ESALA MArch Academic Portfolio by Katy Sidwell

Academic Portfolio Ma ste rs of A r c hit ec t u r e [2 0 1 8- 20] Ed i n bur g h Sc hool of A r c hit ectur e & La n ds c a p e A rc hit ec t u r e

K a ty S i d w e l l s1 3 1 2338

Contents Year 1 Semester 1

Academic Portfolio Document Navigation Criteria Mapping

Architectural Design: Studio G

01 - 05

06 - 23

AD:G

Semester 2

Architectural Technology Research

Architectural Design: Studio B

ATR

AD:B

24 - 32

33 - 45

Studies in Contemporary Architectural Theory SCAT 46 - 54

Year 2 Semester 1

Architectural Design: Studio C AD:C 55 - 69

Semester 2

Architectural Management, Practice & Law

Architectural Design: Studio D

Architectural Design: Design Report

Academic Portfolio Matrix and Summary

AMPL

AD:D

70 - 78

79 - 98

99 - 101

102 - 104

General Cr iter ia GC1: Ability to create architectural designs that satisfy both aesthetic and technical requirements. .1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; .2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user. GC2: Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. .1 the cultural, social and intellectual histories, theories and influence the design of buildings;

technologies that

.2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC3: Knowledge of the fine arts as an influence on the quality of architectural design. .1 how the theories, practices and technologies of the arts influence architectural design;

GC5: Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. .1 the needs and aspirations of building users;

.1 principles associated with designing optimum visual, thermal and acoustic environments;

.2 the impact of buildings on the environment, and the precepts of sustainable design;

.2 systems for environmental comfort realised within relevant precepts of sustainable design;

.3 the way in which buildings fit in to their local context.

.3 strategies for building services, and ability to integrate these in a design project.

GC6: Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities. GC7: Understanding of the methods of investigation and preparation of the brief for a design project. .1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

.2 the creative application of the fine arts and their relevance and impact on architecture;

.2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context;

.3 the creative application of such work to studio design projects, interms of their conceptualisation and representation.

.3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC4: Adequate knowledge of urban design, planning and the skills involved in the planning process. .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC9: Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC8: Understanding of the structural design, constructional and engineering problems associated with building design. .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC10: The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building usersâ&#x20AC;&#x2122; requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11: Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architectâ&#x20AC;&#x2122;s practice and architectural projects, recognising current and emerging trends in the construction industry.

Graduate Attr ibutes for Par t II GA2: With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: .1 ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; .2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; .3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; .4 critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; .5 understanding of the context of the architect and the construction industry, including the architectâ&#x20AC;&#x2122;s role in the processes of procurement and building production, and under legislation; .6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and .7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Year X | Sem este r X

COUR S E COD E [Course Title]

[P OR FTOL IO N AV IGAT IO N ]

ARB General Criteria [Part I/II]

ARB Graduate Attributes [Part II]

General Criteria as identified in the ARB Prescription of Qualifications Handbook for Part II. The relevant Criteria for each course are highlighted in bold font to indicate when work matches these requirements.

General Criteria

Skill Development [Self Identified]

Graduate Attributes as identified in the ARB Prescription of Qualifications Handbook for Part II. The relevant Attributes

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

[WS]

Year 1

Collaboration

[LH]

Laura Haylock

Workshop and Fabrication

[CR]

Calum Rennie

[NW]

Naomi Wright

for each course are highlighted in bold font to indicate when

[DI]

Digital and Media

work matches requirements.

[PH]

Photography

[RS]

Research (including Fieldwork)

Year 2

[EX]

Exhibition and Curation (theory and practice)

[JC]

Joe Coulter

[EM]

Eirini Makarouni

[KSa]

Kat Saranti

[RB]

Rachel Briglio

Graduate Attributes

1.1

[CO]

Collaborators

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 5

Ye a r 1 | S e m e s t e r 1

Ar ch itectu r a l Des ig n : S tu d io G

Streamlines, Vor tices and Plumes of the Blue Lagoon and Bath

Learning Outcomes

Studio Brief

LO1 - The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

In this studio, we will work with highly calibrated physical environmental models as a means to develop a conception of architecture as environmental instruments. We will operate between the controlled environment of the studio and the curious thermal environments of the Blue Lagoon, Iceland and Bath, England to design imaginative architectural proposals that are performatively and experientially charged.

Stage 1: Instrument: Environmental Models A: The Environmental Model A*: Controlled Environment in a Controlled Environment B: Recording C: An Architectural Artefact

Iceland is a place of curious confluences and unexpected occurences. Itâ&#x20AC;&#x2122;s a â&#x20AC;&#x2DC;model environmentâ&#x20AC;&#x2122; of surpluses of natural resources, visual saturation, and visceral thermal contrast. It is a place where anything seems possible. A place where politicians are artists, where artists are epicures, where geology becomes architecture, where waste is amenity, where materials are transformed, where the Mediterranean environment meets the tundra. Iceland gives us an idea of what is possible, and this air of possibility will, in turn, act as a co-producer of a new, unexpected reality in Bath.

Stage 2: Phenomena: Recording Immersion in the Blue Lagoon B2: Experiental Recording C2: Architectural Fragment

LO2 - The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 - The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 - A critical understanding of the effect of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

In this studio, we want to develop a concept of architecture as environmental instrument. Instruments require careful calibration, exquisite componentry, they require a solid/defined substrate, a measurable datum. Bath offers this substrate. So we will transpose the curious inversion, the striking contrasts, the unexpected cultural and programmatic collusions to Bath using Iceland as a point of departure to show that what often seem architectural fictions or fantasies are in fact real.

Project Stages

Stage 3: Architecture as Environmental Instrument A2: Environmental Model B3: Process/Experiential Recording C3: Architectural Fragment D1: Thermal Bath Speculations

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Immersive Infrastructure

Group Thesis Inhabiting Infrastructure explores the process of closing loops of material and energetic systems within re-purposed or obsolete infrastructures. The investigation was initiated by the design of a filling tank model that both visualised buoyancy-induced airflow whilst also recycling associated material streams into their constituent elements (water, salt and dye). The tank is a pivot between scales, between the controlled site of the studio and the contingent sites of Bath and the Blue Lagoon; between the performativity of recording immersion at building scale and the performance of calibrating individual components at the infrastructural scale. Three design interventions in the Blue Lagoon test these themes: Occlusion, Distribution and Production. Each intervention is resituated within a distinct layer of the filling tank, thus displacing infrastructural conditions from the ground and exaggerating the strange juxtapositions of the natural and artificial systems in place at the Blue lagoon.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 7

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Stage 1: Instrument: Environmental Models A: The Environmental Model [Brief] In groups of 3, develop prototypes of one of three types of environmental models: wind tunnels, water tables, and filling tanks. In the simplest terms, wind tunnels and water tables make pressure-induced airflow visible and filling tank models make buoyancy- induced airflow visible. Each model type presents different challenges with regards to each of the constituent elements of the environmental model: the instrumentation of making a controlled, steady-state environment; the challenges of materialising and making visible air movement, and the interactions between this phenomena and a scaled architectural model. This task asks that you both make functional environmental models and that you develop an understanding of architectural insights that emerge through the prototyping process of doing so.

Immersive Infrastructure A: Filling Tank The filling tank has a latent potential as a vessel operating at two scales; both as source of a system but also the reason for the system. An early iteration of the filling tank, testing construction, water flow, componentry and material loops

Testing the tank, alongside adjacent instruments in the studio, highlighted the huge quantities of waste outputs produced. We began testing ways to return the waste water to its original state. With filtration came the need for an infrastructure to support the system. Using the tank to test components provided a platform for a closed feedback loop from which a methodology of recording emerged.

Final filling tank iteration, in place at the 2019 Degree Show Exhibition

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 8

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

DISTRIBUTOR MACRO

MICRO

pipes

CONNECTORS

COLLECTORS

MACRO

MICRO

connector

MICRO

plastic

splitter

glass control tap

control stop

COMPONENTS The filling tank operation is facilitated by a system of vessels and componentry, creating closed material loop systems. The layout and flow of these components was tested before assembly of the tank, to analyse the system of joints, connections and control points.

07.10.18

ASSEMBLY

TEST

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 9

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Environmental model development sequence: testing and making the filling tank

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 10

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Process recording became a key methodological tool in the development of the filling tank, and was mainly presented through the medium of a website. The website operated as a rolling documentation the development of the group thesis and filling tank, combining precedent studies, sketchbooks scans, photographs and updates of digital drawings. The website was a tool through which the development of the project could be both documented and examined, allowing for careful auditing and curation of the semesters work as a collective whole.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 11

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Stage 2: Phenomena; Recording Immersion in the Blue Lagoon Fieldwork

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 12

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

B2: Experiential Recording

F IELD OF VISION

Immersive Infrastructure: Fieldwork Strategy

Between 25th - 30th October 2018, insights and Between 25th - 30th October 2018, from insightsthe andconstruction, potentials potentials uncovered recording uncovered and from the construction, recording and reading reading of the filling tank as anof environmental the filling tank as an environmental instrument were instrument were displaced anddisplaced reconsidered upon and reconsidered upon analogous site conditions in around analogous site conditions in and and around Icelandâ&#x20AC;&#x2122;s Icelandâ&#x20AC;&#x2122;s Reykjanes Peninsula. Reykjanes Peninsula.

F ITE[A] LD VAN TAG E POIN

A methodology of fieldwork was choreographed the A methodology of fieldwork wasaround choreographed around considerations of performance, conflating scales, controlled the considerations of performance, conflating scales, environments and inputs environments - outputs that were the controlled andemergent inputs in - outputs that were studio. Various power stations and lines of energy exchange emergent in the studio. Various power stations and were identified further investigation with the as locations of linesasoflocations energyofexchange were identified aim of inhabiting strange co-locations of body, landscape and further investigation with the aim of inhabiting strange infrastructure. co-locations of body, landscape and infrastructure.

O F VIS IO N

F I E LD O F V I S IO N

The vantageThe points that construct viewsthese (A, B,recorded views vantage pointsthese thatrecorded construct C) follow those already in operation within the site in operation (A, which B, C) were follow those which were already of the studio. These the framesite our of scales enquiry throughout the our scales of within theofstudio. These frame work. enquiry throughout the work.

ANC HOR [B]

VANTAGE

POINT

VA N TA G E PO IN T [A ]

[A]

IM M ERSION ROUTE [C]

VA N TA G E P OIN T [A ]

ANCHOR

POINT

FIELD

TES T SITE TEST

SITE

[B]

AN C H O R [B ]

VISION

AN C H O R [ B ] IMMERSION

ROUTE

[C]

I M M E R S IO N RO U T E [C ]

General Criteria

Graduate Attributes

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

1.1

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 13

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

A mapping of the thermally charged conditions across Iceland. Key sites of geothermal activity and infrastructure are mapped as part of strategical fieldwork planning of test sites and travel routes, in relation to wider cultural and civic conditions.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 14

Y1 | S1 ER

AD:D

PL ER

AR D

TE SI

UR AT

H RE IGH G IO TEM N P

FI EL D[A ] IN T O F E PO G A VI T SI VA VA N O N N TA G E PO ] [B IN AN CHOR T ACN [A HO ] R ] [B T E [C ] U O IM N R IO S M ER ER M IM SI O N TE RO ST UT E SI E T S IT TE T E S[ C ]

OF IE L D

FERSI O N RO U T E [C ] IMM

N V IS IO A NC H O R [B ]

VA NTA GE PO I NT [A ]

FI EL D O F VI SI O N

URE

REG

E EMP H T H IG IO N REG

R AT

RY NDA H I GH B O UT EM PERAT U RE IO N REGI O N

TRA

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TOENS B O U NDA RY REGI ROU VEL

T RA NSM I SSI S O N L I NES

T EST SI T E

H YD R O PO

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TR A N SM

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RE 02_01.01_C

W ER PL A N TS

A L ST O PS

IS SI O N

LI N ES

R O U TE S BOUND

A RY

N E

T S IT

IO N

I G RE

FI EL D O F V IS IO N

02_03.02_B

E PO IN T [A ]

02_03.02_C

A TR

M NS

E T EST SIT E SIT ST TE

] ANCHOR[ B[B] OR CH

[C ] TES

FIE

RO GE TA U T E

A] T [ VANTAGE I N POINT [A] PO

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[B ]

OOFR LD

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PE M TE H H I GG I O N RE

IM M

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V IS OF LD F IE

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S E UT

[A ] VISION FIELD NOF IO VIS

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H IG HIGH URE TE R E GTHEMPERAT IO N M P E R AT U REGION RE

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REG

TRA

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IMM ANC

[B]

02_03.04_A

C] E [ UT RO N IMMERSIONI OROUT E [C] RS ME IM

NTS PS STO RAL LT U

T RAVEL ROUT ES TR

ES LIN N IO

R YD

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L RA

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ROU

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R HE OT GE NTS A PL

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WE PO L MA ES

ES SIT ST TE R WE PO AL RM HE ES OT SIT GE NTS ST R PLA TE WE S PO NT AL PLA ER RM HE OW OP OT DR GE NTS HY A TS PL S P AN PL L STO A ER R O W LT U OP CU S DR INE HY S N L OP ISSIO ST M AL NS UR TRA LT ES ES CU LIN UT N RO IO EL I SRS A V RY SM T DA AN UN TR ES BO U TI O N RO EG EL R RY AV E DA TR UR UN AT R BO PE EM H T HIG ION E G UR RE AT ER

SIT ST

ANCHO

IM M ER SI

R [B ]

ON ROU TE

[C ]

Overview of fieldwork strategy and outcomes at multiple sites TE ST SI TEidentified across Iceland. Moments of geothermal activity and the infrastructure in place to extract this energy were focused on as key sites of intrigue.

02_03.04_B

02_03.04_C

HOR

[B]

VA N

TA G

IN E PO

] T [A

FIEL

SI F VI D O

]

C] E [

C E [

MPE H TE HIG ION REG REG TRA

ION

BOU

2.7

OI E P

ION

R AT

NDA

URE

2.6

2.5

[B]

2.4

T EST SI T E

SIT

2.3

2.2

02_01.01_B

02_03.02_A

MP TE GH HI GION RE

ION VIS OF LD FIE N [A] IO T VIS OIN OF E P AG NT ] [A

FIE

11.3

2.1

TE ST SI TE S

10.3

G EO TH ER M A L PO PL A N TS W ER

9.3

PIPE

OUTPUT

Graduate Attributes W ER PL A N TS

8.3

H YD R O PO

7.3

A L ST O PS

6.3

[C ]

11.2

C U LT U R

5.3

10.2

LI N ES

4.3

9.2

IS SI O N

3.3

8.2

TR A N SM

2.3

7.2

R O U TE S

1.3

6.2

11.1

TR A V EL

5.2

9.1

A RY

4.2

8.1

BOUND

3.2

T EST SIT E

7.1

10.1

02_03.04_RED

02_03.03_C

IMMERSION ROUT E [C]

R EG IO N

2.2

02_03.03_B

H IG H TE M PE R ATU R EG IO N RE

1.2

FI EL D O F V IS IO N

6.1

E PO IN T [A ]

5.1

VA N TA G

4.1

R [B ]

3.1

ANCHO

2.1

ON ROU TE

1.1

IM M ER SI

TE ST SI TE

General Criteria

02_03.03_A

IMMERSION ROUT E [C]

T EST SIT E

A NC H O R [B ]

I M M ERSI O N RO U T E [C ]

ANCHOR [B]

ANCHOR [B] (2)

G EO TH ER M A L PO S I PL A W ER N TS O N

VA N TA G

FI EL D O F VI SI O N

VA NTA GE PO I NT [A ]

VANTAGE POINT [A]

LAGOON

S IO

M IS

CU PLA

T RANSMISSION LINESR

WE HYD

GEO TH P

S IT

S T AN

(1)

OF VISION

I MMER S I ON R OUTE [C]

BLUE

H IG H TE M PE R ATU R EG IO N RE

] H I GH T EM PERAT U RE REGI O N

FIELD OF VISION

THE

R WE PO

C E [

F I ELD OF V I S I ON

02_03.03_OUTSIDE

NS TRA

LT U

OPO R HYD LAN ERM CULT URAL ST OPS AL TS

T EST SIT ES

REGI O N B O U NDA RY

HIGH T EMPERAT URE REGION

TES T S I TE

T RAVEL RO U T ES

ST O PS

PS S T OC U LT U RA L RAL

NTS

H Y DRO PO WER PL A NT S

GEO T H ERM A L PO WER PL A NT S

MAL

A] T [

HIGH T EMPERAT URE

LAGOON

T RAVEL RO U T ES

H I G H TEMPERREGION ATUR E R EG I ON

AN CH OR [B]

IO G RE

T RA I SSI 02_03.02_ O U NSM TSID E O TN H EL I NES BLUE

02_03.01_OBSERVATIONS

BOUNDARY

VAN TAG E POIFIELD N T [A]

02_02.02_OBSERVATIONS

C U LT U RA L ST O PS

LAGOON

NESJAVALLAVIRKJUN

GEO T H ERM A L PO WER PL A NT S

UN BO N

AV TR ] [C E UT

]

T EST SI T ES

T RAVEL ROUT ES REGION BOUNDARY

ES ROAD

H Y DRO PO WER PL A NT S

R EG I ON REGION BOUN DARY

R EG IO N

TR AN S MI S S I ON LI N ES

TRIAV 02_03.01_ N EL T HREOUTES BLUE

ES UT

W PO RO D HY

] [A

NT VA

OF D EL FI TES T S I TE

I MMER S I ON R OUTE [C]

AN CH OR [B]

VAN TAG E POI N T [A]

F I ELD OF V I S I ON

PLA WER

T EST SI T ES

POW

BO ON GI RE

H I G H TEMPER ATUR E R EG I ON

R EG I ON BOUN DARY

TR AV EL R OUTES

TR AN S MI S S I ON LI N ES

CULTUR AL S TOPS

H YDR OPOW ER PLAN TS

G EOTH ER MAL POW ER PLAN TS

O L P

DR ST

02_02.02_THE

02_02.01_C

T RANSMISSION LINES T RAVEL ROUT ES

SVARTSENGI

TE ST SI TE S

TR A V EL

CULTUR AL S TOPS

02_03_X

H RE IG G HT IO E N M

02_01.01_A

LIN

TES T S I TES

VIS

O E P

]

SIT

CULT URAL ST OPS T RANSMISSION LINES

H YDR OPOW ER PLAN TS

HYDROPOWER PLANT S

HYDROPOWER PLANT S G EOTH ER MAL POW ER CULT URAL ST OPS PLAN TS

GEOT HERMAL POWER PLANT S TES T S I TES

GEOT HERMAL POWER PLANT S

FIE

T EST SIT ES T EST SIT ES

02_02.01_B

02_02.01_A

BLOCK

S TE

I RS

ISS

]

[

ROAD

02_02.01_NESJAVALLAVIRKJUN

NESJAVALLAVIRKJUN

]

TO]

O SI

ROAD

STATION

POWER

E T S IT

02_01.01_HELLISHEIDI

TES HYDROPOWER PLANT S T

HELLISHEIDI

R THE GEO TS N PLA

02_01_X

TES

GEOT HERMAL POWER PLANT S

M TE H N IG IO H EG R

SI IS

EL AV

M TE GH N HI GIO RE

[THE

02_02_X

SIT

R HE OT S GE ANT PL

S TE

LIN

AL UR LT

S OP ST

O ST

DEVELOPMENT

02_00_X_DEVICE

DEVICE

FIELDWORK

02_00_X_DEVICE

GE PL OT AN HE TS RM

TH S EO T G LAN P

T ES

G PL EO A TH N TS ER H

HI RE GH GI TE ON MP

E IT

G PL EO AN TH TS ER

[Architectural Design: Studio G]

AMPL

AD:C

S C AT

AD:B

ATR

AD:G

Skill Development

Collaborators

KSa

RB 15

P L AP S E RS T O W L P OR A RO LT U D Y U H C AD:C

Y1 | S1

AD:G

ATR

AD:B

S C AT

T ES T S I T ES

AMPL

AD:D

ES P S GEO L I NT H ER M A L PO W ER T OI O N PLA NT S S L SS U RNAS M I T L CU TRA ES THLEYISDNR O PO W ER PLA NT S U N O RO EILS S I V M A S T RN TRA A RY C U LT U N DR A L S T O PS U S OE BT OU ORN I L G EE RV T R A NS M I S S I O N LI NES TRA A RY ND U RE B OT R AV ELRRAOTUU T ES N IO PE REG TEM H HIG ION R EGI O N B O U ND A RY E REG TUR A R PE TEM H H I G I O NH I GH T EM PER AT U R E R EGI O N REG

[Architectural Design: Studio G]

FIE

VIS OF

ION

F I ELD O F V I S I O N

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.3

HYDR

2.2

1.2

2.1

STOP

11.1

10.1

LINE

9.1

SION

8.1

SMIS

7.1

TRAN

6.1

5.1

SIT

R AT U

4.1

T TES

02_03.06_C

T [A]

3.1

E [C]

2.1

ISION OF V

POIN

UT N RO

Graduate Attributes

1.1

FIELD

AGE

] OR [B

RSIO

SITE

General Criteria

ANCH

IMME

TEST

Three vantage points (A, B, C) follow those which were already in operation within the site of the studio. These three points frame the three scales of enquiry throughout the work.

VA N T

Structuring of Fieldwork methodology.

02_03.06_B

UTES EL RO

CENTRE

T R AV

DEVELOPMENT

D A RY OUN ON B

REGI

02_03.06_RESEARCH

E TEMP HIGH N O REGI

T ES T

URAL

[C] ] TE B U [ RO OR ON CH I S AN ER SITE IMM ] E [C 0 2T _03.06_A U RO ION S R E ITE IMM EST S T

I M M ER S I O N R O U T E [ C ]

C U LT

N [A] I S I OO I N T V P OF L D POTIANTG [EA ] VA NTA F I E VGE N A [A] INT O P A NC H O R [ B ] A G E T ] N R [B VA HO C AN

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 16

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Immersion in the thermally charged environment of the Blue Lagoon. Video was a key aspect of fieldwork recording, as it proved the most useful medium to convey the performative nature of the thesis through fieldwork documentation.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 17

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Fieldwork

View from the outside of the Blue Lagoon complex, looking towards the Svartsengi geothermal power station. General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 18

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Stage 3: Architecture as Environmental Instrument Immersive Infrastructure: Production Immersive Infrastructure: Production explores systems of components and vessels as facilitators for growth. This interest derived directly from the strange ‘underworld’ of the filling tank: a domain rich in interchanges between devices for settlement and collection. The language of the project developed directly from the elements of the tank underworld, taking inspiration from the joints, connections and points of control, whilst the operations of the scheme are influenced by the flows and exchanges between inputs and outputs. The scheme comprises a multitude of structural and infrastructural componentry, to form a new system of production. The scheme comprises three main systems for growth: Aeroponic Towers, Suspended Hydroponics and Nutrient Vessels. The growth systems utilise existing resources at the Blue Lagoon, including nutrient-rich water, geothermal steam, and abundant rain water, to facilitate growth. These systems connect within a network, an assemblage of multiplicities, that directly immerses visitors to the Blue Lagoon within the strangeness of the infrastructure of production.

Vessels and componentry facilitating tomato growth at Friðheimer Geothermal Tomato Farm

Graduate Attributes

General Criteria 1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 19

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Despite the charged environmental context of the Blue Lagoon, as a ‘swimmer,’ culinary production and consumption is an underwhelmingly sidelined experience. The food on offer, the dining environment, its relationship to changing areas, threshold spaces and to the lagoon itself require more nuanced articulation. The proposed intervention aims to improve the experience of food production and consumption in the Blue Lagoon, informed directly by vibrant experiential and ethical food production experienced during the fieldwork trip, at Friðheimer and SOE Kitchen. Proposed Site Plan

General Criteria

Proposed Intervention Plan

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 20

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio G]

Proposed Intervention Section

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 21

Y1 | S1

AD:G

ATR

AD:B

[Architectural Design: Studio G]

S C AT SYSTEM

SUSPENDED

EXPLODED

AD:C

AMPL

AD:D

The suspended hydroponics system has a large water collecting roof to capture rain water. Collected water is channeled into a filter where nutrients are added from the nutrient extraction system. Water flow is controlled by a drip nozzle,which then feeds nutrient-rich water into hydroponic vessels. The vessels have an ‘overflow’ outlet, which drips directly into the Blue Lagoon.

The aeroponic tower captures rain water in its funnel-formed roof. Water is channelled into a filter where nutrients are added from the nutrient extraction system. Water flow is controlled by a drip nozzle, which distributes the water over suspended roots within the aeroponic tower by spraying the nutrient-rich water. The water is then distributed into the Blue Lagoon, so as not to be wasted.

SUSPENDED COLD

Rain w ater c ap ture roof p anel

HYDROPONICS

WATER

EXPLODED

AEROPONIC

TOWER

AXONOMETRIC

HYDROPONICS

System 02: Aeroponic Tower

FRESH

SYSTEM

AXONOMETRIC

System 01: Suspended Hydroponics

SYSTEM

C om p onent 01

FLOW

SYSTEM COLD

AEROPONIC

FRESH

WATER

Rai n w ate r captu re ro o f pan e l

C ab le sup p ort

TOWER

FLOW

R AI N I N

C o m po n e n t 0 2

C o m po n e n t 0 1 R a in ca pt ure Flo w so urce

C o m po n e n t 0 4 Ca bl e s u ppo r t RAIN IN

C om p onent 02 C o m po n e n t 0 3

Ra in ca p tu re F low s ou rce

C o m po n e n t 0 5

N utrient fil ter

Filt er no zzle N ut r ient co nt ro l

N UT R I EN T S I N

F ilte r n oz z le N u trie n t con trol

D rip nozzle

NUTRIENTS IN

C o m po n e n t 0 5

C om p onent 04

Dr ip no zzle Flo w co nt ro l

Drip n oz z le F low con trol

J UN CT I O N

C om p onent 05 A erop onic tow er Nu t r i e n t f i l t e r

Dr i p n o z z l e

O V ER F L O W

S ET T L EM EN T

Hydro po nic vessel Flo w ca pt ure Flo w set t lem ent

A e rop on ic tow e r F low d is trib u tion

C om p onent 03

Co mpo n e n t 0 6 B

C om p onent 06a

Co mpo n e n t 0 6 c

c ont rol led

nut r ient - r ic h

dr ip

w a t er

int o

noz z le, w hic h

t hen

hydroponic

ves s els .

feeds The

ves s els ha ve a n ‘ over flow ’ out let , w hic h dr ips d irec t ly Co mpo n e n t 0 8

int o t he B lue La goon.

Co mpo n e n t 0 9 DR AI N AG E

Timb e r w a lkw a y

Co mpo n e n t 0 7

Dra in a g e p ip e F low d is p e rs a l

LIG H T WEIG H T FRA M E C O M P O N EN T S

WAT E R D R A I N

02 DISPERSAL PIPE

Hy dro po n i c v e s s e l

D I S P E R S A L P OI N T S I N T O L A G OON

B lu e la g oon F low d is p e rs a l

D I S PER S AL

Exploded Axonometric

Fresh Cold Water Flow

Exploded Axonometric

Fresh Cold Water Flow

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

06A

06C

06B x2

2.7

Skill Development

Collaborators

KSa

RB 22

Y1 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

TANK

[Architectural Design: Studio G]

STEAM

AD:D

TESTS

CAPTURE

01 b

FLOW

TEST

AIR

SECTION

HOT

TESTS

SECTION

TANK

TEST

TANK TESTS TANK TESTS HOT AIR FLOW HOT AIR FLOW

S TEAM RELEAS E g

S TEAM CAPTURE

TANK STEAM

TESTS CAPTURE

S TEAM S OURCE

General Criteria

SECTION

TEST

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

STEAM CAPTURE n

STEAM SO URCE

TEST

Mapping the density of plumes within the section tests revealed moments of heat intensity and flow, revealing the ideal section shapes and ventilation points for an efficient system.

SECTION

Testing section cuts of the proposals i within the controlled environment of the filling tank became a key methodological tool to test the air flow within the interventions.

SECTION

TEST

STEAM RELEASE

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

S TEAM RELEAS E

S TEAM CAPTURE

Skill Development

Collaborators

KSa

RB 23

Ye a r 1 | S e m e s t e r 1

Arch i tectu ral Tech n o l o gy Research Gen er i c an d Con tex tu al Stu di es

Learning Outcomes

Course Summary

Project Submissions

LO1 - An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design.

