it would be responsible for the architect to comply with their contractual and professional obligations by recommending a procurement method that would be in the best interests of the client. Given the complex nature of the client’s phased project, the recommendation by the architect could be to opt for a multi-party partnering contract instead of a Traditional or Design and Build construction contract. Upon signature of the partnering contract, the architect’s additional responsibilities will include visiting the site and conducting quality control checks, in addition to fulfilling obligations under the CDM Regulations and inputting into Pre-construction Health and Safety Plan. One key aspect that is a major factor in achieving client value and controlling risk within this project would be to select an appropriate procurement method. After the briefing stage of the project, the architect should have a clear vision of what procurement method would be most suitable for the project. The architect should recognise that to achieve value for the client; this specific project needs greater flexibility than the collaborative options that are available within standard procurement methods. The architect could recommend the use of a late stage Design and Build contract to ensure quality and cost control. However, because this project is a specialist charity development that is to be phased over the course of several years (subject to funding), the architect should act within Codes 1 and 7 of the ARB code of conduct. This requires that they apply professional judgement; in this case, you can make an argument that it would be in

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their best interests to consider selecting an alternative procurement method, that looks to establish relationships and share risks, to the benefit of everybody as opposed to a more standard form of procurement. In doing so, the architect could recommend the use of a strategic partnering contract. A partnering contract is relevant to this specific project because it can be used to create long-term working relationships that are spread across several projects, similar to that of a framework agreement. Which works in favour of the client’s as they seek project value. Created in response to the Government’s Task Force Report “Rethinking Construction,” a partnering contract is suitable for this project because it is a single contract that has been developed with teamwork in mind, bringing together the client, consultants, and contractor. It will encourage simplicity and offer assurances to all those involved, especially the client. Given that the project has been commissioned by a not for profit organization, a partnering contract is a suitable choice because it encourages and demands the same level of commitment from all those involved. The employment of a partnering contract will mean that the involved partners will rely on each other in achieving success. Also, given the ethos and financial position of the client, it is appropriate that they seek a procurement method that promotes trust, honesty, and confidence between all parties that are involved in order to achieve quality within a restricted budget. Within the design and build contract there is an opportunity for members, should they become disinterested with the project, to excuse themselves from commitments and neglect responsibilities whilst remaining protected by the normal two-party document procurement method. However, unlike the JCT and NEC, standard form contracts, the partnering contracts (published by JCT, NEC and PPC amongst others) ensure the inclusion of quality and risk, in addition to other incentives such as a TeamBased Multi-Party Approach, Integrated Design/Supply/ Construction Process, and Non-Adversarial Problem Resolution. Whilst risks are a potential in any project, partnering contracts ensure that systems are in place to control and quickly resolve any implications that may

occur. Another benefit of employing a partnering contract for this project, is the opportunity to control risk effectively by setting up a specialist core group that is made up of selected members of the involved partners. This core group will ensure the provision of a system that targets potential risks by: - -

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Anticipating and intercepting events by constantly being pre-emptive. Compilation of a project risk register at RIBA stage 0 and maintained as a live tool throughout the project. Inform all involved parties of predicted events. Comment on and inform all parties of ways to improve decision making Specify to all involved parties, the importance of risk avoidance, reduction, control, and acceptance. Provide evidence to all involved parties what risk planning and control methods have been put in place. Expand upon the Quantity Surveyor’s initial contingency planning.

The core group will also and hold regular meeting to review such issues. In doing so, this group will help the construction process to run efficiently and as smoothly as possible.

Issue Two: Phased Project Funding Funding is another key aspect of this project because the Kingsway Foundation is a charity with limited funding resources. This naturally dictates that the overall scheme is to be phased out as a series of small commissions. The third sector organization will have to wisely manage the funds that are available to achieve maximum quality within their budget. The charity’s initial budget will be financed by donations from numerous sources that include the local council. The primary aim of the initial phase is to act as a funding vehicle to allow the later phases to be delivered. This will be achieved by the local council being the charity’s main financier. The council will only release money in stages that coincide with each phase of the overall

development, subject to the quality and success of the previous investment. The local council will liaise with the charity over the programmatic requirements and provide a figurative sum to complete the first phase. Therefore, it is important that a strict cost plan for the first phase and subsequent commissions be established to ensure that quality can be achieved within limited sums. Funding release for each subsequent commission phase will be judged by the quality and success of the previous project phase. Therefore, quality in the design and the construction of each phase is paramount to the client as the construction will then illustrate that the money is being soundly invested and that the next phase of the scheme is justifiable. During the feasibility and viability stage of phase 1, the architect, acting under the duty to inform of the RIBA’s Standard form of agreement, will advise the client to appoint a Quantity Surveyor (QS). The inclusion of a QS from the outset will assist the architect in designing a proposal that is financially feasible with the initial available funding. Given the nature of this project, it would be favourable if the QS had ample experience in similarly scaled projects with similar budget restrictions to make the cost plan as efficient and as achievable as possible. Having an effective cost plan will reduce the costly impact of any unforeseen risks, and in the event of such an occurrence, a suitable contingency plan will be in place. In accordance with the partnering contract, before construction, the QS will set out and develop the Agreed Maximum Price, regarding the price framework and partnering documents, which will become active following the form of commencement agreement. The QS will also carry out cost appraisals during the early stages of the project, in line with contractual obligations the factoring in what elements of the design are key to the project such as the brick facades. This material detail is a key planning condition for the design, where the proposed building must be in keeping with the existing Victorian and Edwardian architecture within the Stoke Conservation Area. By agreeing that such elements cannot be compromised from the outset will eliminate any risk of omissions later in the project through value engineering – ensuring quality.

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