This course emulates the role of the researcher- practitioner, recognising that most architectural projects necessitate a level of technological investigation as a prerequisite to successful integrated design. The course runs throughout Semester 1 with a series of trigger lectures on contemporary architectural technology and environmental issues. Students are required to develop and research a particular technological theme. The output from this will be prepared and presented as a distributed knowledge based resource to all students on the MArch programme. The study will be selected from a range of topics provided agreed by the MArch tutors. Students may choose to select alternative topics subject to agreement with course organiser.

Submission 1 - Generic Study You are asked to prepare an illustrated report with a detailed appraisal of an aspect of contemporary technology, researched as a structured enquiry. The enquiry should be linked to the â&#x20AC;&#x2DC;Housing Innovation projectâ&#x20AC;&#x2122; around a particular question agreed with your tutor

LO2 - An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment). LO3 - An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4 - An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

Submission 2 - Contextual Study The Contextual Study is aimed at addressing a research question relevant to the context of the design studio. This may be framed by emergent issues around the specific environment of the studio context or broader issues affecting it. The research study should be conducted jointly with a work partner from your studio.

Y 1 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 1: Generic Study The Future Of Deep Geother mal Heat Networks

Is Geother mal Energy Too Geographically Limited to be an Effectice Wide-Scale Domestic Heating Solution? Abstract

Geothermal heat can be used directly, to heat and cool homes and other buildings. Alternatively, hot water and steam from the earth can be used to generate energy in geothermal power plants.

Th e r e i s a n abundance of heat underneath our feet

4 National Geographic, “Geothermal Energy.” 5 “Geothermal energy,” Renewable Energy World, accessed October 17, 2018, https://www.renewableenergyworld.com/ geothermal-energy/tech.html. 6 World Energy Council, World Energy Resources: Geothermal (2016), https://www.worldenergy.org/wp-content/uploads/2017/03/ WEResources_Geothermal_2016.pdf. 7 “Geothermal energy,” International Energy Agency, accessed October 25, 2018, https://www.iea.org/topics/renewables/ geothermal/.

Fig. 02 | Svartsengi Geothermal Power Station, Iceland

5 . Generic Study

Fig. 06 | A vertical closed-loop GSHP. In this example, a vertical system of pipes are used to

Fig. 07 | An open-loop GSHP. In this example, water is taken diretcly from a geothermal

circulate anti-freeze solution.

source, and recycled back out into the same source.

CLOSED-LOOP (VERTICAL)

OPEN-LOOP (LAKE)

Heat

exchanger

20 M

10 M

30 M

40 M

borehole Re-injection borehole

2017

2018

2019

2020

2021

2022

2023

Fig. 04 | Map of geothermal hot-spots. APAC

North America

Europe

Latin America

Africa

Eurasia

China

Generation

Fig. 03 | Geothermal power generation and cumulative capacity by region, 2017-2023.

Deep geothermal energy is heat within the earth at depths of 400m or more (fig. 08).14 There are two main deep geothermal resources: hydrothermal and hot dry rock. Hydrothermal resources are hot water reservoirs deep within the earth, and are generally easier to exploit as the water can be directly pumped up for use, and re-injected back into the earth once cooled. To use the heat stored in hot dry rock, an enhanced geothermal system (EGS) is required (fig. 09). In an EGS, a fracture network is created deep in the earth, where temperatures are high enough for power production. Water is pumped down into the fracture network to be heated before being pumped back out for power generation. EGS opens the possibility for geothermal power production universally, and in theory can produce unlimited energy.15 EGS has been hailed as the ‘future’ of geothermal, however technology and developments of this system are currently limited, and more research is required to explore the economic and infrastructural capability of EGS.16

Distribution

The

1 KM

injection

well pumps cool water into the fracture network

2 KM

The production well

pumps

the

heated

water from the

3 KM

fracture network

4 KM

permeable

Location Soultz-sous-Forêts, France.

successful EGS Fig. 09 | Enhanced Geothermal System (EGS). EGSs negate the geographical limitations of geothermal energy.

10 . Generic Study

Fig. 13 | Schematic diagram of Landau power plant.

Benefits Geothermal produced electricity is available around the clock and can be used in the base load of the electricity grid because the Earth’s heat is not subject to fluctuations due to the time of day or year.’ 25 The rate at which electricity can be distributed to the user is far more efficient. Output Electricity produced equates to annual requirement of 6,000 households. 26

DEVELOPER:

LOCAL AUTHORITY & ENVIRONMENT:

• • • •

•

• •

Reliable and safe source of energy. Easy to control and operate. Affordable cost and long term price stability. Can tackle fuel poverty by ensuring efficient management of heat provision and stable, low prices. Modern DH schemes are metered: consumers pay for what they individually consume.

Heating plant Power plant

160°C

70°C

Schematic

the

Soultz-sous-forêts

diagram power

50°C

•

The potential to decommission the energy centre plant, and have consumers on the network supplied fully by another energy supplier. This would reduce costs and would free up space for alternative uses. Excess or waste heat can be sold to heat intensive industries.

•

Lower CO2 emissions. DE and CHP are the most energy efficient way of providing heat to buildings. DH can also offer local authorities the opportunity to lower fuel poverty levels by providing lower cost heat to consumers. Renewable energy source.

Geographic Location Located in the Upper Rhine Graben basin.

Circulation within hot rock fractures heats water.

Brief This geothermal power plant utilises existing fractures in the 200°C hot granite. These fractures are expanded at a depth of 5000m by injecting water and connected to form a geological heat exchanger.17 Sometimes geographical locations can be unreliable. This system was devised in Soultz to incorporate the existing fractures and utilising natural water deposits consistently.18 This EGS relies on engineering measures to optimise the existing natural conditions.19

Water is pumped to surface for electrical/heating generation. Application independant of water source or steam. Water pumped back at approx. 70°C.

Output Thermal capacity of 15 MW.

Gross electricity production is 2.1MW. Electricity is produced at all times regardless of any external weather conditons.

17 Bine, Geothermal electricity generation in Soultz-sous-Forêts (2009), http://www.bine.info/fileadmin/content/Publikationen/Englische_Infos/ projekt_0409_engl_Internetx.pdf. 18 Ibid. 19 Ibid.

200°C Reinjection pump Ground Level -1000m -2000m

-5000m

A key challenge in implementing new deep geothermal power plants is the cost of construction. Deep geothermal energy has high start-up investment costs, due to the initial phases of drilling and testing boreholes.28 It is possible, however, that the economy of scale of DH can make deep GeoDH a financially viable solution. This is dependent on the size of the town, heat market size, and the regional construction costs.29 If demand is suitable, and investment is available, it becomes more possible for GeoDH to be financially competitive in the energy market. Retrofitting existing power stations is another method to avoid the high construction cost of deep geothermal plants, such as the example in case study 3.

There have also been geological concerns of the long-term risk of the depletion of geothermal hydro resources, which would render geothermal projects entirely unprofitable.30 However, the use of EGS does, in theory, provide the framework for an infinite supply of geothermal energy, as extraction is not dependant on available water sources. This puts EGS at the forefront of geothermal technology as an uninterrupted, globally available renewable energy source.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.5

2.6

2.7

DISTRIBUTION

Fig. 11 | Diagram of a district heat network. A combined heat and power plant is providing hot water and power to the community.

P PL

MES TIC

When combined with geothermal energy, district heating has the potential to provide low-carbon, lowcost, renewable energy to wide networks of homes and other buildings. The use of geothermal district heating (GeoDH) is growing; in 2017, nine new plants

CIA

MER

M CO

22 International Energy Agency, “Geothermal energy.” 23 “Geothermal District Heating,” GeoDH, accessed October 16, 2018, http://geodh.eu/.

Geothermal energy is a widely available, but still relatively misunderstood and underexplored renewable resource. The direct use of geothermal energy via GSHPs, whilst beneficial in terms of reducing domestic energy use and emissions, is too limited to be an effective solution on a large scale. The use of GSHPs for individual homes, as well as the restrictions of shallow depth geothermal temperatures, limits the use of these systems to small scales within certain regions. Deep geothermal energy, particularly the use of enhanced geothermal systems, represents the future of geothermal energy. EGS are far less geographically limited than direct shallow geothermal systems, and have the potential for an infinite supply of geothermal energy. Though some geological limitations do still apply to EGS during the initial drilling phases of a project, to ensure suitable permeability for a deep fracture network, these systems provide a framework for global geothermal energy use. If investment, demand and development are sufficient, EGS and the use of deep geothermal energy to fuel district heat networks have huge potential to revolutionise the domestic energy industry by providing low-carbon, renewable energy worldwide.

20 . Generic Study

Skill Development 2.4

were put into operation in the EU.22 Some of the first installations of GeoDH have been in regions with sufficient hydrothermal resources.23 However, with the emergence of EGS, there is potential for the use of GeoDH on a far wider scale.

30 GeoDH, Developing Geothermal District Heating in Europe (2014), https://ec.europa.eu/energy/intelligent/projects/sites/ieeprojects/files/projects/documents/geodh_final_publishable_results_ oriented_report.pdf.

18 . Generic Study

17 . Generic Study

Lars Tveen, President of Danfoss Heating, states that “district heating is a prerequisite for the use of geothermal heat.”20 District heat networks connect buildings within a community to a network of pipes to meet heating needs (fig. 11). The heat in these networks is often recycled waste heat from electricity production, and the system is low maintenance as there are no individual boilers to repair. The ADE estimates that heat networks can save customers an average of £100 a year, and can reduce carbon emissions by 700,000 tonnes a year.21 District heat networks are served by a single power plant, and can range from a few metres to several kilometres in length. A combined heat and power plant (CHP) can be used for district heating, to meet all heating and power needs of a community.

CONCLUSIONS

The development, construction and use of deep geothermal power and DH networks incur a range of challenges, primarily of economic and geological concerns.

Fig. 17 | Geothermal district heat

-3300m

A D O M E ST I C E N E R GY S O LU T I O N ?

20 “New partnership to develop the potential of geothermal energy for district heating,” Euroheat & Power, last modified June 20s, 2018, https://www.euroheat.org/news/new-partnershipdevelop-potential-geothermal-energy-district-heating/?hilite=%22g eothermal%22. 21 “Heat networks,” ADE, accessed October 16, 2018, https://www. theade.co.uk/resources/what-is-district-heating.

-4000m

networks incur a range of challenges.

25 Ibid. 26 Ibid. 27 Ibid.

11 “Geothermal Heat Pumps,” Office of Energy Efficiency & Renewable Energy, accessed October 23, 2018, https://www.energy. gov/energysaver/heat-and-cool/heat-pump-systems/geothermalheat-pumps. 12 British Geological Survey, “Open-loop ground source heat pumps.”

12 . Generic Study

28 Rödl & Partner, “The key to Europe’s district heating lies deep under the ground.” 29 Ragnar Thorisson, Gabor Molnar, Lilja Tryggvadottir, District Heating and Economy of Scale (Melbourne, 2015), https://pangea. stanford.edu/ERE/db/WGC/papers/WGC/2015/28019.pdf.

13 . Generic Study

Rather than using an anti-freeze fluid, open-loop systems use an abstraction borehole to directly supply groundwater to the heat pump (fig. 07). The groundwater is circulated through the same heat pump system as in a closed-loop, and is then returned to the earth, either through a re-injection borehole or as surface discharge.12

-3000m

Fig. 12 | Landau power plant.

24 Bine, Geothermal electricity generation in Landau (2007), http:// www.bine.info/fileadmin/content/Publikationen/Englische_Infos/ projekt_1407_engl_Internetx.pdf.

OPEN LOOP SYSTEM

plant

enhanced geothermal system

Injection well

Ground Level

Heat extraction

Extraction well (pump)

Emissions Impact Annual saving of 6,000 tons of C02.27

CHALLENGES

CONSUMER:

•

11 . Generic Study

WHO BENEFITS?

D I S T R I C T H E AT I N G

Fig.

Injection of water in fractures.

is necessary for a

5 KM

source heat pump.

diagram of a ground

G E OT H E R M A L D I S T R I C T H E AT I N G

Fractures within the Earth’s core are expanded.

fracture network

14 Geothermal Communities, “Shallow Geothermal Systems.” 15 “The key to Europe’s district heating lies deep under the ground,” Rödl & Partner, last modified February 2018, https://www. roedl.com/insights/erneuerbare-energien/2018-02/key-europesdistrict-heating-lies-deep-under-ground. 16 Ibid.

Fig. 05 | Schematic

Closed-loop systems come in three forms: vertical, horizontal and pond, referring to the layout of the underground pipes. These systems continuously circulate an anti-freeze fluid through a closed loop of underground pipe (fig. 06). In this system, heat is transferred between the fluid in the pipe and refrigerant in the heat pump using a heat exchanger.11

8 . Generic Study

ENHANCED GEOTHERMAL SYSTEM

Power plant

8 “Open-loop ground source heat pumps,” British Geological Survey, accessed October 21, 2018, https://www.bgs.ac.uk/research/ energy/geothermal/gshp.html. 9 “Ground source heat pumps,” Energy Saving Trust, accessed October 21, 2018, http://www.energysavingtrust.org.uk/renewableenergy/heat/ground-source-heat-pumps. 10 “Shallow Geothermal Systems,” Geothermal Communities, accessed October 20, 2018, http://geothermalcommunities.eu/ elearning/chapters.

CLOSED LOOP SYSTEM

CONDENSER

several km deep

CASE STUDY 2: LANDAU

Brief Two boreholes drilled from one location down to a depth of 3300m. Thermal water with a temperature of under 160°C is obtained from the extraction well and is initially used for electricity generation. The remaining 70-80°C of heat are fed into the DH network. The water cools to 50°c then is inserted back into the soil via an injection well.

C A S E S T U D Y 1 : S O U LT Z - S O U S - F O R Ê T S

13 World Energy Council, World Energy Resources.

Geographic Location This industrial power plant utilises its energy based on its prime geographic location as it sits within a geothermal ‘hot spot’. The Upper Rhine Valley presents particularly favourable conditions for geothermal projects as the water is around 160°C at a depth of just 2,500m.24

D E E P G E OT H E R M A L H E AT

Abstraction

9 . Generic Study

Location Geothermal Electricity Generation in Landau, Germany.

7 . Generic Study

Fig. 08 | Geothermal depths and its uses..

[DEEP] GEOTHERMAL

104

6 . Generic Study

Despite being available 24 hours a day throughout the year, geothermal energy currently contributes a small percentage of global energy consumption, and produces less than 1% of the world’s electricity output.13 Such a widely available resource has huge potential for providing renewable energy, and current developments in geothermal technology are tapping into this potential. Advancements in the use of deep geothermal heat are establishing the possibility of utilising geothermal resources in regions where conditions have previously been unfavourable. Whilst GSHPs, as discussed, directly utilise shallow geothermal heat for individual homes, the use of deep geothermal heat presents an opportunity for wide-scale power production beyond traditional geothermal regions.

20 M

Ground loop

122

THE FUTURE OF GEOTHERMAL

10 M

An example of the direct use of geothermal energy is the transfer of heat from the earth for domestic space heating, cooling, and hot water production using a Ground Source Heat Pump (GSHP). GSHPs are commonly used to provide heating and hot water to individual homes, utilising the difference between above ground (air) and below ground temperature in different seasons for heating and cooling.8 These systems utilise the ambient temperature of the earth, in conjunction with a heat exchanger, to transfer geothermal heat from shallow depths ranging from two metres to 100m (fig. 05).9 GSHPs require electricity to run, but the systems can lower domestic electricity consumption by 30-60% in comparison with traditional heating systems.10 There are two main types of GSHP: closed-loop and openloop systems.

EVAPORATOR

1 “How Geothermal Energy Works,” How Stuff Works, last modified March 2, 2011, https://science.howstuffworks.com/environmental/ energy/geothermal-energy.htm. 2 “Geothermal Energy,” National Geographic, accessed October 25, 2018, https://www.nationalgeographic.com/environment/globalwarming/geothermal-energy/. 3 Ibid.

Geothermal resources are unique in location, depth and temperature, and can be tapped by various technologies. In 2017, cumulative global geothermal capacity reached at 14GW. With emergent technologies and additional infrastructure, this is expected to rise to over 17 GW by 2023 (fig. 03).7

G R O U N D S O U R C E H E AT P U M P S Figure 03 shows current and anticipated geothermal capacity and generation globally. These figures, predicted by the IEA, demonstrate the potential for future growth of geothermal within just five years, highlighting its importance as a developing renewable energy source.

GROUND LOOP

Geothermal energy depends on heat within the earth to deliver a steady energy supply.4 Geothermal resources range from heat in shallow ground, hot water and rock a few kilometres below the Earth’s surface, and even deeper to the extreme heat found in molten rock.5 While some countries have utilised geothermal hot springs for thousands of years, the first industrial use of this energy was at the Larderello geothermal power plant in Italy in the early 1900s, for electricity generation.6

COMPRESSOR

With current sources of fossil fuels depleting rapidly, and the damaging effects of carbon emissions from the burning of these fuels, the development of alternative sources of power is an essential concern in contemporary energy technology.1 One abundant source of energy, which so far has scarcely been tapped, is geothermal. Geothermal energy is the use of heat energy from within the earth. It is a naturally available renewable energy source which can be extracted without burning fossil fuels.2 Unlike other renewable energy sources such as wind and solar, geothermal energy is constantly available.3 The abundance of this low-carbon energy source places geothermal in a position of huge potential in meeting domestic energy requirements. To assess whether geothermal energy can be used to provide domestic energy at a suitably large scale, questions of geography, emerging technologies, heating systems and the economic and social implications of these methods must be addressed.

DIRECT DOMESTIC GEOTHERMAL SYSTEMS

Geothermal capacity (GW)

G E OT H E R M A L H E AT

EXPANSION VALVE

INTRODUCTION

Geothermal generation(TWh)

This study aims to assess whether geothermal energy is too geographically limited to be an effective widescale domestic heating solution. Through the analysis of government and environmental agency data, global energy statistics, geothermal mapping and considered case studies, the study hopes to deduce whether there is potential for geothermal energy to provide domestic heating at a global scale. The study will consider a comparison of current uses of geothermal energy with emerging technology in deep-geothermal, developments in district heating, the logistics of deepgeothermal district heating networks, and the viability of such a solution geographically. The economic, social and political implications of such an energy strategy are also deliberated, to provide a conclusion on whether deep-geothermal district heating is a suitable solution for future domestic energy requirements globally.

Collaborators

KSa

RB 25

pth ous mal gies e to

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 1: Generic Study

Geother mal Heat

The Future of Geother mal

Geother mal District Heating: A Domestic Energy Solution?

Geothermal energy depends on heat within the earth to deliver a steady energy supply.Geothermal resources range from heat in shallow ground, hot water and rock a few kilometres below the Earth’s surface, and even deeper to the extreme heat found in molten rock. While some countries have utilised geothermal hot springs for thousands of years, the first industrial use of this energy was at the Larderello geothermal power plant in Italy in the early 1900s, for electricity generation.

Despite being available 24 hours a day throughout the year, geothermal energy currently contributes a small percentage of global energy consumption, and produces less than 1% of the world’s electricity output. Such a widely available resource has huge potential for providing renewable energy, and current developments in geothermal technology are tapping into this potential. Advancements in the use of deep geothermal heat are establishing the possibility of utilising geothermal resources in regions where conditions have previously been unfavourable. Whilst GSHPs, as discussed, directly utilise shallow geothermal heat for individual homes, the use of deep geothermal heat presents an opportunity for wide-scale power production beyond traditional geothermal regions.

Lars Tveen, President of Danfoss Heating, states that “district heating is a prerequisite for the use of geothermal heat.” District heat networks connect buildings within a community to a network of pipes to meet heating needs. The heat in these networks is often recycled waste heat from electricity production, and the system is low maintenance as there are no individual boilers to repair. The ADE estimates that heat networks can save customers an average of £100 a year, and can reduce carbon emissions by 700,000 tonnes a year.District heat networks are served by a single power plant, and can range from a few metres to several kilometres in length. A combined heat and power plant (CHP) can be used for district heating, to meet all heating and power needs of a community.

G E OT H E R M A L D I S T R I C T H E AT I N G

Deep geothermal energy is heat within the earth at depths of 400m or more. There are two When combined with geothermal energy, district heating has the potential to provide low-carbon, Geothermal heat can be used directly, to heat and cool homes and other buildings. Alternatively, main deep geothermal resources: hydrothermal and hot dry rock. Hydrothermal resources are A D O M E S T I C E N E R G Y S O L U T I O N ? lowcost, renewable energy to wide networks of homes and other buildings. The use of geothermal Figure 03 shows current and anticipated geothermal D E E P G E OT H E R M A L H E AT hot waterand andgeneration steam fromglobally. the earth can be used to generate energy in geothermal power plants. hot water reservoirs deep within the earth, and are generally easier to exploit as the water can district heating (GeoDH) is growing; in 2017, nine new plants were put into operation in the capacity These figures, EU. Some of the first installations of GeoDH have been in regions with sufficient hydrothermal predicted by the IEA, demonstrate the potential for T H E F U T U R E O F G E O T H EbeRdirectly M A Lpumped up for use, and re-injected back into the earth once cooled. To use the heat future growth of geothermal within just five years, stored in hot dry rock, an enhanced geothermal system (EGS) is required. In an EGS, a fracture resources. However, with the emergence of EGS, there is potential for the use of GeoDH on a highlighting its importance as a developing renewable Fig. 11 | Diagram of a district heat Larsearth, Tveen, President of Danfoss Heating, states were put into operation infar thewider EU.22scale. Some of the first network is created deep in the where energy source. network. A combined heat and power that “district heating is a prerequisite for the use of installations of GeoDH have been in regions with temperatures highis enough for the power Despite being available 24 hours a day throughout Deep geothermal are energy heat within earth 20 23 plant is providing hot water and power 14 geothermal heat.” District heat networks connect sufficient hydrothermal resources. However, with the the year, geothermal energy currently contributes at production. depths of 400m or more (fig. 08). There two Water is pumped down intoarethe Power plant to the community. a small percentage of global energy consumption, main deep network geothermal hydrothermal anda community to a network of pipes to buildings emergence of EGS, there is potential for the use of fracture toresources: be heated before within being and produces less than 1% of the world’s electricity hot dry rock. Hydrothermal resources are hot water meetgeneration. heating needs (fig. 11). The heat in these networks Distribution GeoDH on a far wider scale. pumped back out for power output.13 Such a widely available resource has huge reservoirs deep within the earth,isand arerecycled generallywaste heat from electricity production, often EGS opens the possibility for geothermal 20 potential for providing renewable 122 energy, and current easier to exploit as the water can be directly pumped and the system is low maintenance as there are no production universally, theory for use, and re-injected back intoand theinearth once developments in geothermal technology are tapping uppower individual rock, To use the heat stored in hot dry into this potential. Advancements in the use of deep cooled. can produce unlimited energy. EGSboilers hasan to repair. The ADE estimates that The injection heatis networks can save 1 KM customers an average of £100 geothermal (EGS) required (fig. geothermal heat are establishing the possibility of enhanced well pumps cool been hailed as the system ‘future’ of geothermal, 104 15 year, deep and can in thereduce carbon emissions by 700,000 water into the utilising geothermal resources in regions where 09). In an EGS, a fracture network isacreated however technology and developments of 21 enougha for power conditions have previously been unfavourable. Whilst earth, where temperatures are hightonnes year. District heat networks are served by a fracture network this system are iscurrently limited, and more Water pumped down into the fracture GSHPs, as discussed, directly utilise shallow geothermal production. NT single power plant, 2and can range from a few metres LA KM research is required to explore the economic PP 96 deep geothermal 10 network to be heated before being pumped back out heat for individual homes, the use of H C to several kilometres in length. A combined heat and The production power generation. EGS opens of theEGS. possibility for heat presents an opportunity for wide-scale power forand infrastructural capability DO well pumps Geothermal generation(TWh)

ool and rgy

A D:G

Geothermal capacity (GW)

h to ces ock ven hile for rgy y in

Y 1 | S1

production beyond traditional geothermal regions. 88

2017

2018

2019

2020

2021

2022

2023

power plant (CHP) can be used for district heating, to

and other buildings. The use of geothermal district heating (GeoDH) is growing; in 2017, nine new plants

03/ APAC

North America

Africa

Eurasia

Europe China

Latin America

Fig. 03 | Geothermal power generation and cumulative capacity by region, 2017-2023.

Generation

Fig. 08 | Geothermal depths and its uses..

Fig. 01 | Geothermal Power Generation and Cumulative Capacity by Region, 2017-2023

13 World Energy Council, World Energy Resources.

geothermal power production universally, and in theory the heated meet heating power needs of a community. can produce unlimited energy.15 EGS hasall been hailedand3 KM water from the as the ‘future’ of geothermal, however technology and fracture network developments of this system are currently and with geothermal energy, district When limited, combined more research is required to explore the economic andpotential to provide low-carbon, lowheating has the 4 KM infrastructural capability of EGS.16 cost, renewable energy to wide networks of homes

5 KM

14 Geothermal Communities, “Shallow Geothermal Systems.” 15 “The key to Europe’s district heating lies deep under the 09potential | Enhanced System ground,” Rödl & Partner, last modified February 02 |Fig. Enhanced Geothermal System 20 2018, “Newhttps://www. partnership toFig. develop the ofGeothermal geothermal roedl.com/insights/erneuerbare-energien/2018-02/key-europesenergy for district heating,” Euroheat Power, last modified June (EGS). &EGSs negate the geographical district-heating-lies-deep-under-ground. 20s, 2018, https://www.euroheat.org/news/new-partnership16 Ibid. limitations of geothermal energy.

develop-potential-geothermal-energy-district-heating/?hilite=%22g eothermal%22. 21 “Heat networks,” ADE, accessed October 16, 2018, https://www. theade.co.uk/resources/what-is-district-heating.

10 . Generic Study

ST IC

permeable

fracture network several km deep

is necessary for a successful EGS

IAL

E MM

Fig. 03 | District Heating Diagram 22 International Energy Agency, “Geothermal energy.” 23 “Geothermal District Heating,” GeoDH, accessed October 16, 2018, http://geodh.eu/.

12 . Generic Study

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 26

Y 1 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 1: Generic Study Vision For a Future Home VISION FOR A FUTURE HOME

DH enables a lower cost method of

By utilising the local geothermal

achieving carbon targets than through

source, the Gurbers can run

the use of microrenewables. This benefits

their home at a lower cost and

[In Vision for a Future Home, an example scenario is explored to examine the direct effects of GeoDH on residents, developers, and the environment.]

these developers and makes the new

with lower carbon emissions

homes they provide increasingly efficient.

in comparison to a traditional

plant uses an EGS to utilise the

GeoDH network, and its reliable

hot dry rock 4km deep within

source of heat, have protected this

the earth in this region.

resident from fuel poverty since its installation.

heating system.

This is the Gurber family. They have just moved to a new home which is served by a district heat network. The heat network is powered by a geothermal combined heat and power plant. As there is no available hydrothermal reservoir, the CHP uses an enhanced geothermal system to draw heat from 4km deep within the Earth. The Gurbers are interested to learn how their new community have responded to the GeoDH system, which was installed two years ago. Having used a traditional heating system in their previous home, they also look forward to seeing how the GeoDH system will affect their domestic comfort and bills.

The combined heat and power

The low, stable prices of the

GeoDH has reduced C02 emissions in

the neighbourhood by 60% compared

to the previously used fossil fuel power. In the first year since moving to their new Underground pipes carry hot water from the

The pipes connect with neighbouring properties

water has been cooled to conform to standard

electricity powered by the energy centre.

to form a heating and cooling network and

energy centre to the Gurbers’ house. This household heat regulations. 15 . Generic Study

Bibliography

ADE. “Heat networks.” Accessed October 16, 2018. https:// www.theade.co.uk/resources/ what-is-district-heating.

General Criteria 2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

hazards and maintenance in this

has reduced typical domestic

system.

young mother’s home.

Fig. 16 | Effects of GeoDH on the neighbourhood residents, developers and the environment.

International Energy Agency. “Geothermal energy.” Accessed October 25, 2018. https://www. iea.org/topics/renewables/geothermal/. Office of Energy Efficiency & Renewable Energy. “Geothermal Heat Pumps.” Accessed October 23, 2018. https://www.energy.gov/eere/geothermal/geothermal-heatpumps.

BRGM. “The different geothermal applications.” Last modified November 2, 2013. http://www. brgm.eu/activities/ geothermal-energy/different-geothermal-applications. British Geological Survey. “Open-loop ground source heat pumps.” Accessed October 21, 2018. https://www.bgs.ac.uk/ research/energy/geothermal/gshp.html.

Rödl & Partner. “The key to Europe’s district heating lies deep under the ground.” Last modified February 2018. https://www.roedl.com/insights/erneuerbare-energien/2018-02/keyeuropesdistrict-heating-lies-deep-under-ground.

European Climate Foundation. Road Map 2050: a practical guide to a prosperous, lowcarbon Europe. 2013. http://www. roadmap2050.eu/attachments/files/Roadmap2050AllDataMinimalSize.pdf.

Thorisson, Ragnar, Gabor Molnar, and Lilja Tryggvadottir. District Heating and Economy of Scale. Melbourne, 2015. https://pangea.stanford.edu/ERE/db/WGC/papers/ WGC/2015/28019.pdf.

GeoDH. “Geothermal District Heating.” Accessed October 16, 2018. http://geodh.eu/.

World Energy Council. World Energy Resources: Geothermal. 2016. https://www.worldenergy. org/wp-content/uploads/2017/03/WEResources_Geothermal_2016.pdf.

Graduate Attributes

1.1

20% lower than with their previous heating

16 . Generic Study

Conclusion

Deep geothermal energy, particularly the use of enhanced geothermal systems, represents the future of geothermal energy. EGS are far less geographically limited than direct shallow geothermal systems, and have the potential for an infinite supply of geothermal energy. Though some geological limitations do still apply to EGS during the initial drilling phases of a project, to ensure suitable permeability for a deep fracture network, these systems provide a framework for global geothermal energy use. If investment, demand and development are sufficient, EGS and the use of deep geothermal energy to fuel district heat networks have huge potential to revolutionise the domestic energy industry by providing low-carbon, renewable energy worldwide.

Having no boiler in the house

energy bills. On average, their bills have been

Fig. 15 | The Gurber house.

Fig. 14 | The Gurber family. 14 . Generic Study

home, the Gurbers have saved £95 on their

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 27

Y 1 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 2: Contextual Study Deep Geother mal Energy in Scotland

Exploring the Feasibility and Impact of Using Deep Geother mal Systems in Scotland Introduction: Why Geother mal?

GEOTHERMAL IN SCOTLAND

“Geothermal energy offers a genuine opportunity for Scotland to develop a new industry sector.” - Professor Russel Griggs, Chair of the Geothermal Energy Expert Group

It is estimated that heat is accountable for over half of Scotland’s total energy use and nearly half of Scottish greenhouse gas emissions. In 2016, four feasibility studies, carried out under the Geothermal Energy Challenge Fund, explored the potential of deep geothermal energy use in various locations in Scotland. Following these studies, Professor Russel Griggs, Chair of the Geothermal Energy Expert Group has said that the research “suggests that geothermal energy offers a genuine opportunity for Scotland to develop a new industry sector.” Deep geothermal has been identified by the Energy and Climate Change Directorate (ECCD) as an important emerging renewable technology, with the potential to be significant in the future of Scotland’s energy provision. Considering the investment, research and potential importance of deep geothermal energy, this report will assess the contemporary standing of this renewable energy source in Scotland through case study analysis, identifying key challenges and assessing strategies by which these may be overcome.

GEOTHERMAL IN SCOTLAND

R E N E WA B L E E N E R GY F U N D I N G There are currently no known deep geothermal

CURRENT RESEARCH

Project

Project Location

Lead Applicant

technologies in operation in Scotland. However, there has been significant funding and investigation into renewable

Macdonald Aviemore Resort

energy sources in recent years. Scotland’s Low Carbon

Glencoe Village Energy Project

Infrastructure Transition Programme (LCITP), founded in 2015, is a £60m fund which aims to “keep Scotland at the forefront of low carbon innovation.”4 As of January 2018, the LCITP had offered over £40million of funding to 16 low carbon projects, including two aiming to use geothermal energy (fig. 1).

Ross Developments & Renewables Ltd. Highland Council

Abandoned mine workings can be categorised as a low-

Hot Sedimentary Aquifers are hydrothermal systems, and

of geothermal heat stored below Scotland, and to date

temperature, relatively shallow geothermal resource, so

can be either low or high temperature. HSA are bodies

The main source of government funding for geothermal

this resource has remained relatively untapped.7 There

for the purposes of this research HSA and HDR will be

of permeable rock that can contain large quantities of

energy in Scotland comes from the Geothermal Energy

are three main settings for the geothermal heat resource

explored.

groundwater, which are hot enough and have sufficient

£95,625

Challenge Fund (GECF). Following a 2012-13 project by

beneath Scotland: abandoned mine workings, Hot

productivity to constitute a potential geothermal

£49,987

the Scottish Government, Study into the Potential for

Sedimentary Aquifers (HSA), and Hot Dry Rocks (HDR).

resource. These are usually found in sedimentary strata

LCITP support request

£134,004

Callander

Stirling Council

£203,250

£100,000

49.2

UWS Ayr Campus

Ayr

University of West Scotland

£30,000

£15,000

Low carbon heat at Orkney Research and Innovation Campus (ORIC)

Orkney Campus (Stromness)

Highlands and Islands Enterprise

£20,000

£10,000

Low Carbon Community, Commercial and University flexible network

St. Andrews University – Eden Campus at Guardbridge

University of St. Andrews

£215,000

£100,000

Millerhill Low Carbon District Heating Project

Millerhill, Edinburgh

Midlothain Council

£100,000

£50,000

Westfield Ground Source Heat Pump Pilot Project

Westfield, Edinburgh

West Lothian Council

£40,000

£20,000

Housing for Older People – Energy Efficient Homes

Airdrie, Wishaw, Kilsyth

North Lanarkshire Council

£50,000

£25,000

FISOGG (The Fyne Solution for off Gas Grid)

Argyll and Bute

Fyne Homes

£170,000

£85,000

Fintry Ground Source Community Heating

H OT S E D I M E N TA R Y A Q U I F E R S

There is little evidence at ground surface of the reservoir Funding % of total costs 50

Total cost of Development Stage £191, 250

Callander Local Energy Opportunity

Halo Kilmarnock Project

4 “Low carbon infrastructure support,” Scottish Government, last modified January 22, 2018, https://news.gov.scot/news/low-carboninfrastructure-support. 5 Ibid.

MacDonald Resort Aviemore Glencoe

GEOLOGICAL POTENTIAL

Deep Geothermal Energy in Scotland, the GECF had

and are most likely to exist down to depths of 4km, with

allocated a total of £185,235 to four geothermal feasibility

water temperatures of 20-80ºC (fig. 5).8 The sedimentary

studies. These studies explore the technology, economic

strata underlying the northern part of the Midland Valley

viability and environmental sustainability of geothermal

and the southern onshore margin of the Moray Firth

technology in Fife, North Lanarkshire, Aberdeen City and

Basin present the best HSA prospects in Scotland (fig 4).

Aberdeenshire (fig. 2).

A key issue with HSA resources in Scotland is the lack of

investigation so far; current understanding comes mainly from surface observations. As the ability of water to move through rocks can change significantly with depth, testing

Kilmarnock, East Ayrshire Fintry, Stirlingshire

Ross Developments & Renewables Ltd. Fintry Renewable Energy Distribuition

£3,652,000

£1,826,000

in deep boreholes is necessary to gauge the suitability of any potential HSA site. Whilst high temperatures at the bottom some of coastal boreholes has suggested hot water from offshore sedimentary aquifers may have migrated to shallower onshore margins, the cost of directional drilling makes exploration into this geothermal

Fig. 3 - Geological map of Scotland. Most geothermal

resource particularly challenging.9

potential resides in the granite intrusions of the East

Grampian Highlands and the sedimentary strata of the

£298,592

£149,296

8 “Potential for deep geothermal energy in Scotland: study volume 2,” Scottish Government, last modified November 13, 2013, https:// www.gov.scot/publications/study-potential-deep-geothermalenergy-scotland-volume-2/. 9 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 1.”

Midland Valley.

Fig. 1 - Table of LCITP funding. Projects using geothermal energy are highlighted in blue.

6 “Geothermal Energy Challenge Fund,” Scottish Government, last modified June 12, 2017, https://www2.gov.scot/Topics/BusinessIndustry/Energy/Action/lowcarbon/LCITP/geothermal.

Fig. 2 - Map of geothermal feasibility studies in Scotland.

HOT DRY ROCK

Scottish Government, “Geothermal Energy Challenge Fund.”

6 . Contextual Study

5 . Contextual Study

4 . Contextual Study

KEY CONCERNS

potential in Scotland.

KEY CONCERNS

A comparison of figures 9 and 10 highlights the disparity between heat demand and deep

W H AT I S H O L D I N G B A C K D E E P G E OT H E R M A L D E V E LO P M E N T ?

Fig. 4 - Areas of HSA

7 . Contextual Study

geothermal resources in Scotland.

Market and Demand

Hot Dry Rock is a petrothermal system, where geothermal energy resides in deep, hot rock. Geothermal heat is extracted from these hightemperature resources by using a fracture network in the rocks. Cool

In a 2017 lecture, Dr. Tony Batchelor identifies three key

heat flow values most likely underestimate the size of the

and energy demand.16 This disparity is highlighted in a

The energy market, including competition from other

water is injected into the fracture network, where the heat from the rock

appraisal questions for assessing any deep geothermal

heat resource in this area. AECOM suggest that further

comparison of figures 9 and 10. These maps show that

renewables, is another issue facing deep geothermal

warms it, and extracted as hot water for use in electricity production. To

project: “Is it hot enough?”, “Does it flow at commercial

investigation will disprove these values, and that there is

the key areas for exploitation of either HSA or HDR

in Scotland. As identified by Dr. Peter Brownsort, in

use this resource, an Enhanced Geothermal System (EGS) is required,

rates?”, and “Is there enough of it?” These questions

still hidden HDR potential in some HHP granite intrusions

are too far from sites where energy demand would be

areas where geothermal resources are suitable, such as

which forms a ‘loop’ system through the fracture network of water

are significant in assessing the numerous common issues

in Scotland.15

high enough to justify the costs of investment in this

the rural north east highlands, other renewable energy

injection and extraction boreholes (fig. 14). Water extracted in a HDR

facing the understanding and use of geothermal energy

technology. Though transportation of energy through a

sources such as wind power are likely to dominate the

system usually ranges from 100-200ºC.10 The regional geothermal

in Scotland. Finding ways to reduce or eliminate these

Linked to resource quality, the longevity of geothermal

heat network, exampled in countries such as Iceland (fig.

renewables market. This is displayed in a comparison

gradient for Scotland suggests that at depths of 4-5km, a temperature

issues, and investigating whether suggested solutions

heat in Scotland has also proved to be a cause for

8), poses a potential solution to this problem, the quality

between figures 10 and 11-13.17 Additionally, unless

of 150°C may be reached, which is within the widely quoted practical

are feasible or even possible, is key to furthering

concern. This is evident in the feasibility study for a deep

of geothermal resources in Scotland is on average too

current energy prices are lowered, or some sort of penalty

lower limit for exploiting HDR.11 Case study 2, United Downs Project,

the development of geothermal energy in Scotland.

geothermal project in Guardbridge, Fife (case study 1).

limited to be efficiently and effectively transported over

is imposed on energy companies for C02 emissions, it will

gives an example of a relatively developed HDR project in the UK.

Following case study analysis and a discussion with Dr.

This study concludes that though there is an available

such great distances.

Peter Brownsort, the following issues have been identified

geothermal resource present, re-injection is required to

Considering the high investment and risks associated

ensure the resource is sustainable beyond 30 years. The

with deep geothermal, it may be too challenging for

scheme requires careful planning to guarantee resources

geothermal to compete in areas where other renewable

as significant to the Scottish geothermal sector:

The best prospects for HDR in Scotland are in ‘High Heat Production’ (HHP) granites, which are localized areas of hot rock which produce

Quality of Resources

significant radiogenic heat. Most HHP exposed granite intrusions in Scotland are in the East Grampians region, in the north east (fig.

energy sources are better solutions to low carbon energy,

initial capital investment will pay off.

and with the existing energy supply network.

There are considerable doubts presented in feasibility studies and geological research over the quality

and investigation into this resource has been described as “far from

of geothermal resources in Scotland. This issue is

adequate.”12

dependent on the geological setting being targeted,

A key contextual issue for providing deep geothermal

whether that is mines, HSA or HDR. For example, in

energy to Scottish homes and buildings is the mismatch

terms of HDR, previous investigations have reported low

between locations of suitable geothermal resources

10 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 1.” 11 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 2.” 12 Ibid.

Fig. 6 - Highlighted areas show regions of HDR potential in

However, it is still thought that some earlier research into

predominantly located in the East Grampian Highlands.

15 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 2.”

11 . Contextual Study

9 . Contextual Study

KEY CONCERNS

Fig. 12 - Wind power supply.

Resource Location

heat flow values in the East Grampians HHP granites.

Scotland. These areas feature HHP granite intrusions, are are

be difficult for geothermal to compete in the market.18

can last to meet heating demands, and ensure the high

The Scottish Government has specified that there is potential

for HDR in these exposed HHP granite intrusions, however evidence

6).

Fig. 11 - Wave power supply.

Heat DemandHeat (1km2) Demand (1km2) 0-10,000,000 0-10,000,000 kWh kWh 10,000,000-40,000,000 10,000,000-40,000,000 kWh kWh 40,000,000-100,000,000 40,000,000-100,000,000 kWh kWh 100,000,000-250,000,000 100,000,000-250,000,000 kWh kWh >250,000,000>250,000,000 kWh kWh

Fig. 9 - Map of heat demand in Scotland. Fig. 8 - Geothermal heat distribution pipes in Iceland. 16

Hot dry rock and Hot potential dry rock and hot potential sedimentary hot aquifers sedimentary aquifers

Fig. 10 - Hot Dry Rock and Hot Sedimentary Aquifer resources in Scotland.

Dr. Peter Brownsort, email to authors, January 8, 2019.

HDR HDR Permo-TriassicPermo-Triassic and Jurassics and Jurassics strata strata Devonian stata Devonian stata Devonian andDevonian Carboniferous and Carboniferous lava piles of the lava Midland piles ofValley the Midland Valley

SOLUTIONS IN SCOTLAND

I N V E S T I G AT I O N A N D DATA

Heat Demand (1km2) 0-10,000,000 kWh 10,000,000-40,000,000 kWh 40,000,000-100,000,000 kWh 100,000,000-250,000,000 kWh >250,000,000 kWh

Hot dry rock and potential hot sedimentary aquifers

Fig. 10 (repeat) - Hot Dry RockHDR and

Permo-Triassic and Jurassics strata Devonian stata Devonian and Carboniferous lava piles of the Midland Valley

Hot Sedimentary Aquifer resources in Scotland.

Fig. 13 - Nuclear power supply.

13 . Contextual Study

12 . Contextual Study

SOLUTIONS IN SCOTLAND

17 Dr. Peter Brownsort, email to authors, January 8, 2019. 18 Dr. Tony Batchelor, “Geothermal Energy – present and future,” filmed September 2017 at the Sustainable Earth Institute, University of Plymouth, UK, video, 01:10:14, https://www.youtube.com/ watch?v=eqp65ViQuTU.

SOLUTIONS IN SCOTLAND

T E C H N O LO GY A N D I N F R A ST R U CT U R E

T E C H N O LO GY A N D I N F R A ST R U CT U R E Fig. 14 - Enhanced

Investment

Infrastructure

A problem with deep geothermal in Scotland, and

Designing, funding and installing the infrastructure

In Potential for Deep Geothermal Energy in Scotland,

with deep geothermal boreholes extending to depths of

globally, is the common view that developing these

required

energy

AECOM identify certain key actions for the Scottish

5km.

systems is too high risk and too capital intensive.19 Drilling

distribution poses a challenge in Scotland. Lars Tveen,

Government to support “a progressive approach to

Fig. 15 - Deep geothermal single well

Geothermal System diagram.

for

effecting

deep

geothermal

president of Danfoss, emphasises that “district heating

developing Scotland’s geothermal resources… to build

The actions set out by AECOM in the Potential for deep

of geothermal resources is the use of hybrid power, or

extract heat from HDR sources. EGS is a developing

is a prerequisite for the use of geothermal heat.”20 This

confidence, reduce costs, and thereby encourage

geothermal energy in Scotland study mainly focus on

flexible energy. In this situation, geothermal energy can

technology in the geothermal field, and understanding of

investment.”22 As a general recommendation, AECOM

increasing the dataset and understanding of Scottish

be used to provide a baseload supply to a heat network,

this system is still relatively limited. For an EGS, a fracture

distribution in Scotland requires the installation of a district

have

geothermal

research,

and back-up capacity may be supplied by a reliable

network is created deep in the earth, to depths of 5km.

temperatures. The drilling phase of a project requires up

heating infrastructure, however, there are relatively few

for Scotland be improved, and that the borehole

investigation and datasets will undoubtedly improve

source such as from gas power, or alternative renewables

Water is pumped into the fracture network through an

to 80% of the capital cost, and this funding must come

large-scale heat networks existing in Scotland.21 As well

temperature data set should include all available data

prospects for developing the Scottish deep geothermal

in suitable locations. This is exampled in the Guardbridge

injection borehole where the earth heats it, and the hot

years before heat plant construction and heat delivery.

as distribution infrastructure, constructing power stations,

for Scotland. To support the growth of this information

industry, what is not featured as prominently in AECOM’s

geothermal feasibility study (case study 1), for which the

water is then removed through an abstraction borehole to

Though the Scottish Government is clearly willing to

boreholes and extraction technology are additional

and boost knowledge levels, a National Geothermal

study is the ways technology and infrastructural

proposed energy centre will have a geothermal baseload

be used for electricity generation. In theory, EGS should

invest in deep geothermal projects, delivery time and

considerations for most deep geothermal heat extraction

Exploration Programme has been recommended to the

advancements can be used to aid the advancement of

energy supply with “back-up capacity provided by the

provide an infrastructure for the unlimited exploitation

capital costs must be significantly lowered to encourage

systems. These infrastructural requirements result in long

government. With these improvements, understanding

deep geothermal in Scotland.

biomass energy centre.” Having the availability of heat

of geothermal energy, even in areas where geothermal

private investment.

delivery schedules and high initial capital investment for

of the quality of geothermal resource, as well as the most

from an alternative source allows for an ease of pressure

conditions have been typically viewed as unsuitable.

deep geothermal projects.

suitable locations, will be far better understood. AECOM

in the development of geothermal systems. This fuel

However, EGS is still an emerging technology, and is yet

also produced some more specific recommendations

flexibility, coupled with the use of thermal stores such

to be proved as a commercially viable technique, so any

for further work in each of the geological settings for

as the use of batteries to store useful energy for when it

intention to use this system in Scotland would only be

geothermal in Scotland. Most of their recommendations

is needed, allows a control over the use of geothermal

conceivable as part of a long-term plan.

focus on HDR, with one action being a “programme of

resources, and reduces pressure on the quantity and

deep drilling to provide measured and observed, factual

quality of supply. By limiting dependence on one source

data from within the deep geothermal regime,” 23 ideally

of renewable heat, this solution is more realistic in terms

Dr. Tony Batchelor, “Geothermal Energy – present and future.”

20 “New partnership to develop the potential of geothermal energy for district heating,” Euroheat & Power, last modified June 20th, 2018, https://www.euroheat.org/news/new-partnershipdevelop-potential-geothermal-energy-district-heating/?hilite=%22g eothermal%22. 21 Geothermal Engineering Ltd, University of St Andrews and ARUP, Aberdeen Exhibition and Conference Centre: Feasibility report for the Low Carbon Infrastructure Transition Programme (2016), 13.

that

the

heat

flow

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

dataset

resources.

Whilst

extending

Power plant

2.2

2.3

24 Ramboll et al., Geothermal Energy Challenge: Guardbridge Geothermal Technology Demonstrator Project (2016), 74.

1 KM

Injection well 2 KM Abstraction well

3 KM

4 KM Permeable

15 . Contextual Study

16 . Contextual Study

2.5

2.6

2.7

The Deep Geothermal Single Well (DGSW) system has

the delivery time of a project can be as little as 12-24

recently been developed by Geothermal Engineering

months.26

deep geothermal heat delivery in the UK. In a DGSW,

A further benefit of DGSWs is its wide geographic reach.

most of the water used is re-circulated within the well,

As the DGSW system is not dependent on geothermal

rather than abstracting large quantities of water from the

reservoirs, it can be deployed “in almost any geological

sub-surface (fig. 15). The only requirement of a DGSW is

environment where there is heat demand at the surface.”

that the temperature at depth is within the operational

This is particularly useful in Scotland, as it addresses the

range for the building project. This greatly reduces the

mismatch between resource availability and heat demand

exploration risk associated with geothermal projects, as

displayed in figures 9-10. The small footprint of a DGSW

temperature at depth is more easily understood than

also makes it suitable for urban areas, giving the system a

permeability. 25

better chance at supplying heat to existing users.

The narrow diameter single vertical wells used for

DGSW heat output is well suited to small-scale heat

DGSW drastically reduce the amount of upfront capital

networks, such as universities or multiple apartment

required for a deep geothermal project. For example,

blocks. This allows for faster project development and

the Aberdeen Conference Centre DGSW (case study

more flexibility with areas of installation. DGSWs can

3) is estimated to cost between £1.5-2.5m, and the

easily be used in areas where heat networks are not

Halo Development in Kilmarnock (case study 4) has an

already in place, something particularly pertinent to rural

fracture network

To/from building To/from buliding 50 TO 70°C

Wellhead Wellhead Bleed flow ﬂow to to drain Bleed drain Rest water Rest water level levelinin the well well

-300m

Submersible pump pump Submersible

Steelwell well casing casing Steel

Insulated pipework pipework Insulated

-1700m

Openhole hole Open

areas that have so far remained off-grid.

several km deep. 5 KM

25 Geothermal Engineering Ltd, University of St Andrews and ARUP, Aberdeen Exhibition and Conference Centre: Feasibility report for the Low Carbon Infrastructure Transition Programme (2016), 13.

26 27

-2000m

Ibid. Ibid.

17 . Contextual Study

Skill Development 2.4

estimated development cost of £3.62m. Additionally, as

Ltd with the intention of delivering a commercially viable Distribution

of the scale of use of geothermal energy in Scotland. 22 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 1.” 23 Ibid.

Graduate Attributes

3.1

Enhanced Geothermal Systems (EGS) are designed to

indicates that effective, wide-scale geothermal energy

14 . Contextual Study

2.1

A solution to the issue of limited quality and quantity

drilling must be relatively deep, 4-5km, to reach suitable

recommended

(DGSW) diagram.

Deep Geothermal Single Well

the system requires one well, and no plant at the surface,

and this is particularly challenging in Scotland where

1.1

Enhanced Geothermal Systems

EGS deep geothermal projects may cost over £14m,

two directional wells, for injection and abstraction, in

General Criteria

Fuel Flexibility: Hybrid Power

Collaborators

KSa

RB 28

Y 1 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 2: Contextual Study

Geological Potential

Hot Sedimentary Aquifers

Hot Dry Rock

There is little evidence at ground surface of the reservoir of geothermal heat stored below Scotland, and to date this resource has remained relatively untapped. There are three main settings for the geothermal heat resource beneath Scotland: abandoned mine workings, Hot Sedimentary Aquifers (HSA), and Hot Dry Rocks (HDR).

Hot Sedimentary Aquifers are hydrothermal systems, and can be either low or high temperature. HSA are bodies of permeable rock that can contain large quantities of groundwater, which are hot enough and have sufficient productivity to constitute a potential geothermal resource. These are usually found in sedimentary strata and are most likely to exist down to depths of 4km, with water temperatures of 20-80ºC. The sedimentary strata underlying the northern part of the Midland Valley and the southern onshore margin of the Moray Firth Basin present the best HSA prospects in Scotland. A key issue with HSA resources in Scotland is the lack of investigation so far; current understanding comes mainly from surface observations. As the ability of water to move through rocks can change significantly with depth, testing in deep boreholes is necessary to gauge the suitability of any potential HSA site. Whilst high temperatures at the bottom some of coastal boreholes has suggested hot water from offshore sedimentary aquifers may have migrated to shallower onshore margins, the cost of directional drilling makes exploration into this geothermal resource particularly challenging.

Hot Dry Rock is a petrothermal system, where geothermal energy resides in deep, hot rock. Geothermal heat is extracted from these high-temperature resources by using a fracture network in the rocks. Cool water is injected into the fracture network, where the heat from the rock warms it, and extracted as hot water for use in electricity production. To use this resource, an Enhanced Geothermal System (EGS) is required, which forms a ‘loop’ system through the fracture network of water injection and extraction boreholes. Water extracted in a HDR system usually ranges from 100-200ºC. The regional geothermal gradient for Scotland suggests that at depths of 4-5km, a temperature of 150°C may be reached, which is within the widely quoted practical lower limit for exploiting HDR. Case study 2, United Downs Project, gives an example of a relatively developed HDR project in the UK.

Abandoned mine workings can be categorised as a low-temperature, relatively shallow geothermal resource, so for the purposes of this research HSA and HDR will be explored.

H OT S E D I M E N TA R Y AQ U I F E R S

OTENTIAL

of the reservoir

Abandoned mine workings can be categorised as a low-

d, and to date

temperature, relatively shallow geothermal resource, so

apped.7 There

for the purposes of this research HSA and HDR will be

heat resource

The best prospects for HDR in Scotland are in ‘High Heat Production’ (HHP) granites, which are localized areas of hot rock which produce significant radiogenic heat. Most HHP exposed granite intrusions in Scotland are in the East Grampians region, in the north east. The Scottish Government has specified that there is potential for HDR in these exposed HHP granite intrusions, however evidence and investigation into this resource has been described as “far from adequate.”

Hot Sedimentary Aquifers are hydrothermal systems, and can be either low or high temperature. HSA are bodies of permeable rock that can contain large quantities of

HOT DRY ROCK

groundwater, which are hot enough and have sufficient

explored.

productivity to constitute a potential geothermal

workings, Hot

resource. These are usually found in sedimentary strata

Rocks (HDR).

and are most likely to exist down to depths of 4km, with

Hot Dry Rock is a petrothermal system, where geothermal energy

water temperatures of 20-80ºC (fig. 5).8 The sedimentary

resides in deep, hot rock. Geothermal heat is extracted from these high-

strata underlying the northern part of the Midland Valley

temperature resources by using a fracture network in the rocks. Cool

and the southern onshore margin of the Moray Firth

water is injected into the fracture network, where the heat from the rock

Basin present the best HSA prospects in Scotland (fig 4).

warms it, and extracted as hot water for use in electricity production. To use this resource, an Enhanced Geothermal System (EGS) is required,

A key issue with HSA resources in Scotland is the lack of

which forms a ‘loop’ system through the fracture network of water

investigation so far; current understanding comes mainly

injection and extraction boreholes (fig. 14). Water extracted in a HDR

from surface observations. As the ability of water to move

system usually ranges from 100-200ºC.10 The regional geothermal

through rocks can change significantly with depth, testing

gradient for Scotland suggests that at depths of 4-5km, a temperature

in deep boreholes is necessary to gauge the suitability

of 150°C may be reached, which is within the widely quoted practical

of any potential HSA site. Whilst high temperatures at

lower limit for exploiting HDR.11 Case study 2, United Downs Project,

the bottom some of coastal boreholes has suggested

gives an example of a relatively developed HDR project in the UK.

hot water from offshore sedimentary aquifers may have

The best prospects for HDR in Scotland are in ‘High Heat Production’

migrated to shallower onshore margins, the cost of

(HHP) granites, which are localized areas of hot rock which produce

directional drilling makes exploration into this geothermal

Fig. 3 - Geological map of Scotland. Most geothermal

significant radiogenic heat. Most HHP exposed granite intrusions

resource particularly challenging.

potential resides in the granite intrusions of the East Grampian Highlands and the sedimentary strata of the

Midland Valley.

enge Fund.”

Fig. 01 | Geological map of Scotland

7 . Contextual Study

in Scotland are in the East Grampians region, in the north east (fig. 6).

The Scottish Government has specified that there is potential

for HDR in these exposed HHP granite intrusions, however evidence Fig. 4 - Areas of HSA

and investigation into this resource has been described as “far from

potential in Scotland.

adequate.”12 10 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 1.” 11 Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 2.” 12 Ibid.

Fig. 02 | Areas of HSA Potential in Scotland

Fig. 03 | Regions of HDR Potential in Scotland

Fig. 6 - Highlighted areas show regions of HDR potential in Scotland. These areas feature HHP granite intrusions, are are predominantly located in the East Grampian Highlands.

9 . Contextual Study

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 29

Y 1 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 2: Contextual Study GUARDBRIDGE, FIFE

CORNWALL, UNITED DOWNS PROJECT

CASE STUDY 1 (HSA)

Case Studies

CASE STUDY 2 (HDR)

Simulations show that a reinjection well would

Case study analysis of existing geothermal projects in the UK, with a primary focus on Scottish examples, formed a key part of the research in this study.

Fig. 5 - Hot Sedimentary Aquifer

have to be implemented

heat extraction system.

if a producing well was to be sustainable over many decades.

Location: Redruth, Cornwall.

Output: 1-3 megawatts.

Aim: To generate the UK’s first source of

Efficiency of water flow rates: two of the wells tested

Powering between 1,500 and 4,500 homes.

electricity by geothermal sources.

could not penetrate enough high permiability sandstone to be efficient.

Insulating Insulatingsediments sediments

1 KM

as engineered geothermal systems (EGS).13 2 KM

heat estimates

Underground Undergroundwater waterreservoir reservoir

Did not reach minimum

-2.5km well followed by a second deeper one of 4.5km

ruled out as viable aquifer

Fife

Process: -5 month drilling process

flow rate of 5l/s, therefore

underlying a brownfieldsite at Guardbridge in northeast

system, which uses HDR resources in Cornwall.

geothermal power generation. These systems are known

but there is a very large uncertainty in the geothermal

Geography: Hot Sedimentary Aquifer (HSA) resources

Fig. 7 - Diagram of the United Downs geothermal

gradients that are significantly higher than the UK average due to the presence of granite and have potential for

It could be economic,

Location: Guardbridge, Fife.

Geographic Location: Parts of Cornwall have geothermal

3 KM

producers

-Circuit for water to be pumped down the shorter well and return up the other is created.14

Aim: Whether the available geological information

Steam drives turbine which

Hot water is pumped into flash tank,

powers generators which

obtained by the well and the existing aquifer would be a

4 KM

Reinjection well

viable source of energy for the growing heat demand of

Sandstone or or carbonates Sandstones carbonates

producing steam

produces electricity

considered but wouldn’t

its nearby towns of Leuchars and Balmullo.

be economically viable and

Creating scenarios for future DG projects as well as

unable to sustain for 30+

optimum technology and models to develop future

years.

13 “Geothermal,” British Geological Survey, accessed January 8, 2019, https://www.bgs.ac.uk/research/energy/geothermal/. 14 Adam Vaughan, “‘Groundbreaking’: Cornwall geothermal project seeks funds,” The Guardian, July 16, 2017, https://www. theguardian.com/environment/2017/jul/16/groundbreakingcornwall-geothermal-project-seeks-funds.

Heatsource source Heat (Hydrothermal) (hydrothermal)

5 KM

district heating networks based on findings.

Water pumped into

Heated water returns to surface

deep borehole

Rock temperature 185-210ºC

10 . Contextual Study

8 . Contextual Study

ABERDEEN EXHIBITION AND CONFERENCE CENTRE

H A L O D E V E L O P M E N T, K I L M A R N O C K

CASE STUDY 3 (DGSW)

CASE STUDY 4 (DGSW) No requirements

Not overly constrained

Location: Bridge of Don, Aberdeen.

by the underlying

Exploration

directional

drilling

Location: Kilmarnock, Scotland.

Cultural hub

Aim: Redeveloping the former Johnnie Walker bottling

on the presence of a high permeability.

of a DGSW at the new Aberdeen

or “stimulation”. This will be

economically, geographically and

important for ensuring that the

effectively viable to provide deep geothermal heat

DGSW can be installed in

heating network which will supply sustainable, renewable

under 24 months as there

heat for the entire HALO development project.28

Enterprise

3000m²

plant in Kilmarnock by creating a deep geothermal district

Does not require fracking

Conference Centre would be

Output:

geology and does not rely

risk

Aim: To assess whether the installation

for

175 rented

commercial offices

centre 1000 capacity education

Sports & Leisure

centre

homes

centre

is only a single well compared

local community are on side

to multiple wells (traditional

from the site.

methods)

Deep Geothermal Single Well (DGSW)

Estimated Geothermal Potential: The system can

It aims to address fuel poverty for its social housing and worker community by providing low energy prices. Finance: £1.8m of grant funding support29

achieve peak thermal delivery rates of between 400 and 600kWand supply between 2 and 3.5GWh of

Geographical

heat per year.

Process: Water heated by the surrounding rock is drawn

reach

up from depth using a small pump. The heat is then

For every one unit of electricity used by the pump,

transferred to water in the heating system.

between 40 and 50units of thermal energy can be delivered at the surface.

Location can establish supply links between the

Application: DGSW drilled 2km down into HDR or

DG industry and the oil and

HWR depending on the geological findings during

gas industry in Aberdeen 28 “Scotland’s first deep geothermal district heating network given Scottish Government backing,” The Klin Group, accessed January 8, 2019, https://www.klingroup.co.uk/news/107/Scotland___s_ first_deep_geothermal_district_heating_network_given_Scottish_ Government_backing_. 29 “Scotland’s first deep geothermal district heating network given backing,” ARUP, last modified September 18, 2017, https://www.arup.com/news-and-events/scotlands-first-deepgeothermal-district-heating-network-given-backing.

the initial exploration stage.

Fig. 16 - Aberdeen Exhibition and Conference Center feasiblity study. 18 . Contextual Study

Aberdeen Exhibition and Conference Centre

Fig. 17 - Render of proposed Halo development in Kilmarnock.

19 . Contextual Study

Feasibility Report for the Low Carbon Infrastructure Transition Programme (LCITP) February 2016

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

Geothermal Engineering Ltd

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.7 University of St. Andrews

Collaborators

KSa

Ove Arup and Partners

Y 1 | S1

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ATR

SOLUTIONS IN SCOTLAND AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

T E C H N O LO GY A N D I N F R A ST R U CT U R E

Submission 2: Contextual Study

Fig. 15 - Deep geothermal single well (DGSW) diagram.

Key Concer ns: What is Holding Back Deep Geother mal Development? Deep Geothermal Single Well

Solutions in Scotland: Technology and Infrastructure estimated development cost of £3.62m. Additionally, as

In a 2017 lecture, Dr. Tony Batchelor identified three key appraisal questions for assessing any deep Enhanced Geothermal Systems the system requires one well, and no plant at the surface, geothermal project: “Is it hot enough?”, “Does it flow at commercial rates?”, and “Is there enough of it?” Geothermal Single system has the delivery of aheatproject can be EGS as little as 12-24 These questions are significant in assessing the numerous commonThe issuesDeep facing the understanding and use Well (DGSW) Enhanced Geothermal Systems (EGS) are designedtime to extract from HDR sources. is a developing 26 of geothermal energy in Scotland. Finding ways to reduce or eliminate these issues is key to furthering the technologyEngineering in the geothermal field, and understanding of this system is still relatively limited. For an EGS, a recently been developed by Geothermal months. development of geothermal energy in Scotland. The following issues have been identified as significant to fracture network is created deep in the earth, to depths of 5km. Water is pumped into the fracture network Ltd with the intention of delivering a commercially viable the Scottish geothermal sector: through an injection borehole where the earth heats it, and the hot water is then removed through an abstraction borehole to be used for electricity generation. In theory, EGS should provide an infrastructure deep geothermal heat delivery in the UK. In a DGSW, A further benefit of DGSWs is its wide geographic reach. Quality of Resources for the unlimited exploitation of geothermal energy, even in areas where geothermal conditions have been typically viewed as unsuitable. is stillsystem an emerging and is yet to proved as a As the EGS DGSW is technology, not dependent onbe geothermal most of the water used is re-circulated within the well, However, There are considerable doubts presented in feasibility studies and geological research over the quality of commercially viable technique, so any intention to use this system in Scotland would only be conceivable rather than large quantities of water from plan. the reservoirs, it can be deployed “in almost any geological geothermal resources in Scotland. This issue is dependent on the geological setting abstracting being targeted, whether as part of a long-term that is mines, HSA or HDR. For example, in terms of HDR, previous investigations(fig. have reported lowonly heat requirement of a DGSW is environment where there is heat demand at the surface.”27 sub-surface 15). The flow values in the East Grampians HHP granites. However, it is still thought that some earlier research into Deep Geothermal Single Well that the at depth is within the operational This is particularly useful in Scotland, as it addresses the heat flow values most likely underestimate the size of the heat resource in thistemperature area. AECOM suggest that further investigation will disprove these values, and that there is still hidden HDR potential in some HHP The Deep Geothermal Single Well (DGSW) system has recently been developed by Geothermal Engineering mismatch between availability andinheat demand range for the building project. This greatly reduces granite intrusions in Scotland. Ltd with the intention the of delivering a commercially viableresource deep geothermal heat delivery the UK. In a DGSW, most of the water is re-circulated the well, rather abstracting large quantities of inwithin figures 9-10. Thethan small footprint of a DGSW exploration risk associated with geothermal projects, as useddisplayed Resource Location water from the sub-surface. The only requirement of a DGSW is that the temperature at depth is within also makes suitable for urban areas, giving the system temperature at depth is more easilytheunderstood operational rangethan for the building project. itThis greatly reduces the exploration risk associated with a A key contextual issue for providing deep geothermal energy to Scottish homes and buildings geothermal projects, as temperature at depth is more easily understood than permeability. better chance at supplying heat to existing users. permeability. 25 is the mismatch between locations of suitable geothermal resources and energy demand. Though transportation of energy through a heat network, exampled in countries such as Iceland, poses a potential solution to this problem, The narrow diameter single vertical wells used for DGSW drastically reduce the amount of upfront capital the quality of geothermal resources in Scotland is on average too limited to be efficiently and and effectively required for a deep geothermal project. For example, the Aberdeen Conference Centre DGSW (case study The narrow diameter single vertical for DGSW output is system well requires suitedonetowell, small-scale heat transported over such great distances. 3) is wells estimatedused to cost between £1.5-2.5m.heat Additionally, as the and no plant at the delivery time ofnetworks, a project can be as littleas as 12-24 months. or multiple apartment DGSW drastically reduce the amounttheofsurface, upfront capital such universities Infrastructure required for a deep geothermal project. Foroutput example, blocks. Thisheat allows for such faster projectordevelopment DGSW heat is well suited to small-scale networks, as universities multiple apartmentand Designing, funding and installing the infrastructure required for effecting deep geothermal energy blocks. This allows for faster project development and more flexibility with areas of installation. DGSWs the Aberdeen Conference Centre DGSW (case study more flexibility with areas of installation. DGSWs can distribution poses a challenge in Scotland. Lars Tveen, president of Danfoss, emphasises that “district heating can easily be used in areas where heat networks are not already in place, something particularly pertinent is a prerequisite for the use of geothermal heat.”20 This indicates wide-scale geothermal to rural areas that havethe so far remained 3) that is effective, estimated to cost between £1.5-2.5m, and easily off-grid. be used in areas where heat networks are not energy distribution in Scotland requires the installation of a district heating infrastructure, however, there Halo Development in Kilmarnock (case study 4) has an already in place, something particularly pertinent to rural are relatively few large-scale heat networks existing in Scotland.21 As well as distribution infrastructure, constructing power stations, boreholes and extraction technology are additional considerations for most areas that have so far remained off-grid. deep geothermal heat extraction systems. These infrastructural requirements result in long delivery schedules and high initial capital investment for deep geothermal projects. 25 Geothermal Engineering Ltd, University of St Andrews and 26 Ibid. ARUP, Aberdeen Exhibition and Conference Centre: Feasibility report 27 Ibid. for the Low Carbon Infrastructure Transition Programme (2016), 13. 17 . Contextual Study

General Criteria 2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

Wellhead Wellhead Bleed flow ﬂow to to drain Bleed drain Rest water Rest water level levelinin the well well

-300m

Submersible pump pump Submersible

Steelwell well casing casing Steel

Insulated pipework pipework Insulated

Openhole hole Open

-1700m

-2000m

Fig. 01 | Deep Geothermal Single Well (DGSW) Diagram

Graduate Attributes

1.1

To/from building To/from buliding 50 TO 70°C

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 31

Y 1 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Technology Research]

Submission 2: Contextual Study

Conclusion “To meet Scotland’s ambitious renewable heat target we will need to see geothermal projects... and other renewable technology become much more commonplace across the country.“

- Stephanie Clark, Scottish Renewables, Policy Manager

There has been a noticeable focus of government funding and studies on deep geothermal resources in Scotland in recent years. Whilst research has found there to be geothermal potential in certain areas, there are undoubtedly a wide range of geological, economic, and infrastructural issues that are currently limiting development of deep geothermal energy use in Scotland. Some of these issues, such as questions of quality and longevity of geothermal resources, are practically impossible to solve. However, certain technologies do provide ways around many of Scotland’s geothermal challenges. Though EGS shows promise for areas where geothermal resources are not optimal, this is only viable as a theoretical future solution, as there is so much yet to be investigated on this technology. The most promising deep geothermal system in Scotland is currently DGSW technology. The combination of low-risk, short delivery times, reduced capital, geographical reach, and small heat demand of the DGSW system addresses most of the issues identified in this study as being of significant detriment to the development of deep geothermal heat use in Scotland. Moving forward, if Scotland were to focus on this relatively small-scale technology and retain control over geothermal resource use, there is potential for the geothermal energy industry to develop at a reasonable pace and provide a significant, but appropriately limited, contribution to the Scottish heating market.

Email cor respondence with Dr. Peter Brownsor t, Scientific Research Officer at Scottish Carbon Capture & Storage

Bibliography

Questions posed by the authors are in bold.

ARUP. “Scotland’s first deep geothermal district heating network given backing.” Last modified September 18, 2017. https://www.arup.com/news-and-events/scotlands-firstdeep-geothermal-district-heating-network-given-backing.

What do you see as the key issues facing the development of geothermal in Scotland? o Quality of resource - few areas where ‘hot rocks’ are present at reasonable depths

Batchelor, Dr. Tony. “Geothermal Energy – present and future.” Filmed September 2017 at the Sustainable Earth Institute, University of Plymouth, UK. Video, 01:10:14. https:// www.youtube.com/watch?v=eqp65ViQuTU.

o Mis-match of location between better resource and demand o Rural locations in north east better decarbonised with e.g. wind or biomass

British Geological Survey. “Geothermal.” Accessed January 8, 2019. https://www.bgs. ac.uk/research/ energy/geothermal/.

o In central areas with higher demands the resource (e.g. mine water) is not much better than using surface water sourced heat pumps

Brownsort, Dr. Peter, and Dr. Gareth Johnson. Geothermal Energy in Scotland: A synthesis report covering four feasibility studies. 2016. https://www. sccs.org.uk/images/ expertise/reports/geothermal/ Geothermal_synthesis_report.pdf.

o Geothermal unlikely to achieve system-wide significance, so other heat decarbonisation concepts likely to dominate except in niches (e.g. renewable electric with surface-sourced heat pumps, hybrid heat pump systems, and/or low-carbon gases - biogas, hydrogen)

Energy Saving Trust. Renewable Heat in Scotland 2017: A report by the Energy Saving Trust for the Scottish Government. 2018. http://www.energysavingtrust. org.uk/sites/ default/files/Renewable%20Heat%20 Report%20%202018.pdf.

Do you think geothermal energy could become competitive in the Scottish energy market?

Geothermal Engineering Ltd, University of St Andrews and ARUP. Aberdeen Exhibition and Conference Centre: Feasibility report for the Low Carbon Infrastructure Transition Programme. 2016.

In certain niches only. The single well system proposed for Aberdeen Exhibition and Conference Centre looked to me like it was well enough defined and understood that it might be economic if the supply and demand profiles were well matched. I think the developers had some other projects in hand that may have improved the confidence in this since I looked at it. But the scale would probably always be quite small.

Ramboll, Town Rock Energy, University of St Andrews and Resource Efficient Solutions LLP. Geothermal Energy Challenge: Guardbridge Geothermal Technology Demonstrator Project. 2016.

Do you think that the benefits of geothermal energy justify the high capital investment required to develop this technology in Scotland?

Scottish Government. “Geothermal Energy Challenge Fund.” Last modified June 12, 2017. https://www2. gov.scot/Topics/Business-Industry/Energy/Action/ lowcarbon/LCITP/ geothermal.

Probably only in the ‘certain niches’ discussed above. One of the key points of the business case for the AECC project was the long length of project lifetime over which the investment costs could be spread - but this is only any good if the demand will be stable for that length of time, which is a further constraint on the niche.

Scottish Government, “Potential for deep geothermal energy in Scotland: study volume 1.” Last modified November 13, 2013. https://www.gov.scot/ publications/study-potentialdeep-geothermal-energy-scotland-volume-1/. The Klin Group. “Scotland’s first deep geothermal district heating network given Scottish Government backing.” Accessed January 8, 2019. https://www. klingroup.co.uk/ news/107/Scotland___s_first_deep_ geothermal_district_heating_network_given_ Scottish_ Government_backing_.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 32

Ye a r 1 | S e m e s t e r 2

Arch i tectu ral Desi gn : Stu di o B

Streamlines, Vor tices and Plumes of the Blue Lagoon and Bath

Learning Outcomes

Studio Brief

LO1 - A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts).

In this studio, we will consider Bath as a stratigraphy built up and around the curious occurrence of hot springs, which have acted as the social and physical epicenter of Bath for over two centuries. We will displace proposals developed in the Blue Lagoon to Bath to design complex, highly resolved buildings, â&#x20AC;&#x2DC;thermaeâ&#x20AC;&#x2122;, exploring the technological and cultural implications of what it means to work in the only location in the British Isles in which heat is free and in abundance.

LO2 - A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants. LO3 - An understanding of the issues relating to the question of sustainability, and its concomitant architectural, technological, environmental and urban strategies. LO4 - A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (e.g. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

Proposals will add a new stratigraphy to the city, that of a radical post-carbon future. The semester will conclude with a return to the environmental model as a means of clarifying how proposal fragments, sections, or territories operate as calibrated environmental instruments.

Project Stages Stage 1: Drawing Bathâ&#x20AC;&#x2122;s Stratigraphy Stage 2: Thermae Stage 3: Model Environment + Process Recording

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Stage 1: Inhabiting Infrastructure A Post-Carbon Future for Bath Inhabiting Infrastructure explores the process of closing loops of material and energetic systems within re-purposed or obsolete infrastructures. The investigation was initiated by the design of a filling tank model that both visualised buoyancy-induced airflow whilst also recycling associated material streams into their constituent elements (water, salt and dye). The tank is a pivot between scales, between the controlled site of the studio and the contingent sites of Bath and the Blue Lagoon; between the performativity of recording immersion at building scale and the performance of calibrating individual components at the infrastructural scale. Following on from interventions designed for the Blue Lagoon in semester one,three proposals in Bath test these themes at wider scales within distinct obsolete infrastructural sites - a gasworks, a mine, and a combined heat and power network. Each project operates within a consistent post-carbon narrative for Bath. Space heating is radically reduced, and the historic social practice of bathing is decentralised and re-democratised, serving as anchors for local thermal hubs. Collectively, the projects present post-carbon Bath as a landscape of strange and intricate reappropriations of existing infrastructural and building fabrics.

Urban Heat Density in Bath: Present (left) and Proposed (right)

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 34

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Fieldwork: Immersion in the thermal and urban environment of Bath

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 35

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Stage 2: Ther mae Productive Stratigraphies The village of Combe Down sits atop a disused, infilled quarry region of the buttery-limestone used to build much of Bath’s celebrated Georgian architecture. Though traces of this mining activity are no longer evident at ground level, just metres below the surface lies a weaving network of ‘roadways’, constructed for access and stability during a stabilisation project of the abandoned underground spaces. This project transforms this abundant, but redundant, subterranean infrastructure into an industrious landscape of automated food production. The roadways are inhabited by three growth systems: hydroponic beds, hydroponic tubes, and aeroponic towers, scaled to accommodate a robotic production network of automated infrastructural ‘components’ for fertilisation, collection and surveillance. At the centre of the network lies a bath house, which utilises geothermal water from the aquifer deep below the site for bathing, thermal comfort, and growing conditions; a ‘heat hub’ for both residents and production. The bath house is both contained within the quarry, whilst also involving additional quarrying, forming an architecture which responds to the materiality of the horizons of earth removed to create it. Stone, soil, and concrete are carved and re-purposed, as gabion walls, as aggregate, as new earthworks, creating a new landscape at ground level that responds to the subtractions and geological qualities below.

Aquifers Below Bath: High, Moderate and Low Productivity Aquifer Flow

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 36

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Combe Down Mine Infrastructure Beneath the village of Combe Down, just south of the world famous city of Bath, lies evidence of the creation of that city in the form of a vast labyrinth of the underground stone quarries dating from the 18th to 20th centuries. Ten years of innovative work by Oxford Archaeology have surveyed and anaylsed these quarries. The project was the largest archaeological recording of any quarry or mine in the UK, setting the archaeological evidence in the context of documentary history, and painting a picture of modest local industry galvanised in the 18th century by the vision and drive of entrepreneur Ralph Allen. Allen championed technical innovation and provided massive investment. His mines produced the materials for the likes of architect John Wood to create the famous buildings that have come to symbolise the â&#x20AC;&#x153;Golden Ageâ&#x20AC;&#x2122; of Georgian Bath.

A N A B U N DA N T, B U T R E D U N DA N T, S U B T E R R A N E A N I N F R A ST RU C T U R E

Two centuries of excavation of Bath stone left a huge void under the original parts of Combe Down village. Pillars left by the old miners for the stability of the quarries had degenerated and collapses of the layer between mine and buildings occurred. In one of the largest U.K. Local Government civil engineering projects, Bath & North East Somerset Council together with private sector partners, did extensive investigation and feasibility analyses before filling the mine with foamed concrete. The infilling project lasted for 10 years from 1999 until 2009, covered 25.608 hectares, and affected 649 properties that were stabilised, most domestic homes. The total volume of infill placed was 620,894 cubic metres, enough to cover a football pitch to a depth of nearly 90m. Productive Stratigraphies proposes the re-purposing of what remains of this abundant, but redundant, subterranean infrastructure into a productive underground growth network.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 37

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Combe Down sits atop a region of productive aquifers which surround Bath and feed the famous hot springs in the city centre. The aquifers flow deep in the ground, rising through natural fractures from as deep as 4km within the earth. The project proposes a new Bath House to occupy larger underground areas left abandoned underneath Combe Down; never infilled in the stabilisation project, large, materially rich underground spaces remain under the village, spaces proposed to be repurposed as the main Bath House Spaces, forming the centre of a new network of heat distribution and food production across the village.

Upper Level Plan: Oolitic Limestone Strata

Lower Level Plan: Aerated Concrete Strata

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 38

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

The stabilised mine network occupies a wide field underneath the village of Combe Down, with a productive aquifer running deep below. The site of the Bathhoue is indicated in deep red on the map.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 39

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

1. Recycled concrete retaining walls embedded in stone strata 2. Oolitic limestone 3. Landscape formed from resituated stone, concrete and mine discards, excavated to create bath house spaces 4. Hydroponic tubes 5. Openable skylight for ventilation and heat capture 6. Drones 7. Access pathway

1. Repurposed roadways - storage typology 2. Threshold - drone access to bathhouse 3. Insulated boundary surrounding bath house walls - heat capture within aerated concrete 4. Raw carved concrete seat 5. Recycled gravel ‘terrazzo’ flooring on recycled concrete screed 6. Bath house - Tepidarium 7. Oolitic limestone 8. Aerated concrete - infill from mine stabilisation 9. Mine discards - limestone rubble

5 7

2 FILLING

TA N K

SECTION

TESTS

1 4 3 6

FILLING

TA N K

SECTION

TESTS

SERIES 01

Section Details

Proposed Bathhouse Section

Filling Tank Tests: Series 01

Filling Tank Tests: Series 02

SERIES 01

SERIES 02

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators 06

KSa

RB 40

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

This project proposes the repurposing of the redundant 14km of steel supported subterranean â&#x20AC;&#x2DC;roadwayâ&#x20AC;&#x2122; constructed during the mine stabilisation project in Combe Down. In a post-carbon future, the road network is occupied by an intensive, automated system of food production, facilitated by the geothermal water resources from the productive aquifer deep in the ground. The hydroponic and aeroponic underground systems allow consistent growing conditions year-round in a carefully controlled environment. The system reduces food mileage and emissions, encouraging the people of Combe Down to engage with sustainable, local food production.

Growth Typology 1: Hydroponic Rice Beds

Growth Typology 2: Aeroponic Towers

General Criteria

Growth Typology 3: Hydroponic Tubes

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

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6.2

7.2

8.2

9.2

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1.3

2.3

3.3

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5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 41

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

‘Survey Drone’

Tectonically, the new systems attach to the existing steel infrastructure of the roadways, put in place during the mine stabilisation programme.

Existing structure Growth infrastructure intervention Energetic systems

The productive roadway operates automatically with the use of robotic ‘components’ to survey, nourish and collect the crops at every stage of growth.

‘Water Sample Drone’

Growth Typology 1: Hydroponic Rice Beds

‘Nutrient Spray Drone’

Growth Typology 2: Aeroponic Towers

2 4

‘Plant Cutting and Sample Drone’

Growth Typology 3: Hydroponic Tubes

15 3

3 7

7 6

11 9

14 10

11 9

13 13

1. Hot, nutrient rich geothermal water pipe from bathouse borehole 2. MVHR system (to ground level) 3. 152x152mm Universal Column (existing) 4. 120x20mm Square Hollow Section (existing) 5. 50x50mm beam supporting supporting cutting machinery track

6. Wheel track for suspended cutting machinery 7. Rice plants at full height, ready for cutting 8 (a). Rice harvester body 8 (b). Rice harvester rotary blades 9. Hydroponic tray support bed 10. Sloping tray for hydroponic water flow

11. Rice plant root support tray 12. Nutrient enriched geothermal water 13. Cool waste water to be returned to bathhouse injection well 14. Survey drone 15. Water sample drone

General Criteria

6. Aeroponic tower - water collection 7. Aeroponic tower - structural componentry 8. Aeroponic tower - Spray nozzle 9. Aeroponic tower - body and root supports 10. Leafy greens (spinach, lettuce, kale)

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

11. Collection wheel track 12. Collection trays 13. Cool waste water to be returned to bathhouse injection well 14. Cutting drone 15. Survey drone

7. New 152x152mm Universal Column for hydroponic support 8. Vine plants (beans, peas, lentils) 9. Hydroponic pipes and root support (tilted for water flow) 10. Survey drone 11. Water sample drone

12. Cutting drone 13. Cool waste water to be returned to bathhouse injection well

Skill Development

Collaborators

KSa

RB 42

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Stage 3: Model Environment and Process Recording Productive Stratigraphies The bath house becomes the central heat hub in the village. The proposal makes use of the hot water from the aquifer below both for bathing and production purposes; hot water is filtered for use in the public bath house, and hot water is also distributed through the underground growth network to facilitate growth through aeroponic and hydroponic systems. Techniques learned through manufacturing and testing the filling tank are used to visualise heat distribution across Combe Down, noting temperature intensities and fluctuations across the network.

Heat Distribution from the Bath House Aquifer Source

Filling Tank Tests: Visualising Heat Distribution

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 43

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

‘Immersive Infrastructures’ exhibited at the ESALA Degree Show 2019

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 44

Y1 | S 2

AD:G

ATR

A D :B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio B]

Blueprint For The Future London, July 9 th - 11 th 2019 “Blueprint for the Future is an annual, free, three-day showcase of the work of the brightest, most interesting and challenging architecture students graduating Part II across London and the UK, as selected by Blueprint magazine.”

- Blueprint Future

‘Immersive Infrastructures’ was exhibited at the Blueprint for the Future Exhibition, held in showrooms in London. A carefully curated selection of work from the first and second semester of the collective and individual investigations was put in place for the three day event, which showcases part II work from across the UK.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 45

Ye a r 1 | S e m e s t e r 2

S t ud ies i n Con tem po rar y Arch i tectu ral T h eo r y

Exhibiting Architecture

Learning Outcomes

Course Summary

LO1 - A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

Contemporary architectural theory scrutinises the interaction between design and the cultural, intellectual, political, social and economic contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating – as well as critiquing – design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (philosophy, political theory, cultural studies, anthropology, science and technology studies, media studies, semiotics, visual theory, literary theory, etc.), and this is reflected in the organisation of the SCAT course.

LO2 - An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture. LO3 - An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

Option Brief: Exhibiting Architecture The course will explore ways in which architecture addresses itself through exhibiting and how curatorial practices, conventions, discourses, techniques and sites of display position and address the discipline of architecture. Through a series of seminar presentations, readings and discussions, we will examine a range of (historical and contemporary) exhibitions of architecture and architectures of exhibitions. We will also consider the exhibition and curatorial practice as forms of critical pedagogy in architectural training and as methodologies in design research. Each week, an invited guest speaker will present a public research seminar followed by a focused discussion of specific questions and texts related to exhibition objects, conceptual and physical sites of display, politics of representation, collections, archives, institutions and documentation of exhibitions. Weekly readings will include texts by the presenters as well as Mark Dorrian, Hubert Damisch, Kurt W. Foster, Rosalind Krauss, Hans Ulrich Obrist, Eve Blau, Andrea Phillips.

Course Aims 1.

Develop and expand your understanding of what theory is, and how it relates to architecture, design and the city.

Enhance your skills in critical reading and analysing the ideas presented in texts.

Refine your ability to write and communicate a focused critique of, and response to, texts.

Project Submissions 1. 2.

Course Diary Essay

Lecture Series Week 2 - Tina di Carlo - Curative Dérive Week 3 - Tina di Carlo - Sketching Practice Week 4 - Sophia Banou - Writing in Space Week 5 - Tiago Torres-Campos - Light Passes Week 6 - Ben Highmore - Exhibiting Brutalism Week 7 - Wallis Miller - Strange Bedfellows Week 8 - Catalina Meija Moreno - Photographs of Photographs Week 9 - Tina di Carlo - Editing Inventions Week 10 - Mark Dorrian - Exhibiting On The Surface

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

Submission 1: Course Diary The course diary records your ongoing critical reflections and responses to the weekly readings and seminar discussions. You should report on these and elaborate upon the significance of some aspects of the readings for contemporary architecture and/or urbanism. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Mu s eu m of Mo de r n A r t â&#x20AC;&#x2122;s I n a g u r a l E x h ibit ion I n s t a l le d by A l f re d H . b a r r Jr. Mu s e u m of Mo d e r n A r t , Ne w Yo rk (1929)

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 47

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

Figure 1 | A double page spread of Alvaro Siza’s DMC(SB31) sketchbook, demonstrating its use for both notes and sketches.

Week 3 | Tina di Carlo Sketching Practice

Opening Lines explored techniques for working around the physical limitations posed in exhibiting sketchbooks. In the was “reversibly disbound.”4 Some of Álvaro Siza’s sketches are also displayed as “loose sheets detached from other sketchbooks”5 (fig. 2). Though the dis-bounding of the sketchbooks appears to have been sensitive, and is reversible, the

Set texts:

material specificity that has an effect on what is created and on the creator. Yet it is perhaps most revealingly understood as the site for a practice, one that assembles itself on the pages and

values the sketchbook as “a thing in its own right.”6 In manipulating the original form of the sketchbook for the purposes of exhibiting, is the sketchbook, as a thing, really being respected?7 In this, we return to the paradoxical nature of exhibiting the sketchbook; in order to display such an object, perhaps it is unavoidable for at least one aspect of the sketchbook, be that its character or bound form, to be compromised.

Di Carlo, Tina. “Sketching Practice.” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, January 2019.

which travels within the binding.1 These words, used by Drawing Matter for their exhibition of sketchbooks

Drawing Matter. Opening Lines: Sketchbooks of Ten Modern Architects. Drawing Matter: Somerset, 2018.

Opening Lines, encourage a view of the sketchbook2 as active. In being described as a “tool,” we are introduced to the sketchbook as a device within which ideas are continuously explored. Opening Lines was part of Drawing

Fretton, Tony. Fretton: Lisson Gallery. Drawing Matter, 2017. Available at https:// www.drawingmatter.org/publications/frettonlisson-gallery/. iBook.

Matter’s ongoing research into questions of how to exhibit sketchbooks within a museum context. Yet, their words suggest a paradoxicality in the proposition of exhibiting a sketchbook. If the sketchbook is active by nature, how can this characteristic be negotiated within the common sealed off and untouchable?

notes and reminders (fig. 1). Their pages may contain a multitude of imaginings, and it is at the discretion of the owner as to commonly filled with the intention of being viewed publicly. It seems that as well as contesting the format of exhibiting, the character of the sketchbook resists the public nature of such an event.

for one to express ideas that are often unfinished and unrefined. They are

of the sketchbook—pocket-sized, hand-held—pushes against the open nature of the exhibition. What is challenging to the must hold it and turn through its pages. When an exhibition presents a single open spread of pages, we are presented with a mere glimpse of its contents, a fragment of the practice which “travels within the binding.”3

Drawing Matter, Opening Lines, 3.

Exhibiting Brutalism

EXHIBITING BRUTALISM

needs, the requirements of building users and the particular traits of the site.

ETHICS VERSUS AESTHETICS

In his lecture “Exhibiting Brutalism: Raw Architecture in an Untamed World,” Ben Highmore made reference to the V&A

Photographs of Photographs

exhibition A Ruin in Reverse at the 16 Venice Architecture Biennale, in the context of his discussion on the relationship

Set texts:

displacement of an architectural fragment have on the way the Smithson’s architecture is understood, particularly with regard to their idea of brutalism and original intentions for the project? The underlying architectural concepts which informed Robin Hood Gardens—that of an ethical, socially directed architecture, designed in response to specific problems of the site—conflict with the notion of removing a fragment of the building for

Figure 3 | A fragment of Robin Hood Gardens acquired by the V&A, on display at the 2018 Venice Biennale.

and scale. Lugon notes that in its flexibility of reproduction, photography has

scale / noun

“questioned the very idea of what ‘scale’ meant in a picture,” and highlights

exhibiting. The identity of Robin Hood Gardens, a building designed with occupants and social structures in mind, exists within its site and with its occupation, rather than as a fragmented section of a demolished structure. Should such a socially

earth and human temporalities collapse.”10 Here, the suggested “collapse” of temporalities

temporalities / noun plural

structures.8

implies a depth within the map; not simply a planar surface but the relationships of

upon which the mapper collects, combines, connects, marks, masks,

the city of Manhattan, stating that “by expanding our temporal and material frames of

relates, and generally explores. These surfaces are massive collection, s

analysis, maps can subsequently gesture towards the representation of infinite conditions

orting and transfer sites, great fields upon which real material conditions

photograph of the exhibited fragment (fig. 3), Highmore suggests that the structure has been subject to a level of “cleaning Though the lived reality of Robin Hood Gardens was one of an unstable collective identity, with the

of connectivity, which reject supposed divisions between nature and culture, and where

The rise of the photomural in the 1930’s marks a key shift in this complex relationship between art and photography. Lugon highlights that preceding this, the tableau sought to elevate the status of photography to art. Produced

or having some relationship

In describing the surface of the map as a “staging ground or a theater of

cartographies. This layering reflects what Torres-Campos describes as “representations of

with time.

operations,” James Corner’s discussion of the agency of mapping highlights the

thickness,” a term influenced by anthropologist Clifford Geertz.11 Torres-Campos explains

performative potential of the map. Through this description we are introduced to

this thickness as “a process similar to sedimentation, where layers of information are

the map as an active surface; a plane upon which the temporalities and territorial

overlapped, fractured, merged, eroded or weathered.”12 The use of geological language

conditions of urban environments are collected, compressed and connected.

in this context – “sedimentation,” “eroded” – emphasises both the depth of the map and

As well as a surface of performance within its representation, the map is also

the build-up of temporalities within it. As a surface where “earth and human temporalities

emphasised as an instigator of the actions of its users. In his essay “The Grid

collapse,” we come to develop our understanding of the map as a layering of information,

and the Bedrock,” Tiago Torres-Campos states that the “explicit and implicit

with having “infinite” new possibilities. As urban territories continually evolve, so too

narratives” constructed through the map “affect how we perceive the world and

does the potential narrative of the territory through the map. The “infinite” connections

narrative / noun

between different territorial elements shows the map as a surface upon which a plethora

the relative size or extent of something.

The collaborative nature of the photomural is clear in figure 4. This image depicts three workers assembling the war bond

a ratio of size in a map,

mural, exemplifying what Lugon calls a “fusion of energies.”23 This image, a photograph of photographs, emphasises the

model, drawing, or plan.

monumental scale of the photomural. The mural image appears at three different scales within the photograph: the final, large-scale print lies on the floor, flanked by two supporting images at sequentially smaller scales. The bodies of the three workers represent an intermediary scale between the smaller prints and the vast mural, being larger than the former and

tableau / noun

smaller than the latter, emphasising the continual scaling-up of the imagery. The range of scales in this photograph reveals

or motionless figures

the relationship of the mural to the scale of the body, highlighting its powerful monumentality. The political implication of

balanced its value between exhibiting and collecting. However, as Lugon states,

representing a scene from a

this is reflected in the imagery of the consumption of photomurals, framed as providing “scattered visitors of an exhibition

the subsequent emergence of the photomural challenged this by transforming

story or from history; a tableau

with a collective experience.”24 Imagery of photomural consumption gathers viewers into a fictitious collective community,

large-scale photography from “an image for the wall” to “an image as the wall.”

vivant.

strengthening the mural’s political message.

the tableau suggested an exclusivity which

Whilst the tableau added value to the photograph as a private commodity, by increasing the scale of printing, the photomural introduced social and political

In The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain, Ben Highmore explores the term ‘brutalist’ outside

up” for its display.

of its widely accepted uses and meaning. As a term that has become synonymous with raw, post-modern architecture,

building being “almost immediately vandalised”18 after opening in 1972, this social struggle is not reflected by the remnant

Highmore attempts to instead “engage with brutalism as a methodology, not simply as an object of study.”13 Highmore

of the structure. Perhaps the cleaning implies an imposed aesthetic concern in the exhibition, undermining the Smithsons’

discusses brutalism in architecture with specific reference to Reyner Bahman’s attempt to give definition to brutalism in his

ethical and social focus. Whilst the occupation of the estate is represented elsewhere in the exhibition through films and

1955 Architectural Review essay “the New Brutalists,” noting that, in reality, Alison and Peter Smithson would have been

photographs, the use of a physical piece of the building adds a sense of lost intent. The removal of the structure from its site

the photomural, both in its production and consumption, which is evidenced in

the only architects content to accept the ‘brutalist’ label.14 The Smithsons responded to Banham’s essay in a 1957 volume

negates the importance placed on context and occupants by the Smithsons, inviting doubt as to whether this fragment can

imagery of the creation and installation of a 1941 photomural in Grand Central

of Architectural Design, bemoaning the preceding discourse in which “Brutalism has been discussed stylistically, whereas

be used to properly experience the brutalist roots of Robin Hood Gardens.

of connected events; a story.

9 Tiago Torres-Campos, “The Grid and the Bedrock,” Magazine on Urbanism 29 (October 2018): 48. 10 Torres-Campos, “The Grid and the Bedrock,” 49. 11 Torres-Campos, “The Grid and the Bedrock,” 53. 12 Torres-Campos, “The Grid and the Bedrock,” 53.

a group of models

as the work of a single author,”

a spoken or written account

with the tableau.

at a scale “large enough to be contemplated on a wall,” but still “perceived 20

the state of existing within

different mapped elements, both spatial and temporal, creating a connected layering of

Station. Stated to be the “world’s largest”22 photomural, the imagery advertised the sale of defence bonds in the main hall

Mejia Moreno, Catalina. “Photographs of photographs: Disruptions and juxtapositions at the Mies van der Rohe Exhibition at the MoMA (19478).” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, March 2019.

oriented design, as it was both conceived and lived in, be exhibited physically in an exhibition context? In reference to 17

are isolated, indexed, and placed within an assortment of relational

Torres-Campos goes on to make specific reference to cartographical representations of

of Grand Central station in the lead up to a new war, highlighting the opposing nature of the photomural in comparison

scale’s critical role in “photography’s unstable relationship with art.”19

Lugon, Olivier. “Photography and Scale: Projection, Exhibition, Collection.” Art History 38, no. 2 (April 2015): 386-403. https://doi-org.ezproxy.is.ed. ac.uk/10.1111/1467-8365.12155.

drawing maps.

like an operating table, a staging ground or a theater of operations

8 James Corner, “The Agency of Mapping: Speculation, Critique, Intervention,” in The Landscape Imagination: Collected Essays of James Corner 1990-2010, ed. James Corner and Alison Bick Hirsch (New York: Princeton Architectural Press, 2014), 197-198, quoted in Tiago Torres-Campos, “The Grid and the Bedrock: Manhattan Through a Cartographical Geo-Tale,” Magazine on Urbanism 29 (October 2018): 48.

discusses the central, yet often overlooked relationship between photography

Krauss, Rosalind. “Photography’s Discursive Spaces: Landscape/View.” Art Journal 42, no. 4 (December 1982): 311-319. doi:10.2307/776691.

for the Biennale invites a questioning of the place of brutalist architecture in an exhibition context: what effect does the

Highmore, Ben. “Exhibiting Brutalism: Raw Architecture in an Untamed World.” Lecture given at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, February 2019.

In Photography and Scale: Projection, Exhibition, Collection, Olivier Lugon

IMAGE AS THE WALL

Set texts:

between exhibiting and Brutalism.16 A Ruin in Reverse focused on the demolition of the Smithsons’ Robin Hood Gardens, featuring a preserved fragment of the building installed along the banks of the Venice canal (fig. x). The use of this section

Highmore, Ben. The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain. New Haven: Yale University Press, 2017.

THE PHOTOMURAL

the science or practice of

Rajchman, John. “Grounds.” In Constructions, 77-89. Cambridge: MIT Press, 1998.

4 Drawing Matter, Opening Lines, 15. 5 Drawing Matter, Opening Lines, 31. 6 Drawing Matter, Opening Lines, 3. 7 It could be said that in considering the exhibition of the sketchbook, we are in fact treating is as a work of art. For a further discussion of a work of art, and to open a discourse of the thingly character of the sketchbook, see Martin Heidegger, “The Origin of the Work of Art,” in Poetry, Language, Thought, translated by Albert Hofstadter (New York: Harper Perrenial, 2001), 15-76. 5

Week 9 | Catalina Mejia Moreno

of new representations, and subsequent new readings and performances may emerge.

Week 7 | Ben Highmore

cartography / noun

illustration of the existing geological and urban layers of a territory, a further temporality As both analogue and abstraction, then, the surface of the map functions

practicalities of displaying sketchbooks is that typically, sketchbooks are bound objects; to properly view the sketchbook we

Siza, Álvaro. Siza: DMC(SB31). Drawing Matter, 2017. Available at https://www.drawingmatter. org/publications/siza-dmcsb31/. iBook.

1 Drawing Matter, Opening Lines: Sketchbooks of Ten Modern Architects (Drawing Matter: Somerset, 2018), 3. 2 In this text, the sketchbook is understood in its most traditional form: a bound book of paper to be used for sketching and drawing.

Figure 2 | Alvaro Siza’s dis-bound sketches on display at the Opening Lines exhibition.

The materiality of the sketchbook, what it is as an object, presents further concerns for exhibiting. The physicality and scale

our environments is influenced by the cartographies presented to us. In addition to an

Didi-Huberman, Georges. “Glimpses.” Filmed 2015 at the European Graduate School EGS, Saas-Fee, Switzerland. Video, 1:01:18. https://www.youtube.com/ watch?v=60GdzcKKdwE.

Torres-Campos, Tiago. “Light Passes: Thinking the Architectural Exhibition Geologically.” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, February 2019.

what the sketchbook’s contents may be. This intimate and adaptable quality leads one to question whether a sketchbook is

Märkli, Peter. Märkli: La Congiunta. Drawing Matter, 2017. Available at https:// www.drawingmatter.org/publications/ m%C3%A4rkli-la-congiunta/. iBook.

Sketchbooks are personal, private belongings which present a blank space

consequently act on it.”9 In relating the map to its effect on its user, the map is seen to influence ones perceptions and movements within its surface; how we read and act upon

is added to the map through the performances conducted by its users.

Torres-Campos, Tiago. “The Grid and the Bedrock: Manhattan Through a Cartographical GeoTale.” Magazine on Urbanism 29 (October 2018): 48-53.

not merely for sketching; we use the sketchbook as a vessel for storing thoughts, for working out ideas or even for mundane

Heidegger, Martin. “The Origin of the Work of Art.” In Poetry, Language, Thought, 15-76. Translated by Albert Hofstadter. New York: Harper Perrenial, 2001.

requirements of an exhibition, where display cases confine objects to be

THE AGENCY OF MAPPING

Set texts:

dismantling of the fabric of the sketchbooks in order to optimise the exhibiting format raises questions of how this approach

Ackerman, James S. “The Origins of Sketching.” In Origins, Invention, Revision: Studying the History of Art and Architecture, 1-20. New Haven: Yale University Press, 2016.

The sketchbook is a thing in its own right – a tool with its own

Week 5 | Tiago Torres-Campos Light Passes: Thinking the Architectural Exhibition Geologically

exhibition, Adolfo Natalini’s Sketchbook 12 is presented through a chosen set of individual sheets, as the original sketchbook

AT T H E E X H I B I T I O N

THINGS TO EXHIBIT

EXHIBITING THE SKETCHBOOK

Through images of photomurals, a sense of the power of scale to shift photography’s relationship with art, exhibiting, consumption and politics is evidenced. In scaling up from the tableau to the photomural, the photograph loses value in

photomural / noun

implications to the medium. The monumentality and immersive physicality of

a mural consisting of a single

the art world, but gains a new social influence. The photograph becomes public and political, rather than exclusive and

the photomural shifted the consumption of photography from private to public,

enlarged photograph or a

collectible, highlighting the subtle complexities of the relationship and between scale and photography.

from collectable to collective. Lugon emphasises the collaborative nature of

collection of photographs.

its essence is ethical.”15 For the Smithsons, brutalism was ethical, rather than aesthetic; design decisions derived from social 13 Ben Highmore, The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (New Haven: Yale University Press, 2017), 26. 14 Highmore, The Art of Brutalism, 13. 15 Alison and Peter Smithson, “Thoughts in Progress: the New Brutalism,” Architectural Design 27 (April 1957): 113, quoted in Highmore, The Art of Brutalism, 13.

Figure 4 | Workers assembling the war bond mural, a photomural installed in Grand Central Station.

16 Ben Highmore, “Exhibiting Brutalism: Raw Architecture in an Untamed World” (lecture, ESALA Research Seminar, University of Edinburgh, Edinburgh, February 28, 2019). 17 Highmore, “Exhibiting Brutalism.” 18 Highmore, The Art of Brutalism, 254. 9

CURATING THE SPECTATOR

In the introduction to her book The Power of Display, Mary Anne Staniszewski lists a set of questions which “shaped” the book, including the following: What sorts of viewers, or “subjects,” do different types of installation designs create? How do these installations shape the viewer’s experience of the cultural ritual of a museum visit?25 The stance of these questions suggest a framework through which perceptions of the subject assume a pivotal role in exploring techniques of exhibition design, a position which gains pertinence when considering Staniszewski’s exploration of practices for presenting modernism amongst the early twentiethcentury international avant-garde. In this discussion of innovative approaches to installation design in the 1920s and 30s, what Staniszewski calls the “laboratory

Week 2 | Tina di Carlo Curating Dérive

Weeks 1 & 11 | Mark Dorrian Exhibiting on the Surface

institutional siting, their approach to the viewer is decidedly different, and instigates debate regarding the questions with which Staniszewski introduces her book.

Set texts:

exhibition experience. In Barr’s method, the viewer and art work are placed in a one-on-one relationship, where the display technique is aimed at a “stationary, ideal viewer” who was “presumed to fit a specific standard.”27 Staniszewski notes that this approach “treated the viewer as an immobile, atemporal being.”28 This somewhat formal relationship is highlighted in figure 7, where the viewer and subject appear to be both connected through the viewers attentive gaze, yet still clearly

Di Carlo, Tina. “Curating Dérive.” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, January 2019.

detached, autonomous beings framed within the neutral gallery space. Comparatively, in Lissitzky’s Abstract Cabinet, exhibited at the Landesmuesum in 1927-8, a distinctly interactive space is produced for the exhibition of modern art works. Though there is a notable autonomy in the installation environment, with

Staniszewski, Mary Anne. The Power of Display. Cambridge: MIT Press, 1998.

it being disengaged from the original architecture of the gallery, the viewer and subject do not act as independent beings. An interactive relationship is created through movable parts and innovative lighting, producing a differing atmosphere to the neutral environment of Barr’s installations. Lissitzky intended for his space to “make the man active,” rather than being

Vidler, Anthony. “Terres Inconnues: Cartographies of a Landscape to be Invented,” October 115 (Winter 2006). 13-30.

“lulled… into a certain passivity.” Thus, influenced by the themes interrogated in Staniszewski’s existing list of questions, 29

we may ask our own: what is the role of the viewer in different types of installations? In Lissitzky’s work, the presence of the viewer is required to realise the full potential of the installation design, whereas in Barr’s spaces we are left questioning

contrasting concepts of the subject’s position in exhibitions become apparent.26

Figure 5 (top) | Museum of Modern Art’s inaugural exhibition Cezanne, Gauguin, Seurat, van Gogh (1929), installed by Alfred Barr.

This disparity is exemplified by Staniszewski in The Power of Display through a comparison of the aestheticized, spare installation approach developed by Alfred Barr at the MoMA, New York (fig. 5), and the interactive, abstract installations of

even exist beyond his concept of the installation? These different experiences hint at the power of installation design over

Figure 7 (left) | Alfred Barr looking at Alexander Calder, Gibraltar (1936) at the Museum of Modern Art, New York, in 1967.

Mary Anne Staniszewski, The Power of Display (Cambridge: MIT Press, 1998), xxiii. Staniszewski, The Power of Display, 70. 13

visitors; it is not just the art, but the viewers themselves that are curated within the space to suit a specific concept of what the installation should be.

General Criteria 2.1

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table, sited across a floor drawing, printed on carpet (fig. 9).35 Writing about the

How can we subsequently understand On the Surface in the context of Metis’ earlier theory of the representational archive? As stated by Metis, a key characteristic of a representational archive is its performative nature, which in the case of On the Surface is evident across various fields, with the carpet drawing acting as both performer and stage for performance. The carpet drawing delineated a horizontal “zone” within the gallery space, a “space for encounter and gathering place

a collection of historical

for both projects and visitors,”39 setting the stage for performative possibilities across multiple plains. Across the lowest

Carbone, Claudia. “Expanding Surfaces.” Architecture Research Quarterly 19, no. 2 (2015): 107109. https://doi.org/10.1017/ S135913551500038X.

Hawker discuss, with use of Bruno Latour’s essay “Why has critique run out of steam?”,

providing information about

horizon, within the carpet, the gathering of architectural scales and media produces a performance of interplay in the re-

the distinction between objects and things in relation to On the Surface. Using Latour’s

a place, institution, or

representation of existing work. Sited on the carpet, the tables add a further dimension of performance to the space. Claudia

group of people.

Carbone emphasises the dynamic effect of the glass surfaces, noting that the projects are “disturbed and distorted by the

Dorrian, Mark. “Exhibiting on the Surface.” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, April 2019.

where complex “gatherings” of relations occur.”37 In gathering revisited projects, On

Dorrian, Mark. “Introduction.” In Writing on the Image: Architecture, the City and the Politics of Representation, 1-12. London: I.B. Taurus, 2015.

Traces of Metis’ earlier architectural explorations linger in the notion of the exhibition

definition of objects as “matters of fact,” and things as “matters of concern,”36 Dorrian and Hawker explore what it would be to construct exhibitions as things, as “sites the Surface provides a new context for the display and exploration of Metis’ archive,

2.7

overlay of the models and the viewer’s own image, which is doubled through the reflective effects of the glass surfaces.”40 gathering / noun 1.

creating a site for new representations of existing work.

The performative effects here are embedded in the materiality of the surfaces, with perceptions shifting as one transitions

an assembly or

around each table. Carbone’s mention of the viewer highlights the movement of the spectators as a further dimension of

meeting, especially

performance. Moving across the carpet, visitors are engaging in an act of performance in their exploration of the work.

one held for a specific

Weaving individual pathways between and across Metis’ multiple modes of representation, viewers negotiate individual

purpose.

pathways through the projects, creating both unique and collective experiences of the exhibition. These manifestations of

as a site of representation. In their 2002 book Urban Cartographies, Metis highlights a

performance - gathering, interplay, weaving - produce shifting ways of viewing and reading the projects, reflecting both

key interest of the work presented as: the performative possibilities inherent in the ‘representational archive’ — the maps, site drawings, photographs, historical documents, etc.

the intention of the exhibition to re-represent existing work, and the nature of the exhibition as a representational archive. performative / adjective 1.

relating to or of the

— through which any architectural project, even prior to its design,

nature of dramatic or

presents itself. Crucially, it insists upon representation as the true ‘site’ of

artistic performance.

the architectural project.38

Figure 9 | On the Surface, displayed at the Arkitektskolen Aarhus in Denmark, 2014. This photograph gives an overview of the space, showing the distribution of glass table surfaces across the zone delineated by the carpet drawing on the floor.

35 Mark Dorrian and Adrian Hawker, “The Exhibition as an Urban Thing,” Interstices 16 (2016): 8. 36 Bruno Latour, “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern,” Critical Enquiry 30, no. 2 (Winter 2004): 232, quoted in Dorrian and Hawker, “The Exhibition as an Urban Thing,” 7. 37 Dorrian and Hawker, “The Exhibition as an Urban Thing,” 7. 38 Mark Dorrian and Adrian Hawker, “Postscript as Pretext,” in Urban Cartographies (London: Black Dog, 2002), 9.

Graduate Attributes

1.1

archive / noun

documents or records

Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern.” Critical Enquiry 30, no. 2 (Winter 2004): 225248.

27 Staniszewski, The Power of Display, 66. 28 Staniszewski, The Power of Display, 66. 29 Sophie Lissitzky-Küppers, El Lissitzky: Life, Letters, Texts, trans. Helene Aldwinckle and Mary Whittall (London: Thames and Hudson, 1980), 336, quoted in Staniszewski, The Power of Display, 20.

archive of work. Each project in the exhibition was displayed on an individual glass

retrospective exhibition featuring seven of Metis’ architectural projects; a curated

exhibition in their essay “The Exhibition as an Urban Thing,” Mark Dorrian and Adrian

Dorrian, Mark and Adrian Hawker. “Postscript as Pretext.” In Urban Cartographies, 8-11. London: Black Dog, 2002.

Figure 6 (bottom) | El Lissitzky’s Abstract Cabinet (1927-8), Landesmuseum, Hanover.

the Landesmuseum, Hanover by practitioners such as El Lissitzky (fig. 6). Though

On the Surface, initially displayed at the Arkitektskolen Aarhus in Denmark, was a

ON THE SURFACE AS A REPRESENTATIONAL ARCHIVE

Dorrian, Mark and Adrian Hawker. “The Exhibition as an Urban Thing.” Interstices 16 (2016): 7-16.

whether the viewer is even necessary in Barr’s realm of self-sufficient modern works. Moreover, does Barr’s “ideal viewer”

period” of museum conventions and installation techniques, identifiably

EXHIBITION AS PERFORMANCE

Set texts:

In each installation style, specific relationships between viewer and art work are purposefully carved to create a certain

Debord, Guy. “Theory of the Dérive.” Les Lèvres Nues, no. 9 (1956). Reprinted in Internationale Situationniste, no. 2 (1958): 19-23.

22 Anon., “Sale of bonds advocated: Huge photo-mural in Grand Central Terminal dedicated,” New York Times (December 1941): 31, quoted in Lugon, “Photography and Scale,” 394. 23 Lugon, “Photography and Scale,” 394. 24 Ibid. 11

there are decipherable commonalities in concepts of these installation styles, such as modern art’s autonomy from its

THE ROLE OF THE SPECTATOR IN STRATEGIES FOR EXHIBITING MODERNISM

25 26

19 Olivier Lugon, “Photography and Scale: Projection, Exhibition, Collection,” Art History 38, no. 2 (April 2015): 388. 20 Ibid., 392. 21 Ibid.

39 Dorrian and Hawker, “The Exhibition as an Urban Thing,” 8. 40 Claudia Carbone, “Expanding Surfaces,” Architecture Research Quarterly 19, no. 2 (2015): 108, https://doi.org/10.1017/ S135913551500038X. 21

Skill Development

Collaborators

KSa

RB 48

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

Week 2 - Tina di Carlo - Curating Dérive

Week 3 - Tina di Carlo - Sketching Practice

Curating the Spectator

Exhibiting the Sketchbook the early twentieth-century international avant-garde. In this discussion of innovative approaches to installation design in the 1920s and 30s, what Staniszewski calls the “laboratory period” of museum conventions and installation techniques, identifiably contrasting concepts of the subject’s position in exhibitions become apparent. This disparity is exemplified by Staniszewski in The Power of Display through a comparison of the aestheticized, spare installation approach developed by Alfred Barr at the MoMA, New York, and the interactive, abstract installations of the Landesmuseum, Hanover by practitioners such as El Lissitzky. Though there are decipherable commonalities in concepts of these installation styles, such as modern art’s autonomy from its institutional siting, their approach to the viewer is decidedly different, and instigates debate regarding the questions with which Staniszewski introduces her book.

The materiality of the sketchbook, what it is as an object, presents further concerns for exhibiting. The physicality and scale of the sketchbook— pocket-sized, hand-held—pushes against the open nature of the exhibition. What is challenging to the practicalities of displaying sketchbooks is that typically, sketchbooks are bound objects; to properly view the sketchbook we must hold it and turn through its pages. When an exhibition presents a single open spread of pages, we are presented with a mere glimpse of its contents, a fragment of the practice which “travels within the binding.”

In each installation style, specific relationships between viewer and art work are purposefully carved to create a certain exhibition experience. In Barr’s method, the viewer and art work are placed in a one-on-one relationship, where the display technique is aimed at a “stationary, ideal viewer” who was “presumed to fit a specific standard.” Staniszewski notes that this approach “treated the viewer as an immobile, atemporal being.” This somewhat formal relationship is highlighted in the across image, where the viewer and subject appear to be both connected through the viewers attentive gaze, yet still clearly detached, autonomous beings framed within the neutral gallery space.

In the introduction to her book The Power of Display, Mary Anne Staniszewski lists a set of questions which “shaped” the book, including the following:

What sorts of viewers, or “subjects,” do different types of installation designs create?

How do these installations shape the viewer’s experience of the cultural ritual of a museum visit?

The stance of these questions suggest a framework through which perceptions of the subject assume a pivotal role in exploring techniques of exhibition design, a position which gains pertinence when considering Staniszewski’s exploration of practices for presenting modernism amongst

General Criteria

The sketchbook is a thing in its own right – a tool with its own material specificity that has an effect on what is created and on the creator. Yet it is perhaps most revealingly understood as the site for a practice, one that assembles itself on the pages and which travels within the binding. These words, used by Drawing Matter for their exhibition of sketchbooks Opening Lines, encourage a view of the sketchbook as active. In being described as a “tool,” we are introduced to the sketchbook as a device within which ideas are continuously explored. Opening Lines was part of Drawing Matter’s ongoing research into questions of how to exhibit sketchbooks within a museum context. Yet, their words suggest a paradoxicality in the proposition of exhibiting a sketchbook. If the sketchbook is active by nature, how can this characteristic be negotiated within the common requirements of an exhibition, where display cases confine objects to be sealed off and untouchable?

Comparatively, in Lissitzky’s Abstract Cabinet (1927-28), a distinctly interactive space is produced for the exhibition of modern art works. Though there is a notable autonomy in the installation environment, with it being disengaged from the original architecture of the gallery, the viewer and subject do not act as independent beings. An interactive relationship is created through movable parts and innovative lighting, producing a differing atmosphere to the neutral environment of Barr’s installations. Lissitzky intended for his space to “make the man active,” rather than being “lulled… into a certain passivity.” Thus, influenced by the themes interrogated in Staniszewski’s existing list of questions, we may ask our own: what is the role of the viewer in different types of installations? In Lissitzky’s work, the presence of the viewer is required to realise the full potential of the installation design, whereas in Barr’s spaces we are left questioning whether the viewer is even necessary in Barr’s realm of selfsufficient modern works. Moreover, does Barr’s “ideal viewer” even exist beyond his concept of the installation? These different experiences hint at the power of installation design over visitors; it is not just the art, but the viewers themselves that are curated within the space to suit a specific concept of what the installation should be.

Sketchbooks are personal, private belongings which present a blank space for one to express ideas that are often unfinished and unrefined. They are not merely for sketching; we use the sketchbook as a vessel for storing thoughts, for working out ideas or even for mundane notes and reminders. Their pages may contain a multitude of imaginings, and it is at the discretion of the owner as to what the sketchbook’s contents may be. This intimate and adaptable quality leads one to question whether a sketchbook is commonly filled with the intention of being viewed publicly. It seems that as well as contesting the format of exhibiting, the character of the sketchbook resists the public nature of such an event.

Graduate Attributes

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Opening Lines explored techniques for working around the physical limitations posed in exhibiting sketchbooks. In the exhibition, Adolfo Natalini’s Sketchbook 12 is presented through a chosen set of individual sheets, as the original sketchbook was “reversibly disbound.” Some of Álvaro Siza’s sketches are also displayed as “loose sheets detached from other sketchbooks.” Though the dis-bounding of the sketchbooks appears to have been sensitive, and is reversible, the dismantling of the fabric of the sketchbooks in order to optimise the exhibiting format raises questions of how this approach values the sketchbook as “a thing in its own right.”In manipulating the original form of the sketchbook for the purposes of exhibiting, is the sketchbook, as a thing, really being respected? In this, we return to the paradoxical nature of exhibiting the sketchbook; in order to display such an object, perhaps it is unavoidable for at least one aspect of the sketchbook, be that its character or bound form, to be compromised.

2.6

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Skill Development

Collaborators

KSa

RB 49

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

Submission 2: Essay The essay calls for an illustrated document that explores an issue of your choice, arising from seminars and readings. The essay is intended to be an investigation of a specific topic connected to the seminar material that is of particular interest to you. The format of the essay is open, but the design of the submission must be thought out as a deliberate part of the submission.

Naoshima Ar t Island, Japan (July 2018)

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Skill Development

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RB 50

Y1 | S2

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AMPL

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TRAVELLING THE EXHIBITION

THE ART HOUSE PROJECT

EXPERIENCING THE ART HOUSE PROJECT THROUGH THE LENS OF THE TRAVELLER

The Art House Project, begun in 1998, is an ongoing creative project on the island of Naoshima, Japan. Situated in the

is to say, as gatherings that participated in, and interacted with, the larger complex gathering of the ‘urban thing’, as it was

island’s Honmura district, the project currently occupies seven different locations within this small residential area. The seven sites, each by a different artist, transform existing houses and plots into works of art, taking inspiration from the history, culture and previous occupation of the spaces to inform their interventions. The seven locations the exhibition currently comprises, in the order they were added to the project, are: Kadoya, by Tatsuo Miyajima; Minamidera, by James Turrell

In the dispersion of seven projects through the Honmura district, the Art House Project reads as a series of “gatherings”

a traditional gallery space to a body of work that functions across a wider, public architectural scope. The occupation of

participating in a “larger complex gathering of the ‘urban thing’.” Operating at two scales, The Art House Project exists as

individual sites represents the exhibition at its smaller scale. At specific moments across the district, the project embeds

an “urban thing,” embodying the “urban” in its dispersion through Honmura, and the “thing” as a “complex gathering” of

itself within individual houses and sites; smaller, more intimate spaces only accessible to exhibition visitors. Traversing

sites, exhibits, visitors and residents. Art House Project “Haisha”

to arrive at the The route I cycled Miyanoura exhibtion from

the required stages of travelling to access explore its setting are particularly significant to any discussion of the work.50

Hawker examine their exhibition in relation to Bruno Latour’s seminal essay “Why has critique run out of steam?,” in which he

Located in a small town on the island of Naoshima, off the coast of Japan, any visitor to the exhibition who does not reside

describes the “thing” as being “in one sense, an object out there and, in another sense, an issue very much in there, at any

on the island must travel across the water by ferry, and then across the island from the port to access the exhibition (fig 10).

rate, a gathering.”47 Supporting the notion of “things” as “sites where complex ‘gatherings’ of relations occur,” Dorrian and

Whilst travelling to an exhibition site may not seem an unusual act—it is reasonable to assume that any exhibition requires

Hawker go on to state that “any exhibition that involves a number of works is of course inevitably a gathering of a complex

some element of travel to arrive at its location—this journey to the exhibition precedes the act of travelling within the

I stayed here, in

kind that brings together not only exhibits, within which multiple relations are already enfolded, but also people (producers,

exhibition, between the seven sites of the project, and the subsequent exploration within each individual space. Whereas

area on my visit.

developing an understanding of how the unusual structuring of Art House Project shapes and influences its visitors’ actions and experiences.

41 “Art House Project,” Benesse Art Site Naoshima, accessed March 17, 2019, http://benesse-artsite.jp/en/art/arthouse.html. This website gives detailed information about the Art House Project, including location, maps, contributors, project statement, admission, opening times, facilities information and requests for visitors. 42 Benesse Art Site Naoshima, “Art House Project. 43 Benesse Art Site Naoshima, “Art House Project. 44 Note that urban here is limited to the town, rather than referring to a wide, highly developed city.

Ruins of the Castle

Art House Project “Kadoya”

Art House Project “Go’o Shrine”

Post Office

Site of the Temple

ANDO MUSEUM Naoshima Hachiman Shrine

Zuishinmon Michiyo Miwa “Sleepy Cat”

Park

N 0

100m

the Miyanoura

Naoshima

Mukaijima

Honmura Area (see pg.3)

Miyanoura Area (see pg.2)

Honmura Port

Mitsubishi Materials Co-op

Nokyo-mae

Seikyo-mae

Honmura-ko

Park

Miyanoura Gallery 6

Miyanoura-ko

Kindergarten

Elementary School

ANDO MUSEUM

Welfare Center

Marine Station Naoshima Ferry Terminal

Junior High School

(Tourism Association, Boat Ticket booth)

Art House Project Area

Miyanoura

Miyanoura Port

Tsumu’ura Port

Honmura

Naoshima Pavilion

I arrived at the Ferry

Benesse House Area (see pg.4)

Terminal from Uno on

Chichu Art Museum Ticket Center

the morning of July 24,

Lee Ufan Museum

Chichu Art Museum

Figure 10 | A mapping of some of my experience and journey on the island (shown in orange), using copies of tourist maps that I used to navigate the island. These maps are available to collect at the ferry port and to download on the Naoshima website.

Tsumu’ura

2018. Tsutsuji-so Town Bus

Benesse Artsite Naoshima Shuttle Bus

From:

Chichu Art Museum Ticket Center Lee Ufan Museum

Tsutsuji-so

To:

Benesse House Museum -

Lee Ufan Museum Benesse House Museum Tsutsuji-so

Tsutsuji-so

Nokyo-mae

Miyanoura-ko

Naoshima Bath "I♥湯"

Miyanoura Gallery 6

Nokyo-mae Miyanoura-ko

10 min. 10 min.

Fishing Park

2 min. 2 min.

10-15 min.

3 min.

6 min.

25 min.

10 min.

30 min.

Benesse House Museum

2 min.

500m

3 min.

an otherwise minimal graphic landscape, whereas in reality, they exist as subtle integrations within the district.

effect does this then have on the traveller’s journey through the exhibition? In Tiago Torres-Campos’ discussion of Corner’s In his essay “The Agency of Mapping,” James Corner suggests a certain agency—an activity or influence—in the “ways in

discourse, he states that “the explicit and complicit narratives constructed by the agency of mapping affect how we perceive

The traveller, as well as being a cipher for the uncertain, incremental, negotiated process from which these projects

which mapping acts may emancipate potentials, enrich experiences, and diversify worlds.”52 Corner continues his narrative

the world and consequently act on it.”56 As an exhibition so reliant on the use of the map, the particular ways in which the Art

emerge, is the paradigmatic performer, manipulator, and misuser of maps whose pristine qualities soon give way to

of the dynamic act of mapping by identifying that this agency exists because of the “double-sided characteristic of all

House Project is represented through this surface, the “narrative” produced in its mapping, may hold some influence over

wears and tears and strange diversions as they are misfolded, ripped and torn, hung out as a shelter and up to

maps.” According to Corner, the surface of the map is both analogous and abstract.53 Of the analogous characteristic of

how the traveller perceives and acts within the exhibition, hinting at the power of its agency in the traveller’s exploration.

dry. And of course the traveller is also a collector…, an accumulator of souvenirs… through which the journey may

maps, Corner describes the horizontal surface of map as a direct recording of ground conditions, writing that:

THE MAP AS PERFORMANCE

the distinction, they state that “the map has to do with performance, whereas the tracing always involves an alleged

THE SURFACE OF THE MAP

be re-membered but from which other itineraries are sure to be dreamt and drawn.51

‘competence.’”58 To Deleuze and Guattari, whilst a “tracing” is a repetition of existing conditions, the “map” constructs new realities, revealing the experiences of a site beyond its physical attributes. As in Corner’s discussion of the map as

As in the casting of shadows, walks and sightings across land may be literally projected onto paper through a geometrical graticule of points and lines drawn by ruler and pen. Conversely, one can put one’s finger on a map

A considered analysis of the Art House Project map reveals the analogous-abstract character of its surface, extracting a

abstraction, the map in Deleuze and Guattari’s discourse is an artificial representation based on what exists, going beyond a

the traveller constructs a framework through which the Art House Project may be explored through the lens of its visitors.

and trace out a particular route or itinerary, the map projecting a mental image into the spatial imagination. Because

sense of how the traveller reads and explores the exhibition (fig. 11 is a reproduction of the map, which should now be

“tracing” by making visible the multiple processes that underlie the workings and experience of a site. The map’s relationship

Through the relationship of the traveller to both the map and the souvenir, the experience of the Art House Project, as it is

of this directness, maps are taken as to be “true” and “objective” measures of the world and are accorded a kind of

removed from its pocket as a reference and guide through the rest of the study). The map is analogous to the real ground

presented, understood and explored at its different scales of operation, may be questioned and unravelled.

benign neutrality.

conditions of the site in its representation of roads and pathways, and in its purpose as a guide for visitors to the exhibition.

“narratives constructed by the agency of mapping affect how we perceive the world and consequently act on it,”59 the

As visitors hold, unfold and study the map, the analogous nature of its surface allows them to “trace out a particular route

fictitious “narratives” that exist in the abstract map have the potential to direct and guide its users to perform in certain

or itinerary” through the area and between the sites.

ways. The map operates both as a performance in its representation of sites, and as a stage of performance for its users.

This neutrality of the map is in contrast to the other element of the map’s characteristics, the map as abstraction, which

A RELIANCE ON THE MAP

A torii gate at the bottom of the pathway up to the Go’o Shrine

In the introduction to A Thousand Plateaus, Gilles Deleuze and Félix Guattari urge: “make a map, not a tracing.” Explaining

Associating with my own experience as a traveller to and through the Art House Project, Dorrian and Hawker’s discussion of

to “performance” lies in this fictional depiction of ground conditions. Referring back to Torres-Campos’ statement that the

Though not part of the exhibtion, I took an unconventional pause in my journey to visit the Ando Museum after visiting Minamidera.

Corner identifies as: The “directness” of the map in its depiction of Honmura exists only to a certain extent; the representation of anything

On paying admission for the Art House Project, visitors are presented with a document that simultaneously acts as a map,

the result of selection, omission, isolation, distance, and codification. “Map” crevices such as frame, scale, orientation,

in the area beyond the layout of the coastline, roads and paths, becomes an abstraction of true conditions. There is a

ticket and method of both permitting and tracing their entrance to each site (fig. x). In having no set order in which to visit

projection, indexing, and naming reveal artificial geographies that remain unavailable to human eyes. Maps present

clear “omission” across the map surface of the majority of residential or private buildings in the area; instead, a definite

the seven spaces, the traveller becomes the instigator of their own journey between the sites. The interventions across

only one version of the earth’s surface, an eidetic fiction constructed from factual observation.55

“isolation” is evident, with only certain public buildings and the spaces occupied by the Art House Project being shown or

the district, being heavily influenced by the history of the spaces they occupy, integrate themselves so delicately within

now return our discussion to the traveller—the “paradigmatic performer, manipulator, and misuser of maps.”60 How is the

focus.57 In isolating the sites of the project, alongside a few amenities such as the post office or resting place, this mapping

to locate or identify the sites. There is a heavy sense of reliance on the map as a navigation tool through the Art House

traveller at the Art House Project; its surface exposes both a “directness” and “isolation” in its representation, embodying

targets travellers to the exhibition as its audience, highlighting the spaces and places assumed to be useful or important to

Project; the map acts as a critical pivot in the relationship between visitor and exhibition as it reveals the project at its urban

them. The exhibition’s urban context is hardly represented in the map, giving the project spaces a sense of floating within its

scale of occupation. How, then, does this dependency on the map influence and shape the experience of the traveller—as

surface. On the map, we see the project plotted as a series of artificially identified grey masses and maroon indicators across

52 James Corner, “The Agency of Mapping: Speculation, Critique, and Invention,” in The Landscape Imagination: Collected Essays of James Corner 1990-2010, ed. James Corner and Alison Bick Hirsch (New York: Princeton Architectural Press, 2014), 197. 53 Corner, “The Agency of Mapping,” 199. 54 Corner, “The Agency of Mapping,” 199. 55 Corner, “The Agency of Mapping,” 199.

Mark Dorrian and Adrian Hawker, “Postscript as Pretext,” in Urban Cartographies (London: Black Dog, 2002), 11.

Having discussed the analogous-abstract character of the map, and the connection of the map to performance, we may traveller’s performance within the exhibition affected by the abstract representation of the Art House Project map?

Both of these characteristics, the analogue and the abstract, are identifiable in the map so heavily relied upon by the

“paradigmatic performer, manipulator and misuser of maps”—through the urban occupation of the Art House Project?

PARADIGMATIC PERFORMER, MANIPULATOR AND MISUSER OF MAPS

labelled. In this sense, the map is an “eidetic fiction,” being an artificial representation of Honmura with the exhibition as its

their sites that without being identified on a map, it is unlikely that a traveller unfamiliar with the exhibition would be able

Art House Project “Kinza”

the “double-sided characteristic” discussed by Corner. As the agency of mapping exists in this double-sidedness, what

THE DOUBLE-SIDED CHARACTER OF THE MAP

representation. They write:

Yakuba-mae

Gokuraku Temple

Koujinjima

49 Dorrian and Hawker, “The Exhibition as an Urban Thing,” 7. 50 I visited the Art House Project on July 24, 2018, on the first day of a one night stay on the island of Naoshima. On the day of my arrival, I began my journey in Himeji, a city in the Kansai region of Japan. The journey from Himeji to Naoshima took 3 hours and required two trains and a ferry.

25 min. 30 min.

ATM

within the exhibition. An examination of the exhibition strategy and how the project is presented to its visitors may aid in

6 min. 10 min.

ji-

Urban Cartographies, this study aims to explore the Art House Project through the lens of the traveller. Through discussion

Miyanoura-ko

Co-op

Naoshima Bath "I♥湯"

rather than simply a viewer.

Miyanoura-ko

45 On the Surface was a retrospective exhibition of seven of Metis’ architectural projects, exhibited at the Arkitektskolen Aarhus in Denmark, 2014. The exhibition featured a large carpet drawing comprising elements from each of the seven projects, with a table surface for each project distributed across the carpet. Though occupying different architectural scales, there are notable comparisons between On the Surface and the Art House Project that make Dorrian and Hawker’s essay about their exhibition useful in this discussion. In both exhibitions, seven projects are distributed across a wider area; a carpeted floor drawing in On the Surface, and Honmura in the Art House Project. Visitors of both exhibitions are encouraged to travel between “sites” within the exhibition, interacting with both the projects and other people. 46 Mark Dorrian and Adrian Hawker, “The Exhibition as an Urban Thing,” Interstices 16 (2016): 7. 47 Bruno Latour, “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern,” Critical Enquiry 30, no. 2 (Winter 2004): 232, quoted in Dorrian and Hawker, “The Exhibition as an Urban Thing,” 7. 48 Dorrian and Hawker, “The Exhibition as an Urban Thing,” 7.

Nokyo-mae

Town Office

Art House Project “Minamidera”

travellers both to and through the project, before one even steps foot inside each exhibition space. Once one dedicates

of the exhibition in its relationship to maps and souvenirs, we may gain a sense of the traveller’s understanding and passage

Tobacco Shop

In relation to the Art House Project’s operation at an urban scale, and based on my own experience of visiting the exhibition,

relation to “the connotations of density, encounter, transformation and mediation that the term might imply.”46 Dorrian and

oneself to the experience of traversing between the seven sites, one is assuming the role of a traveller within the exhibition,

as a traveller to the exhibition, and using Mark Dorrian and Adrian Hawker’s notion of the traveller from their 2002 book

ATM Bank

Naoshima Hall

Hawker consider the notion of constructing an exhibition as an “urban thing.” They question how this may be considered in

a traditional gallery space may only require one to travel to the building or site, visitors to the Art House Project become

Nokyo-mae

ATM

Parking

Art House Project “Gokaisho”

curators, technicians, visitors, etc.).”48

I visited the Art House Project on July 24, 2018, during a stay on the island of Naoshima. Thus, based on my own experience

To:

Tsutsuji-so

Garden (bicycle rental available) Honmura-ko

Honmura Lounge & Archive

Resting Place

In their essay “The Exhibition as an ‘Urban Thing,’” a discussion of their exhibition On the Surface,45 Mark Dorrian and Adrian

experience the exhibition by travelling through Honmura, navigating the district in their exploration of its sites.

From:

Boat Pier (for foot passengers only) Honmura Port

TRAVELLING TO AND THROUGH THE EXHIBITION

operates at a larger urban scale in this unconventional layout, in addition to its inhabitation of smaller buildings. Visitors

Town Bus

T.V.C (bicycle rental)

Art House Project “Ishibashi”

between public and private space on their journey.

Yoshihiro Suda; and Haisho, by Shinro Ohtake.41 Described by the Art House Project exhibition statement, spacing the seven sites of the project across the residential district represents the intention of the exhibition to act as a “catalyst for interaction between visitors and local residents”42 as visitors travel between the sites. Whilst exploring the Art House Project, visitors are subject to an experience “where everyday life unfolds around them, in the process not only engaging with works of art, but also sensing the layers of time and history interwoven in the community and the fabric of local people’s lives.”43 The project is designed to act as both an art exhibition and a culturally immersive experience; visitors interact both with the works of art and with the urban, residential environment of the area the project intervenes within.44

visitors to interact both with the art installations and the residents and culture of the local area. The Art House Project

In Urban Cartographies, Mark Dorrian and Adrian Hawker discuss the traveller in the context of their discussion of architectural

Honmura Area

ut Ts

through its site. Occupying seven different plots within the small residential district of Honmura, the exhibition encourages

constituted by the exhibition itself.”49 In this, we may also decipher a notion of the Art House Project as an “urban thing.”

Honmura, the exhibition exists at an urban scale. The scattering of sites through the district takes the exhibition beyond

The Art House Project, on the island of Naoshima, Japan, is an exhibition requiring a significant amount of travel both to and

The Art House Project operates within two scales and realms of architectural occupation. Through its dispersion across

through the district, visitors to the Art House Project continually transition between these two scales of operation, moving

and Tadao Ando; Kinza, by Rei Naito; Go’o Shrine, by Hiroshi Sugimoto; Ishibashi, by Hiroshi Senju; Gokaisho, by

ABSTRACT

Dorrian and Hawker summarise their discussion of On the Surface by stating that “the projects emerged as things - which

THE ART HOUSE PROJECT AS “URBAN THING”

cy (ar cling riv ing rou te )

E S S AY

[Studies in Contemporary Architectural Theory]

58 Gilles Deleuze and Felix Guattari, “Introduction: Rhizome,” in A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (London: Continuum, 1988), 12-13. 59 Torres-Campos, “The Grid and the Bedrock,” 48. 60 Dorrian Adrian Hawker, “Postscript as Pretext.” 11.

56 Tiago Torres-Campos, “The Grid and the Bedrock: Manhattan Through a Cartographical Geo-Tale,” Magazine on Urbanism 29 (October 2018): 48. 57 Corner, “The Agency of Mapping,” 199. 29

cy (d

To refer back to the agency of mapping, there is a sense of liberation in the removal of urban context in the Art House

I took a slight detour after visiting the Go’o Shrine—the most isolated of the seven projects —wandering through the forest and stopping at an outlook over the sea (photographed)

Project map. In having no prior indication of the exhibition’s surroundings, as the traveller navigates through Honmura the

holds traces of the traveller’s exploration of the exhibition, an experience known only by them. This document creates a

In this sense, the absence of souvenirs from the installation spaces of the Art House Project induce a heightened sense of

places they encounter will be entirely unexpected. The map gives little indication of routes to be taken or what to expect

record of events which, on leaving the exhibition, “exist only through the invention of narrative.”64 The traveller, in collecting

longing. The “insatiable demands of nostalgia” that the souvenir connects to, a wistfulness for a lived experience gone-

across the site, facilitating the intention of the project as a “catalyst for interaction.” The narrative created across the Art

such a document, retains evidence of their journey that can only truly be recalled and understood by them.

by, can be directly appeased through the re-remembering of ones journey in revisiting the exhibition ticket and map. With

House Project map focuses on the exhibition; the traveller is presented with a version of the site which gives a perception of

its stamps, folds, and tears—evidence of its misuse and manipulation—the map exists as a preservation of the visitor’s

the exhibition as the focal existence within Honmura. The minimalistic representation leaves the traveller free to act as the

If the traveller keeps the map on leaving the exhibition, its role is transformed. In Stewart’s discourse, “the souvenir displaces

experience of the exhibition, becoming an intimate object with a narrative only relatable to the traveller by whom it was

“manipulator” of maps, setting the stage for their interpretive exploration within the district.61 In abstracting the mapping

the point of authenticity as it itself becomes the point of origin for narrative. Such a narrative cannot be generalized to

used.

of the exhibition in this way, the map facilitates the existence of the exhibition as a “truly organic project that changes

encompass the experience of anyone; it pertains only to the possessor of the object.”65 When the map is collected by

day-to-day.”62 With no ordered way in which to explore, the traveller is free to make their own decisions, embarking on an

the traveller, it is no longer a navigation tool; the map evolves from being an active surface, a narrative of the district,

improvised excursion between the sites.

into a narrative of the experience of the traveller. In collecting the map as souvenir, the traveller retains a sample of their

Tickets are purchased at the Lounge. This is where the traveller’s journey through the exhibition begins. Arriving at Honmura Port, I struggled to read the map—perhaps it became too abstracted—and wandered for a while before finding the Honmura Lounge to purchase my ticket.

THE EXHIBITION EXPERIENCE(D)

experience, a means through which they may remember and reflect on their time at the exhibition. The Art House Project map thus assumes a double agency, both in its connection to performance—as a narrative of the district, and as a stage for

The operation of the Art House Project across two scales impacts its visitors in multiple ways. Dorrian and Hawker’s notion of

ACCUMULATOR OF SOUVENIRS

the performance of visitors’ journeys—and in its subsequent role as a souvenir.

the traveller—the performer and collector—serves as a useful tool for investigating visitors’ journeys through the Art House

But what of the traveller as a “an accumulator of souvenirs”? This study has so far focused on the visitor’s active journey

The significance of the Art House Project map as souvenir becomes more apparent in the context of the rules for visiting

considering the Art House Project’s unconventional reliance on the map as a navigation tool. Using Corner’s concept of the

through the exhibition, the traveller as “performer,” rather than “collector.” Susan Stewart states that souvenirs “serve as

the project spaces. Once travellers cross the threshold from the public realm into the private spaces of the exhibition, they

analogue-abstract character of maps, analysis of the Art House Project map indicates that rather than directing visitors along

traces of authentic experience,” noting that they represent “not the lived experience of its maker but the ‘secondhand’

are subject to a new set of rules and restrictions established for the exhibition. Visitors are only allowed to visit each of

a certain route, the abstract mapping of the exhibition constructs a sense of freedom in the traveller’s exploration.

experience of its possessor/owner.”63 In this description, the souvenir is personal, serving as a reminder of a certain journey

the seven spaces once, with entry monitored through the marking of stamps on the exhibition map. Once inside the sites,

or experience only truly known by its bearer. Thus, a consideration of the souvenir may inform an understanding of the

visitors are not permitted to take photographs, and in two of the spaces, Minamidera and Kadoya, visitors are even subject

As an exhibition operating as an “urban thing”—a complex gathering of projects, spaces, artists and people—the actions

private nature of the exhibition. The idea of souvenirs as a “traces of experience” draws a connection to the map as the

to a prescribed time limit.

and explorations of travellers within the Art House Project create an extensive network of experiences and encounters.

Project. At its urban extents, the mapping of the exhibition gives a somewhat unexpected sense of liberation to visitors,

stage for the traveller in the exhibition. Could the Art House Project map thus be said to also exist as a souvenir?

I stopped at the resting place for a short pause after visiting Haisha, before my journey home; a brief respite from the searing afternoon heat.

The view from the port.

Visitors embark on individual, improvised journeys through the exhibition, based on their own perceptions of the map. Though within the public realm photographs may be taken (fig. 12), the narrative told through these souvenirs will be

This contrasts with the more controlled environment of the installation spaces in the Art House Project. In these intimate

Figure 11 shows that as well as a map for the exhibition, the document given to the traveller at the Art House Project

fragmented. After the traveller crosses the threshold out of the interior exhibition spaces, they resume their journey having

settings, the traveller becomes subject to a more regulated, enclosed experience. The structuring and scale of the Art House

provides descriptions of the sites and boxes to be stamped as the traveller enters each space. In this sense, the document

collected only the memory of their experience, rather than any physical souvenir of the space. With no re-admittance

Project supports this complexity of exploration; in the continual transition between public and private space, the exhibition constructs varied experiences across its realms of occupation. In the Art House Project, the map serves a dual purpose,

permitted, the action of leaving the space is weighted with a heavy sense of finality. Stewart notes that the souvenir “is not an object arising out of need or use value; it is an object arising out of the necessarily insatiable demands of nostalgia.”66

61 In “The Agency of Mapping,” James Corner states that the surface of the map functions like a “staging ground or theater of operations,” furthering the connection between the map and performance. Corner, “The Agency of Mapping,” 199. 62 Benesse Art Site Naoshima, “Art House Project.” 63 Susan Stewart, “Objects of Desire,” in On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham: Duke University Press, 1993), 135.

64 65 66

acting first as a tool for travellers’ navigation of the sites, before becoming a souvenir, a personal reminder of the traveller’s

Figure 12 | A series of my own photographs from the exhibition—a fragmented narrative of my experience travelling through Honmura.

Susan Stewart, “Objects of Desire,” 135. Susan Stewart, “Objects of Desire,” 136. Susan Stewart, “Objects of Desire,” 135.

experience. The use of the map to fabricate individual journeys through the Art House Project hints at the inherent influence that the strategy, structure and representation of an exhibition hold to shape the experiences of its visitors.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 51

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

Travelling the Exhibition: Experiencing the Art House Project through the lens of the traveller

“ T h e t r ave l l e r. . . i s t h e p a r a d i g m a t i c p e r f o r m e r, m a n i p u l a t o r, a n d m i s u s e r of maps”

Abstract

Travelling To and Through the Exhibition

The Art House Project, on the island of Naoshima, Japan, is an exhibition requiring a significant amount of travel both to and through its site. Occupying seven different plots within the small residential district of Honmura, the exhibition encourages visitors to interact both with the art installations and the residents and culture of the local area. The Art House Project operates at a larger urban scale in this unconventional layout, in addition to its inhabitation of smaller buildings. Visitors experience the exhibition by travelling through Honmura, navigating the district in their exploration of its sites. I visited the Art House Project on July 24, 2018, during a stay on the island of Naoshima. Thus, based on my own experience as a traveller to the exhibition, and using Mark Dorrian and Adrian Hawker’s notion of the traveller from their 2002 book Urban Cartographies, this study aims to explore the Art House Project through the lens of the traveller. Through discussion of the exhibition in its relationship to maps and souvenirs, we may gain a sense of the traveller’s understanding and passage within the exhibition. An examination of the exhibition strategy and how the project is presented to its visitors may aid in developing an understanding of how the unusual structuring of Art House Project shapes and influences its visitors’ actions and experiences.

Dorrian and Hawker summarise their discussion of On the Surface by stating that “the projects emerged as things - which is to say, as gatherings that participated in, and interacted with, the larger complex gathering of the ‘urban thing’, as it was constituted by the exhibition itself.” In this, we may also decipher a notion of the Art House Project as an “urban thing.” In the dispersion of seven projects through the Honmura district, the Art House Project reads as a series of “gatherings” participating in a “larger complex gathering of the ‘urban thing’.” Operating at two scales, The Art House Project exists as an “urban thing,” embodying the “urban” in its dispersion through Honmura, and the “thing” as a “complex gathering” of sites, exhibits, visitors and residents.

Honmura Area

Town Bus

T.V.C (bicycle rental)

From:

Art House Project “Ishibashi”

Nokyo-mae

Miyanoura-ko

6 min.

25 min.

10 min.

30 min.

Garden (bicycle rental available) Honmura-ko

Nokyo-mae

ATM Resting Place

Tobacco Shop

Parking

Art House Project “Gokaisho” Art House Project “Haisha”

the ed to arrive at The route I cycl Miyanoura exhibtion from

ATM Bank

Yakuba-mae

Art House Project “Kinza”

Ruins of the Castle

Art House Project “Kadoya”

Town Office

Miyanoura-ko

ATM

Associating with my own experience as a traveller to and through the Art House Project, Dorrian and Hawker’s discussion of the traveller constructs a framework through which the Art House Project may be explored through the lens of its visitors. Through the relationship of the traveller to both the map and the souvenir, the experience of the Art House Project, as it is presented, understood and explored at its different scales of operation, may be questioned and unravelled.

Art House Project “Go’o Shrine”

Post Office

Site of the Temple

Naoshima Hall

ANDO MUSEUM Gokuraku Temple

Art House Project “Minamidera” Co-op

Naoshima Hachiman Shrine

Zuishinmon Michiyo Miwa “Sleepy Cat”

Park

u Ts so

ji-

tsu

N 0

100m

I stayed here, in

A Reliance on the Map

the Miyanoura

In their essay “The Exhibition as an ‘Urban Thing,’” a discussion of their exhibition On the Surface, Mark Dorrian and Adrian Hawker consider the notion of constructing an exhibition as an “urban thing.” They question how this may be considered in relation to “the connotations of density, encounter, transformation and mediation that the term might imply.” Dorrian and Hawker examine their exhibition in relation to Bruno Latour’s seminal essay “Why has critique run out of steam?,” in which he describes the “thing” as being “in one sense, an object out there and, in another sense, an issue very much in there, at any rate, a gathering.” Supporting the notion of “things” as “sites where complex ‘gatherings’ of relations occur,” Dorrian and Hawker go on to state that “any exhibition that involves a number of works is of course inevitably a gathering of a complex kind that brings together not only exhibits, within which multiple relations are already enfolded, but also people (producers, curators, technicians, visitors, etc.).”

General Criteria

area on my visit. Naoshima

Mukaijima

On paying admission for the Art House Project, visitors are presented with a document that simultaneously acts as a map, ticket and method of both permitting and tracing their entrance to each site. There is a heavy sense of reliance on the map as a navigation tool through the Art House Project; the map acts as a critical pivot in the relationship between visitor and exhibition as it reveals the project at its urban scale of occupation. How, then, does this dependency on the map influence and shape the experience of the traveller—as “paradigmatic performer, manipulator and misuser of maps”—through the urban occupation of the Art House Project?

Honmura Area (see pg.3)

Miyanoura Area (see pg.2)

Honmura Port

Mitsubishi Materials Co-op

Nokyo-mae

Seikyo-mae

Honmura-ko

Park

Miyanoura Gallery 6

Miyanoura-ko

Naoshima Bath "I♥湯" Koujinjima

Kindergarten

Elementary School

ANDO MUSEUM

Welfare Center

Marine Station Naoshima Ferry Terminal

Junior High School

(Tourism Association, Boat Ticket booth)

Art House Project Area

Miyanoura

Miyanoura Port

Tsumu’ura Port

Honmura

Naoshima Pavilion

I arrived at the Ferry

Benesse House Area (see pg.4)

Terminal from Uno on

Chichu Art Museum Ticket Center

the morning of July

Lee Ufan Museum

Chichu Art Museum

Tsumu’ura

24, 2018. Tsutsuji-so Town Bus

Benesse Artsite Naoshima Shuttle Bus

Tsutsuji-so

To:

From:

Chichu Art Museum Ticket Center Lee Ufan Museum

Lee Ufan Museum

Benesse House Museum

Benesse House Museum -

Tsutsuji-so

Nokyo-mae

Miyanoura-ko

Naoshima Bath "I♥湯"

Miyanoura Gallery 6

10 min.

Fishing Park

2 min.

10 min.

2 min.

10-15 min.

3 min.

6 min.

25 min.

10 min.

30 min.

Benesse House Museum

2 min.

500m

3 min.

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

The traveller, as well as being a cipher for the uncertain, incremental, negotiated process from which these projects emerge, is the paradigmatic performer, manipulator, and misuser of maps whose pristine qualities soon give way to wears and tears and strange diversions as they are misfolded, ripped and torn, hung out as a shelter and up to dry. And of course the traveller is also a collector…, an accumulator of souvenirs… through which the journey may be re-membered but from which other itineraries are sure to be dreamt and drawn.

Honmura Port

Honmura Lounge & Archive

The Art House Project operates within two scales and realms of architectural occupation. Through its dispersion across Honmura, the exhibition exists at an urban scale. The scattering of sites through the district takes the exhibition beyond a traditional gallery space to a body of work that functions across a wider, public architectural scope. The occupation of individual sites represents the exhibition at its smaller scale. At specific moments across the district, the project embeds itself within individual houses and sites; smaller, more intimate spaces only accessible to exhibition visitors. Traversing through the district, visitors to the Art House Project continually transition between these two scales of operation, moving between public and private space on their journey.

To:

Tsutsuji-so

Boat Pier (for foot passengers only)

The Ar t House Project as “Urban Thing”

Located in a small town on the island of Naoshima, off the coast of Japan, any visitor to the exhibition who does not reside on the island must travel across the water by ferry, and then across the island from the port to access the exhibition (fig x). Whilst travelling to an exhibition site may not seem an unusual act—it is reasonable to assume that any exhibition requires some element of travel to arrive at its location—this journey to the exhibition precedes the act of travelling within the exhibition, between the seven sites of the project, and the subsequent exploration within each individual space. Whereas a traditional gallery space may only require one to travel to the building or site, visitors to the Art House Project become travellers both to and through the project, before one even steps foot inside each exhibition space. Once one dedicates oneself to the experience of traversing between the seven sites, one is assuming the role of a traveller within the exhibition, rather than simply a viewer. In Urban Cartographies, Mark Dorrian and Adrian Hawker discuss the traveller in the context of their discussion of architectural representation. They write:

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 52

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

The Double-Sided Character of the Map In his essay “The Agency of Mapping,” James Corner suggests a certain agency—an activity or influence—in the “ways in which mapping acts may emancipate potentials, enrich experiences, and diversify worlds.” Corner continues his narrative of the dynamic act of mapping by identifying that this agency exists because of the “double-sided characteristic of all maps.” According to Corner, the surface of the map is both analogous and abstract. Of the analogous characteristic of maps, Corner describes the horizontal surface of map as a direct recording of ground conditions, writing that: one can put one’s finger on a map and trace out a particular route or itinerary, the map projecting a mental image into the spatial imagination. Because of this directness, maps are taken as to be “true” and “objective” measures of the world and are accorded a kind of benign neutrality. This neutrality of the map is in contrast to the other element of the map’s characteristics, the map as abstraction, which Corner identifies as:

the result of selection, omission, isolation, distance, and codification. “Map” crevices such as frame, scale, orientation, projection, indexing, and naming reveal artificial geographies that remain unavailable to human eyes. Maps present only one version of the earth’s surface, an eidetic fiction constructed from factual observation.

an “eidetic fiction,” being an artificial representation of Honmura with the exhibition as its focus. In isolating the sites of the project, alongside a few amenities such as the post office or resting place, this mapping targets travellers to the exhibition as its audience, highlighting the spaces and places assumed to be useful or important to them. The exhibition’s urban context is hardly represented in the map, giving the project spaces a sense of floating within its surface. On the map, we see the project plotted as a series of artificially identified grey masses and maroon indicators across an otherwise minimal graphic landscape, whereas in reality, they exist as subtle integrations within the district.

The Map as Perfor mance In the introduction to A Thousand Plateaus, Gilles Deleuze and Félix Guattari urge: “make a map, not a tracing.” Explaining the distinction, they state that “the map has to do with performance, whereas the tracing always involves an alleged ‘competence.’” To Deleuze and Guattari, whilst a “tracing” is a repetition of existing conditions, the “map” constructs new realities, revealing the experiences of a site beyond its physical attributes. As in Corner’s discussion of the map as abstraction, the map in Deleuze and Guattari’s discourse is an artificial representation based on what exists, going beyond a “tracing” by making visible the multiple processes that underlie the workings and experience of a site. The map’s relationship to “performance” lies in this fictional depiction of ground conditions. Referring back to Torres-Campos’ statement that the “narratives constructed by the agency of mapping affect how we perceive the world and consequently act on it,” the fictitious “narratives” that exist in the abstract map have the potential to direct and guide its users to perform in certain ways. The map operates both as a performance in its representation of sites, and as a stage of performance for its users.

Paradigmatic Perfor mer, Manipulator and Misuser of Maps Having discussed the analogous-abstract character of the map, and the connection of the map to performance, we may now return our discussion to the traveller—the “paradigmatic performer, manipulator, and misuser of maps.” How is the traveller’s performance within the exhibition affected by the abstract representation of the Art House Project map? To refer back to the agency of mapping, there is a sense of liberation in the removal of urban context in the Art House Project map. In having no prior indication of the exhibition’s surroundings, as the traveller navigates through Honmura the places they encounter will be entirely unexpected. The map gives little indication of routes to be taken or what to expect across the site, facilitating the intention of the project as a “catalyst for interaction.” The narrative created across the Art House Project map focuses on the exhibition; the traveller is presented with a version of the site which gives a perception of the exhibition as the focal existence within Honmura. The minimalistic representation leaves the traveller free to act as the “manipulator” of maps, setting the stage for their interpretive exploration within the district. In abstracting the mapping of the exhibition in this way, the map facilitates the existence of the exhibition as a “truly organic project that changes day-to-day.” With no ordered way in which to explore, the traveller is free to make their own decisions, embarking on an improvised excursion between the sites.

Both of these characteristics, the analogue and the abstract, are identifiable in the map so heavily relied upon by the traveller at the Art House Project; its surface exposes both a “directness” and “isolation” in its representation, embodying the “double-sided characteristic” discussed by Corner. As the agency of mapping exists in this double-sidedness, what effect does this then have on the traveller’s journey through the exhibition? In Tiago Torres-Campos’ discussion of Corner’s discourse, he states that “the explicit and complicit narratives constructed by the agency of mapping affect how we perceive the world and consequently act on it.” As an exhibition so reliant on the use of the map, the particular ways in which the Art House Project is represented through this surface, the “narrative” produced in its mapping, may hold some influence over how the traveller perceives and acts within the exhibition, hinting at the power of its agency in the traveller’s exploration.

The Surface of the Map A considered analysis of the Art House Project map reveals the analogous-abstract character of its surface, extracting a sense of how the traveller reads and explores the exhibition. The map is analogous to the real ground conditions of the site in its representation of roads and pathways, and in its purpose as a guide for visitors to the exhibition. As visitors hold, unfold and study the map, the analogous nature of its surface allows them to “trace out a particular route or itinerary” through the area and between the sites. The “directness” of the map in its depiction of Honmura exists only to a certain extent; the representation of anything in the area beyond the layout of the coastline, roads and paths, becomes an abstraction of true conditions. There is a clear “omission” across the map surface of the majority of residential or private buildings in the area; instead, a definite “isolation” is evident, with only certain public buildings and the spaces occupied by the Art House Project being shown or labelled. In this sense, the map is

General Criteria

Graduate Attributes

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Skill Development

Collaborators

KSa

RB 53

Y1 | S2

AD:G

ATR

AD:B

SC AT

AD:C

AMPL

AD:D

[Studies in Contemporary Architectural Theory]

Bibliography Sample

cy (ar cling riv ing rou te )

The Exhibition Experience(d) The operation of the Art House Project across two scales impacts its visitors in multiple ways. Dorrian and Hawker’s notion of the traveller—the performer and collector— serves as a useful tool for investigating visitors’ journeys through the Art House Project. At its urban extents, the mapping of the exhibition gives a somewhat unexpected sense of liberation to visitors, considering the Art House Project’s unconventional reliance on the map as a navigation tool. Using Corner’s concept of the analogue-abstract character of maps, analysis of the Art House Project map indicates that rather than directing visitors along a certain route, the abstract mapping of the exhibition constructs a sense of freedom in the traveller’s exploration.

bicycle route (to travel to) walking route (to travel through)

A torii gate at the bottom of the pathway up to the Go’o Shrine

Though not part of the exhibtion, I took an unconventional pause in my journey to visit the Ando Museum after visiting Minamidera.

g rout cyclin ting) (depar

I took a slight detour after visiting the Go’o Shrine—the most isolated of the seven projects —wandering through the forest and stopping at an outlook over the sea (photographed)

As an exhibition operating as an “urban thing”—a complex gathering of projects, spaces, artists and people—the actions and explorations of travellers within the Art House Project create an extensive network of experiences and encounters. Visitors embark on individual, improvised journeys through the exhibition, based on their own perceptions of the map. This contrasts with the more controlled environment of the installation spaces in the Art House Project. In these intimate settings, the traveller becomes subject to a more regulated, enclosed experience. The structuring and scale of the Art House Project supports this complexity of exploration; in the continual transition between public and private space, the exhibition constructs varied experiences across its realms of occupation. In the Art House Project, the map serves a dual purpose, acting first as a tool for travellers’ navigation of the sites, before becoming a souvenir, a personal reminder of the traveller’s experience. The use of the map to fabricate individual journeys through the Art House Project hints at the inherent influence that the strategy, structure and representation of an exhibition hold to shape the experiences of its visitors.

Ackerman, James S. “The Origins of Sketching.” In Origins, Invention, Revision: Studying the History of Art and Architecture, 1-20. New Haven: Yale University Press, 2016.

Benesse Art Site Naoshima. “Art House Project.” Accessed March 17, 2019. http://benesse-artsite.jp/ en/art/arthouse.html.

Di Carlo, Tina. “Sketching Practice.” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, January 2019.

Tickets are purchased at the Lounge. This is where the traveller’s journey through the exhibition begins.

The view from the port.

Essay

Debord, Guy. “Theory of the Dérive.” Les Lèvres Nues, no. 9 (1956). Reprinted in Internationale Situationniste, no. 2 (1958): 19-23.

I stopped at the resting place for a short pause after visiting Haisha, before my journey home; a brief respite from the searing afternoon heat.

Arriving at Honmura Port, I struggled to read the map—perhaps it became too abstracted—and wandered for a while before finding the Honmura Lounge to purchase my ticket.

Journals

Figure 11 | A reproduction of the Art House Project mapping document presented to visitors of the exhibtion. My own routes, photographs and memories of certain experiences at the exhibition are illustrated in orange across the map surface. (See reverse for an unedited reproduction of the map).

Dorrian, Mark. “Introduction.” In Writing on the Image: Architecture, the City and the Politics of Representation, 1-12. London: I.B. Taurus, 2015. Drawing Matter. Opening Lines: Sketchbooks of Ten Modern Architects. Drawing Matter: Somerset, 2018. Latour, Bruno. “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern.” Critical Enquiry 30, no. 2 (Winter 2004): 225-248. Miller, Wallis. “Mies and Exhibitions.” In Mies in Berlin, edited by Terence Riley and Barry Bergdoll, 338-349. New York: The Museum of Modern Art, 2001. Miller, Wallis. “Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande.” Architectural Histories 5, no. 1 (January 2017): 1-22. http://doi.org/10.5334/ah.221.

Map produced as a piece to hold and interact with, folded into a pocket in the final printed booklet

General Criteria 2.1

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Deleuze, Gilles and Felix Guattari. “Introduction: Rhizome.” In A Thousand Plateaus: Capitalism and Schizophrenia, translated by Brian Massumi, 3-25. London: Continuum, 1988. Dorrian, Mark and Adrian Hawker. “Postscript as Pretext.” In Urban Cartographies, 8-11. London: Black Dog, 2002. Dorrian, Mark and Adrian Hawker. “The Exhibition as an Urban Thing.” Interstices 16 (2016): 7-16. Stewart, Susan. “Objects of Desire.” In On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, 132-169. Durham: Duke University Press, 1993. Torres-Campos, Tiago. “The Grid and the Bedrock: Manhattan Through a Cartographical Geo-Tale.” Magazine on Urbanism 29 (October 2018): 48-53.

Miller, Wallis. “Strange Bedfellows: An Exhibition and its Catalogue.” Lecture presented at the ESALA Research Seminar series, University of Edinburgh, Edinburgh, March 2019.

Figure 11 | An unedited reproduction of the Art House Project mapping document presented to visitors of the exhibtion. (See reverse for an edited reproduction of the map, with my own experience of the project illustrated across its surface).

Staniszewski, Mary Anne. The Power of Display. Cambridge: MIT Press, 1998.

Graduate Attributes

1.1

Corner, James. “The Agency of Mapping: Speculation, Critique, and Invention.” In The Landscape Imagination: Collected Essays of James Corner 19902010, edited by James Corner and Alison Bick Hirsch, 197-239. New York: Princeton Architectural Press, 2014.

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Collaborators

KSa

RB 54

Ye a r 2 | S e m e s t e r 1

Arch i tectu ral Desi gn : Stu di o C

City Fragments: Neapolitan Porosities

Learning Outcomes

Studio Brief

City Fragments: Neapolitan Porosities is the second in a series of MArch Modular Pathway studios exploring cities and themes framed by the idea of the fragment (figure). A fragment, as Maurice Blanchot asserts, does not refer to any whole, rather it is a piece that “opens up a different mode of completion... an affirmation irreducible to unity.” A fragment exists within an open series of pieces; it exists in relation to others, but retains its own agency. Thinking of the architecture of the fragment therefore involves understanding how something might simultaneously form relationships and operate independently; an architectural fragment is both in dialogue with other situations (through time and across space) and specific to a given situation. This twofold nature of the architectural fragment suggests a different way of thinking about the relationship of architecture to the city, one incompatible with the totalising visions of masterplans or planning diagrams. Instead, the city is understood as a complex arrangement of overlapping social, historical, political, cultural and material relations.

LO2 - The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 - A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

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Graduate Attributes 2.1

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As a starting point for developing these relations, the work produced in the City Fragments studios looks to Franco Cassano’s Southern Thought, a text that describes the relationship between the geography of the Mediterranean and its social and urban formations (and the thinking engendered by these formations). From this theoretical and conceptual starting point, the studios look to develop relationships between architectural fragments and specific geographic conditions (understood to comprise of hydrology, edaphology, geology, and so on, as well as the more open ideas of ‘landscape’ and ‘nature’). They explore the specificity of a city and a landscape as a way to generate architectural strategies. In the case of Naples, this will focus on the potential of the term ‘porous’—used by Walter Benjamin and Asja Lacis to describe the city—as a generator for architectural moves and processes. Through a series of related briefs encouraging drawing and making, students will explore the situation (a term we use in place of ‘site’ to encompass the manifold complexities of a city in the world) of Naples, developing design-research inquiries and architectural and urban speculations for the city.

Project Briefs Brief 1: Animate Drawings [Supplementary Brief: Fieldwork] Brief 2: Performative Constructions

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

Thesis Statement: (Un) Doing Thresholds Door / Ways to New Neapolitan Practice(s) (Un)doing Thresholds explores the temporalities and architectonic specificities of porous conditions of Naples, where (un)doing is presented through Andrew Benjamin as a productive conception of urbanity; one in which porous architectures are (un)done, drawn through one another, in a constructive overwriting founded in the immediacy of the city. Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city.

â&#x20AC;&#x2DC;Field Drawingâ&#x20AC;&#x2122; (Originally produced at 1:1500 on trace paper)

General Criteria

Graduate Attributes

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Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 56

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

Napoli: The City Naples belongs to the Volcanic regions of Vesuvius and Campi Flegrei of southern Italy. It is a city made and re-made on and of the earth of these field; of tufo—a sandstone of compressed volcanic ash—quarried from subterranean seams. The project explores Naples at a time when the city is going through a prolonged period of widespread social and economic crisis whereby the “role of the historical centre of Naples as the principles node for social life is declining,” and has necessitated a profound re-examination of its future and the nature of its development.

General Criteria

Graduate Attributes

1.1

2.1

3.1

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Skill Development 2.4

2.5

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2.7

Collaborators

KSa

RB 57

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

Naples: A Porous City of (Un)Doing “As porous as this stone is the architecture. Building and action interpenetrate in the courtyards, arcades, and stairways. In everything they preserve the scope to become a theatre of new, unforeseen constellations. The stamp of the definitive is avoided.”

A POROUS CITY OF ‘ (UN)DOING’

- Walter Benjamin & Asja Lacis

Reading Walter Benjamin’s descriptions of cities, Graeme Gilloch notes Benjamin’s recurrent use of the terms ruin, theatre and labyrinth. If Benjamin’s Berlin, Gilloch suggest, is the labyrinth, his Naples is “the perpetual ruin, the home of the nothing-new” where “the cultural merges into the natural landscape, becoming indistinguishable.” But this, as Gilloch subsequently notes, is to simplify Naples. In this merging of culture and nature—what Benjamin might describe as an interpenetration, a porosity—the city becomes labyrinthine. Boundaries blur and territories bleed, definitions lose their definition, terms are re-determined. These processes, as Benjamin and Lacis observe, are performed in the city, “buildings are used as a popular stage.” The theatrical, the ruinous and the labyrinthine themselves, co-existent, porous conditions of Naples.

General Criteria

Graduate Attributes

1.1

2.1

3.1

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5.1

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Skill Development 2.4

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2.7

Collaborators

KSa

RB 58

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

Brief 01: Animate Drawing Representing Porosity The Animate Drawing provides the grounds for the gesture of drawing and recording conditions of the ongoing enquiry to become a porous register of its architectures and their relationships through time and across space. It allows porosities to be drawn and re-drawn through each other by which ‘Animate Drawing’ becomes a way to represent porosity assumed by the thesis both in its making (methodologically) and as made (tectonically). ‘(Un)doing Thresholds’ becomes a methodological act that defines the Animate Drawing. With reference to those found in the Quartieri Spagnoli, it uses three doors as a foundation - a surface that immediately sets the drawing at the scale of the body, elevating the process of making to a gestural performance. As a result, the doors makes the Animate Drawing porous in scale, being layered up and overwritten by Napoli’s urban fabric and knitting together fragment(s) and gesture(s) into an improvised choreography. The values and physicalities of the doors as thresholds in their own right, transform this ‘tablet’ from an empty surface into a spatial field ready to receive speculation on Naples.

Installation and Performance: Matthew Architecture Gallery (Animate Drawing Exhibited for Cross-Studio Reviews)

General Criteria

Graduate Attributes

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Skill Development

Collaborators

KSa

RB 59

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

Projection, Installation and Performance: Matthew Architecture Gallery (Gesso, Acrylic, Plywood, Projection, Digital Media: Projection of Video onto Animate Drawing)

[Architectural Design: Studio C]

General Criteria

Graduate Attributes

1.1

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Skill Development

Collaborators

KSa

RB 60

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

City Territoreis

Catacombs; Ruin

[Architectural Design: Studio C]

practice drawing

[ animate drawing: index]

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E (S)

p o r o s i t i e s

drawing title:

animate drawing site:

date:

minto house

october 2019

brief:

author(s):

animate drawing(s)

KSi

Quartieri Spagnoli; Field

Centro Storico; Field

S Trinita delle Monache. Ruin

Territory Streets; Labyrinth

City Gateways; Ruin

The ‘Animate Drawing’ explores the interrelation between Gilloch’s recurring terms: ruin, labyrinth, and theatre. The Animate Drawing presents parts of the drawn figure; fragments that open up, record and are in dialogue with situations across the city as well as being able to operate independently. Fragmented ‘ruins’, ‘labyrinths’ and ‘theatres’ are mapped on a tabula rasa, frequently overlapping or erasing each other, creating a new urban topography of Napoli [design report pg 20-27].

Centro Storico; Field

Quartieri Spagnoli; Field

City Territoreis

T H R E S H O L D S

(Un)doing

NEAPOLITAN

S Trinita delle Monache. Ruin

Territory Streets; Labyrinth

Catacombs; Ruin

City Gateways; Ruin

000

Animate City Drawing and Axonometric of Animate ‘Door’ Drawing

NEAPOLITAN p o r o s i t i e s [ animate drawing: index]

General Criteria

drawing title:

animate drawing

site:

date:

brief:

author(s):

minto house Graduate Attributes

1.1

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Skill Development

october 2019

animate drawing(s)

Collaborators

KSi

2.4

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KSa

RB 61

e l e vat i n g t h e p r o c e ss o f m a k i n g to a g e st ur a l p e r f or m a n c e

Projection, Installation and Performance: Matthew Architecture Gallery (Gesso, Acrylic, Plywood, Projection, Digital Media)

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

Brief 02: Perfor mative Constructions

Projection, Installation and Performance Matthew Architecture Gallery (Plaster, Plywood, Paint, Projection)

Spatial Porosity [Performative Construction] is seen as a way of holding speculations of porosity on and in the city and are articulated as explorations of an architecture emerging from the thesis. They are moments at/in which the gestures of ruin, labyrinth and theatre (porous conditions of the thesis) are (un)done and re-framed as spatial, material and architectural thetic devices. In this way Performative Constructions operate (perform) to reveal (construct) a tectonic language inherent of the thesis and of the city. Within the dense urban morphology of the Quarteri Spagnoli, open public space is scarce beyond the surface of the street. â&#x20AC;&#x2DC;Openingsâ&#x20AC;&#x2122; into this morphology encourage activity and function as nodes of performativity throughout daily Neapolitan life. Four openings operate within two city fields; two within the Quartieri Spagnoli, and two within the Centro Storico. The interventions emerge as an exploration of architectures of the ruin, labyrinth, and theatre, testing notions of threshold within existing Neapolitan situations. Framed as constructive overwritings within the city, the four openings engage with different conditions of porosity specific to the chosen sites; spatial, social and urban porosities are identified, explored and challenged through shared techniques and working methods.

General Criteria

Graduate Attributes

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2.1

Santa Fede Liberata Eirini Makarouni & Kat Saranti

Vico Lungo Montecalvario Joseph Coulter

Ex Mercatino di S. Anna di Palazzo Katy Sidwell

These parallel practices act as openings towards Santissima Trinita delle Monache (see Studio D), setting the stage for a collective site strategy with individual moments in dialogue

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 63

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

The project began to address how to apply the practice(s) and technique(s) used in its ongoing explorations of ruin, labyrinth and theatre in the representation of particular sites: opening up a means by which to approach these situations and expose the porosity of their conditions. Through the overlaying of plans, sections, fields and fragments, the sites were drawn as re-compositions of their existing conditions, taking the â&#x20AC;&#x153;set of structured meaningsâ&#x20AC;? of the static survey drawing to the medium of the Animate Drawing.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 64

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

a n i t e r at i v e p r o c e s s o f tr ac i n g a n d ov e r wr i t i n g a. b.

Pla

iii.

n atio Rot

Cur

Rotation Axis

Sectio

n Rota tion C

ur ve

iv.

i & ii.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 65

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

A Theatrical Market-Scape Ex Mercatino di Sant’Anna di Palazzo The former market of Sant’Anna di Palazzo rests deserted and ruinous in the San Ferdinando neighbourhood, at the southern tip of the Quartieri Spagnoli. Designed by Salvatore Bisogni in the 1980s, the structure was deemed unfit for purpose and abandoned by market stall owners only months after opening in 2001. The project proposes a new ‘theatrical marketscape’ for the site; a new ‘Urban Gate’ is put in place to create a ‘configurable’ urban environment. Holes are punctured through the solid facade of the market, opening up the space to the street and allowing the theatrics of trade to operate beyond the enclosed market footprint. The ‘Urban Gate’ operates in duality; neither ‘open’ or ‘closed’ at any one moment, but rather orchestrating the flow and inhabitation of the street at different moments in an (un)doing of the urban conditions of the site.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 66

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

C’

Proposed Plan: Market ‘Closed’

C’

Proposed Plan: Market ‘Open’

Proposed Section

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 67

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

Proposed North Elevation

VICO TIRATOIO QUART. S.FERDINANDO

Proposed West Elevation

‘Performative’ Componenty

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 68

Y2 | S1

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio C]

‘Performative Constructions’ Model

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 69

Ye a r 2 | S e m e s t e r 1

Arc h i tectu ral Man agem en t, P racti ce an d Law

Learning Outcomes

Course Brief

LO1 - An understanding of practice management and codes of professional conduct in the context of the construction industry.

Architectural Management, Practice and Law is a lecture, workshop and studio based course aimed at developing studentsâ&#x20AC;&#x2122; knowledge and understanding of the management of Architectural practice and the professional requirements of an architect in practice. The course is also intended, in part, as being a preparation for fulfilling the requirements of the Part 3 Examination in Professional Practice and Management.

This course will allow students to: 1.

Acquire understanding of the issues and constituencies which influence the processes and delivery of design and theoretical aspects of project and practice management.

The course is delivered through a series of lectures presented by Architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can then be built on and developed by further reading.

Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect.

Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project.

Develop an awareness and understanding of the financial matters bearing upon the creation and construction of built forms.

Develop an awareness of the changing nature of the construction industry, inter-relationships between individuals and organisations involved in building modern day building procurement.

LO2 - An understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. LO3 - An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

Course Aims

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

Project Submissions 1.

Contract Game & Reports

Regulatory Drawing

Exam

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Contract Game]

1: Contract Game & Repor ts The Contract Game is a two-day exercise that aims to orientate ‘players,’ working in teams, to contract preparation, administration, and associated correspondence. Teams are tested through a total of 36 web-based scenarios, though in this simulation teams were advised that a more achievable number would be roughly 24. During the game a sense of competition quickly set in amongst the teams in the room; this lead to a relatively fast development in our understanding of the legal language and navigation of contracts that the game required.

Scenario 10 Fax From Clerk of Works

Scenario 10 Action

Fax From: Laurence Poplady, Triffac Building Consultants and Clerks of Works To: A Lamb – Team X Architectural Partnership, 2 The Streets, Tweedie Dew

[Oct 24 2019 5:19PM - NOTE to Group] Scenario Started

25 April 2014

[Oct 24 2019 5:52PM - Action to Structural Engineer] Laurence Poplady Triffac Building Consultants and Clerks of Works

Sandy

25th April 2014

NEW VET SCHOOL

Dear Laurence, Due to evidence of non-compliant work carried out by the sub-contractors Casticat, we are required to request an inspection in other areas of the site. In accordance with Schedule 4 Section 2, which states that we must consider the need to discover whether any non-compliance in a primary structural element is a failure of workmanship and/or materials such that rigorous testing of similar elements must take place, we believe that this inspection is a fair and reasonable operation of the requirements of clause 3·18·4. Under Clause 3.18.4, any cost of this inspection will not be added to the Contract Sum, as there is reasonable cause for us to investigate any further similar non-compliance. We will remind the Contractor that under Clause 3.7.1, they remain wholly responsible for carrying out the Works, including those carried out by any sub-contractor. Please find attached our Architects Instruction to begin the investigation of the situation, which we will be issuing to the Contractor. We will also be emailing the client to inform them that under Clause 3.18.4, if the works are found to be compliant, the Contractor will be within their rights to make a claim for Loss and Expense.

After our discussion on the amount of reinforcement steel being brought to site, I have been watching Casticat, the reinforced concrete subcontractor closely and I can tell you that reinforcing bars for the first floor landing in the in-situ concrete floor are of a much smaller gauge than is shown in the Engineer’s drawings and bending schedules. I didn’t clock the situation right away and they had started pouring the slab, so I issued a direction to the site agent to get him to stop the pour immediately and strip out the wrongly sized bars and concrete. The Casticat foreman has confirmed that he is going to rip up the slab and remove the bars of site and start again.

Following the game, team members individually produce two reports. The first report focuses on an analysis of team working dynamics, and the second on procurement methods and their potential impact on the game scenarios.

As you know the mezzanine, the balcony and the two other staircases and landings were poured last week and although the area in each case is slightly larger, the spans are the same and the gauge of the rebar indicated by the engineer is the same for all elements. I spoke to Mr Block, the Director of Casticat on the phone, and he said that he saw the bars for mezzanine slab and he was pretty sure they were exactly as the engineer’s drawings. I don’t know if that is true, because it’s all covered up, but the bars may be the same gauge as the other defective landing, in which case the engineer has confirmed they should come out.

Issued by: address:

Team 14 Architectural Partnership 2 The Streets, Tweedie Dew

Employer: address:

The Border College Trust North Roof Side, Borwick

Contractor address:

Double Felix Construction Ltd Clawmark Row, Purton

Works: Situated at:

College Wall, Borwick

Architect’s instruction Serial no:

xxx

Job reference:

xxx

Issue date: Contract dated:

24 March 2014 18 January 2013

Under the terms of the above contract, I/We issue the following instructions:

Opening up the mezzanine, the balcony and the two other staircases and landings for structural inspection.

Office use: Approx costs

£ omit

£ add

At no additional cost to the total contract cost.

Kind Regards, Sandy Lamb [Oct 24 2019 5:54PM - REPLY to GROUP] Hi Sandy, thanks for clarifying. I don’t think the contractor will be happy but their responsibility here is clear. Laurence.

I have discussed this with the contractor who said that he will only investigate the situation if he gets an instruction from you. He also wants confirmation from you that if the completed elements, of which there is no obvious evidence of non-conformity, are in fact constructed as designed, the client will pay for the delay to the works caused by the testing, and the opening up and rebuilding cost. He has indicated that because of the landings being necessary for the support of the next floor, the cost of the breaking out for investigation and the repairs and remaking, even if found to be in accordance with the contract, will be £18,600. I saw the client on site today, and he said that he wasn’t going to pay for any unnecessary opening-up, for what its worth.

To be signed by or for the issuer named above.

Could you speak to the contractor please and tell him what to do and who is going to pay for it? You might also want to speak to the client.

Signed

___________________________________________ Amount of Contract Sum £ No additional Cost to Contract Sum ±Approximate value of previous instructions £ £ ±Approximate value of this instruction £ Approximate adjusted total £

Kind regards Laurie

Employer

Contractor

Quantity Surveyor

Services Engineer

CDM Coordinator

Structural Engineer

File

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 71

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Contract Game Reports]

Repor t 1: Team Working Analysis Overview

d ay 0 | f o r m i n g

This report will analyse the learning experience and working dynamic of Team 14 during the contract game. To evaluate Team 14’s performance, this report will make use of both Bruce Tuckman’s model of Developmental Sequence in Small Groups (1965), and the Punctuated Equilibrium Model (PEM) set out by Connie Gersick (1988), to analyse the group’s working relationship and development of roles, and assess our progression and successes in relation to the times taken to complete tasks.

On the first evening of the Contract Game we were tasked with filling out the contract particulars in preparation for the next two days. We first decided on an effective way to situate ourselves around the desks. Our ‘horseshoe’ formation (fig. 1.4) proved to be effective in facilitating communication amongst the team, and we stuck to that layout throughout the game.

ING

PER

M1 M2 M3 M4

START SCENARIO

ING

LOW

STRATEGISE M3

NAVIGATE CONTRACT FOR M1 RELEVANT M2 INFORMATION

ROTATION OF ROLE FROM AM TO PM

INFORMATION COMPILED IN GOOGLE DOC

NO REQUIREMENT FOR ROLE ON DAY 1

(A+B)/2

TIME

COMPLETE SUPPORTING M4 DOCUMENTS

ASSIST AND SEND DOCUMENTS

SUBMIT ANSWER

ROTATION OF ROLE FROM AM TO PM

WRITE FULL RESPONSE

ASSIST AND SEND DOCUMENTS

M4 ROTATION OF ROLE FROM AM TO PM

ent

BEGIN WRITING EMAIL TEMPLATE

M3 IMBALANCED ROLE ROTATION

M4 AFTERNOON BREAKDOWN OF ROLE ROTATION

COMPLETE SUPPORTING DOCUMENTS

WRITE FULL RESPONSE

ASSIST AND SEND DOCUMENTS

M3 ROTATION OF ROLE FROM AM TO PM

ROTATION OF ROLES IN NEW TIME PERIOD

ROTATION OF ROLE FROM AM TO PM

CONTRACT FOR RELEVANT INFORMATION

WRITING EMAIL TEMPLATE

M3 ASSIST AND SEND DOCUMENTS

COMPLETE SUPPORTING M4 DOCUMENTS

ROTATION OF ROLE FROM AM TO PM

WRITE FULL RESPONSE

COMPLETE SUPPORTING DOCUMENTS

ASSIST AND SEND DOCUMENTS

SUBMIT ANSWER

ROTATION OF ROLE FROM AM TO PM

CONTRACT FOR RELEVANT INFORMATION

WRITING EMAIL TEMPLATE

NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

INFORMATION COMPILED IN GOOGLE DOC M3 IMBALANCED ROLE ROTATION

M4 AFTERNOON BREAKDOWN OF ROLE ROTATION

WRITE FULL RESPONSE

ASSIST AND SEND DOCUMENTS

M1 SUBMIT ANSWER

ROTATION OF ROLE FROM AM TO PM

COMPLETE SUPPORTING DOCUMENTS

RE-SUBMISSION

NO REQUIREMENT FOR ROLE ON DAY 1

NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

RE-SUBMISSION

INFORMATION COMPILED IN GOOGLE DOC

2 ATTEMPTS

42 32 (17) (15)

40 32

29 24

1 ATTEMPT

AVERAGE/PM = 20 MINS

AVERAGE/AM = 23 MINS

24 20

There is a contradiction between the linear improvement of our task completion, and our cyclical team working method. A possible failure of the structuring of the team on day 0 was our omission to appoint a team leader. If a leader had been appointed, there may have been a more effective strategy for keeping work-flow streamlined. Despite this, our team progressed to perform at a high level during the game, completing more scenarios than initially intended. The cyclical working strategy seems to have served our well during the two day game. However, the duration of the game involved only one full cycle of roles, with each member acting as Scribe once. The lapse in group performance in the middle of the afternoon on day 2 indicates that if the work had extended beyond two days, the team may have risked gradually lowered performance levels if the same strategy was continued. A second cycle of team working may have undermined our initial motivation to understand new roles, leading to possible further stages of Storming.

09 03 12

SCENARIO

COMPLETION HIGH (SMALL) TRANSITION

LOW

(A+B)/2

TIME

Fig. 1.7 - Diagram of actual work-flow and team member roles on Day 2

Fig. 1.8.1 (top) - time taken to complete scenarios on day 2, including averages and number of scenario attempts Fig. 1.8.2 (bottom) - adapted PEM mapped against performance on day 2, showing small period of transition at the mid-point of the afternoon, coinciding with a stage of Storming

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

END OF DAY 2

AVERAGE SCENARIO COMPLETION TIME PER DAY

ADJOURNING

NORMING

RE-FORMING STORMING

PERFORMING

END OF DAY 1 START OF DAY 2

DAY 2 / PM

PERFORMING

RE-FORMING NORMING

PERFORMING

RE-FORMING NORMING

START OF DAY 1

DAY 2 / AM

60 2 ATTEMPTS

49 45

AVERAGE SCENARIO COMPLETION 44 MINS

40 35

32 (17) (15)

40 32

29 24

1 ATTEMPT

29 AVERAGE SCENARIO COMPLETION 21 MINS

24 20 16

09 03 12

15 16 SCENARIO

COMPLETION HIGH (SMALL) TRANSITION

FIRST MEETING

(A+B)/2

2.1

2.2

END OF DAY 1

M1 M3 M2 M4 NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

M3 IMBALANCED ROLE ROTATION

COMPLETE A SUPPORTING DOCUMENTS

SUBMIT ANSWER

In Scenario 6, we were notified of the installation of incorrect drainage pipes on site, which were cheaper than those initially agreed in the contract. Identifying this as a potential saving for the client, who was happy to proceed with these pipes, the contractor was instructed to keep the pipes and ensure that the client received the appropriate savings. The issue was revisited in Scenario 8, when the incorrectly installed pipes failed, incurring a high rectification cost. However, we identified that as the original pipes had not been installed in accordance with the contract (Clause 2.3), the contractor was liable to pay for the repairs at no additional cost to the contract sum, and with no extension of time (Clause 3.18). In Scenario 11, our second method of cost control was put to the test through the issuing of an interim Architects Certificate to monitor ongoing costs. In this scenario, the cost of defective works were deducted from the contract sum as they were not carried out in accordance with the contract (Clause 3.18.4). Similar to the previous example of cost-control, this scenario demonstrated that in a standard building contract, a contractor is liable for any work they carry out that is not in accordance with the originally agreed contract, and any costs incurred as a result of this such work shall not be added to the contract sum.

(A+B)/2

TIME

Fig. 1.6.1 (top) - time taken to complete scenarios on day 1, including averages and number of scenario attempts Fig. 1.6.2 (bottom) - adapted PEM mapped against performance on day 1, showing period of ‘transition’ at the mid-point of the day moving the team from low to high performance

Scenario 6: Implementation of savings Dear Sogee, In accordance with Clause 2.3.1 of the Contract, all materials for the Works should be of the kinds and standards described in the Contract Bills. As the fireclay underground drainage pipes installed on site are not of the kind described in the Contract Bills, and as the material has

TIME

Fig. 1.9 - compiled data over two day period of game, mapping scenario completion time against Gersick’s PEM and stages of the Tuckman model

Fig. 1.10 - Architect’s Certificate issues by Team 14 in scenario 11 as part of our costcontrol strategy

not been completed in accordance with the Contract. As the client has accepted these changes, please ensure that the client receives the appropriate cost savings. Kind Regards, Sandy Lamb

Scenario 8: Decision of impact to contract sum Dear Havana, Architect’s Certificate Job No:

xxxx

Date: 6 May 2014

As these works carried out by the contractor are not in compliance

Our Ref:

xxxx

Certificate No: 4

with Clause 2.3, in which it is stated that ‘All materials and goods

Employer: Contractor:

Border College Trust, North Roof Side, Borwick

for the Works, excluding any CDP Works, shall, so far as procurable,

Double Felix Construction Ltd, Clawmark Row, Purton

be of the kinds and standards described in the Contract Bills’, the

Works: Contract Sum:

Contractor has not acted in compliance with the Contract in regards to £ 12, 800, 003.00

the installed pipes. This was previously stated by us to the Contractor £ 3,110, 926.00

Total Certified to Date

Less [3%] Retention

- £ 93, 327.78

Subtotal

£ 3, 017, 598.22

Less Amounts Previously Certified

- £ 2, 017, 598.23

Total of this Certificate

£ 999, 999.99

LOW A

FIRST MEETING

ASSIST AND SEND DOCUMENTS

SCENARIO

been changed without the Architects’ consent, the works on site have 3 ATTEMPTS

Graduate Attributes

1.1

DAY 1 / PM

NEW TIME PERIOD OF GAME

in email correspondence on 24 March 2014. As this change has resulted in the requirement of a new attenuation tank on site, this will be issued as Variation which, in accordance with Clause 3.18.3 will not be added to the Contract Sum, and no extension of time shall be given. As the original works were not in accordance with the contract, our Client will

(Payable within fourteen days of issuance of certificate)

not be liable to pay for this work. Please find attached our Architects

Signed:

Instruction of this Variation.

Sandy Lamb

Kind Regards,

On behalf of Team 14 Architectural Partnership, 2 The Streets, Tweedie Dew

Sandy Lamb Fig. 1.11 - Scenarios 6 and 8

General Criteria

NUMBER OF ATTEMPTS PER SCENARIO

BEGUN ON DAY 1 PM AND COMPLETED DAY 2 AM

3 ATTEMPTS

Tuckman’s model maps a more complex formation for the team dynamic. In adopting a cyclical working strategy, the development of our working relationship was not linear, with moments of breakdown from intended roles. This diversion from our initial strategy contrasts with figure 1.9, which demonstrates that overall team progress developed linearly across the game, with average scenario completion time consistently improving.

DAY 1 / AM

FORMING STORMING

AVERAGE SCENARIO COMPLETION TIME PER DAY

RE-FORMING

DAY 2 / PM

NEW TIME PERIOD OF GAME

CONTROLLER 2

1 ATTEMPT

ROTATION OF ROLE FROM AM TO PM

CONTROLLER 1

TIME TO COMPLETE SCENARIO (MINUTES)

END OF DAY 2

END OF DAY 1 START OF DAY 2

DAY 2 / AM

RE-FORMING

TIME TO COMPLETE SCENARIO (MINUTES)

Our performance on day 2 pm coincides with a change in the team’s working dynamic. In the afternoon, after our final Re-forming to put Member 1 as scribe, Member 4 was noticed to still be writing parts of the responses in the shared document, disrupting the flow of work. This individual moment of Storming–“resistance”—was quickly addressed by the team and stopped. This stage of Storming was relatively easy to overcome as the group had by now established personal relationships, allowing for easy expression of personal issues. This Storming and subsequent suppression by the team is marked by a gradual decline in performance at the start of day 2 pm, followed by a rapid improvement in the middle of the afternoon (fig. 1.8.1). After noticing the deteriorating role structure and group work-flow, the team entered a second, smaller phase of transition, M1 M1 START START M2 M2 in which we quickly addressed our SCENARIO SCENARIO M3 M3 M4 M4 issues and refocused on performance ALL READThis mid-afternoon ALL READ the task (fig. 1.8.2). SCENARIO SCENARIO transition was likely boosted by the impending completion of the game, STRATEGISE STRATEGISE and our desire to keep up with the M1 M3 M1 M3 M3 M4 progress of other teamsNAVIGATE in the room. M2 M4 M2 M4 NAVIGATE BEGIN BEGIN

NUMBER OF ATTEMPTS PER SCENARIO

NAVIGATE CONTRACT FOR RELEVANT INFORMATION

Acting as the contract administrators in the game, a number of cost-control measures were put into place to ensure that impartial action was taken. It was up to us to monitor and control where additional costs would fall during the game, and our initial naïve inclination to comply with demands soon gave way to a more confident understanding of the requirements of the contract. Our main methods of cost-control during the game were the observation and implementation of potential savings or additions to the contract sum, and the issuing of interim Architect’s Certificates to regularly monitor and report on costs.

INFORMATION COMPILED IN GOOGLE DOC

WRITE FULL M3 RESPONSE

WRITE FULL RESPONSE

cost-control

CONTROLLER 2

LOW

INFORMATION COMPILED IN GOOGLE DOC

AFTERNOON BREAKDOWN OF ROLE ROTATION

ASSIST AND SEND DOCUMENTS

AVERAGE/PM = 37 MINS

40 33

HIGH

ROTATION OF ROLE FROM AM TO PM

TRANSITION

NAVIGATE CONTRACT FOR M1 M2 RELEVANT M2 INFORMATION

STRATEGISE

BEGIN WRITING EMAIL TEMPLATE

The PEM has proven to be an effective way to map the relatively linear development of our performance for scenario completion times. Moments of transition are clear in our team’s trajectory, though these did not necessarily occur at the exact midpoint of working that Gersick identifies (1988, 33).

PERFORMANCE LEVEL

M3 BEGIN WRITING EMAIL TEMPLATE

ROTATION OF ROLE FROM AM TO PM

2 ATTEMPTS

M4 ROTATION OF ROLE FROM AM TO PM

Contradictions of performance

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

STRATEGISE

NO REQUIREMENT FOR ROLE ON DAY 1

ASSIST AND SEND DOCUMENTS

Fig. 1.4 - Team 14’s layout for SUBMIT ANSWER the duration of the Contract M4 Game (Mx indicates each team member)

NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

AVERAGE/AM = 59 MINS

Day 2 began with our second Re-forming, with Member 4 assuming the role of scribe in the first period of the day. This was followed by a quick development from Norming to Performing, as average scenario completion time dropped to 23 minutes and group energy was focused on task completion (fig. 1.8.1).

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

ALL READ SCENARIO

ROTATION OF ROLE FROM AM TO PM

3 ATTEMPTS

START SCENARIO

d ay 2 | r e - f o r m i n g — p e r f o r m i n g — s t o r m i n g — a d j o u r n i n g

BEGUN ON DAY 1 PM AND COMPLETED DAY 2 AM

START SCENARIO

COMPLETE SUPPORTING DOCUMENTS

ROTATION OF ROLES IN NEW TIME PERIOD

PERFORMANCE LEVEL

M1 M2 M3 M4

M1 M3 M2 M4 NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

NAVIGATE CONTRACT FOR RELEVANT INFORMATION

INFORMATION COMPILED IN GOOGLE DOC

SUBMIT ANSWER

Fig. 1.3 - Diagram of intended work-flow and roles set out on Day 0

Fig. 1.2 - Author’s own adaptation of Gersick’s Punctuated Equilibrium Model, (1988)

M1 M3 M2 M4 NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

INFORMATION COMPILED IN GOOGLE DOC

PHASE 01 WRITE FULL M3 RESPONSE

STRATEGISE

NAVIGATE CONTRACT FOR RELEVANT INFORMATION

BEGIN WRITING EMAIL TEMPLATE

AVERAGE SCENARIO COMPLETION TIME PER DAY

RE-SUBMISSION

FIRST MEETING

ROTATION OF ROLES IN NEW TIME PERIOD

NEW TIME PERIOD OF GAME

ALL READ SCENARIO

RE-SUBMISSION

MIDPOINT TRANSITION

RE-SUBMISSION

As noted by Gersick, Tuckman’s model is not entirely sufficient in analysing group performance, as it only offers “snapshots” of group working and does not provide a relationship between stages and time (1988, 11). Therefore, Gersick’s PEM will also be used to provide a closer performance analysis in relation to the progression of time. The PEM assumes that groups progress linearly, with each new stage marking an increased level of performance (fig. 1.2). After the First Meeting, Phase 1 of team working demonstrates low performance level, before a Midpoint Transition—prompted by an approaching deadline—pushes the team to a level of high performance in Phase 2 (Gersick 1988).

BEGIN WRITING EMAIL TEMPLATE

RE-SUBMISSION

PERFORMANCE LEVEL

Occasional movement of M4

M3 M3

ALL READ SCENARIO

M1 M2 M3 M4

NUMBER OF ATTEMPTS PER SCENARIO

DAY 1 / PM

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

PHASE 02

ALL READ SCENARIO

START SCENARIO

Figure 1.6.1 shows an initially slow start to the game, with scenario completion times improving after lunch. This can be attributed to the team struggling to navigate the contract and establish roles in our working relationship—Storming. Our productivity rose after lunch, with the average scenario time dropping from 59 minutes to 37 minutes, and completed scenarios doubling from 3 to 6. This shift indicates a Midpoint Transition (Gersick 1988, 23), (fig. 1.6.2). At the halfway point of the day, we realised we were performing relatively slowly compared M1 M1 START START M2 to other groupsM2 inSCENARIO the room. This SCENARIO M3 M3 M4 M4 prompted a “moment of alarm” for ALL READ the team, resultingALLinREADan increased SCENARIO SCENARIO drive to improve our performance (Gersick 1988, 34).STRATEGISE We identified— STRATEGISE with the help of our controller—that M1 M3 M3 we were doubting ourM3 understanding M2 M4 NAVIGATE NAVIGATE BEGIN BEGIN M3 WRITING CONTRACT FOR CONTRACT FOR M1 WRITING M4 M2 of the contract RELEVANT RELEVANTourM2 EMAILand over thinking EMAIL M4 INFORMATION INFORMATION TEMPLATE TEMPLATE M2 M1 answers. With a revised strategy to have more confidence and efficiency with our responses, we performed at INFORMATION INFORMATION a higher level in the afternoon (fig. COMPILED IN COMPILED IN GOOGLE DOC GOOGLE DOC 1.6.1). This transition, coupled with our first stage of Re-forming, moved M3 the team past the morning’s Storming WRITE WRITE COMPLETE COMPLETE towards Norming and SUPPORTING Performing, FULL FULL SUPPORTING M3 M4 RESPONSE RESPONSE DOCUMENTS DOCUMENTS where “cohesiveness” developed and M2 progressed to a stage of accelerated SUBMIT SUBMIT Fig. 1.5 - Diagram task completion as roles ANSWERgroup ANSWER of actual work-flow M3 became more “flexibleM3and functional” and roles on Day 1 (Tuckman 1965, 396). LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

ALL READ SCENARIO

STRATEGISE

HIGH

M1 M2 M3 M4

START SCENARIO

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

COMPLETION

M1 M2 M3 M4

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

Using the cyclical Tuckman model, this working strategy put our team back to the stage of Re-Forming at every new time period of the game. Re-Forming brought a new team-dynamic and therefore a need to quickly re-orient ourselves to continue the task.

Sha r

ING

Fig. 1.1 - Author’s own adaptation of a cyclical model for Tuckman’s model of Developmental Sequence in Small Groups (1965), (Hurt and Trombley, 2007)

CONTROLLER 1

DAY 1 / AM

RE-FORMING

ORM

This report adopts Tubbs’ suggestion that the Tuckman model should be “circular in nature” (Hurt and Trombley 2007, 3), as this is most suited to analysing our iterative strategy of role rotation (set out in Day 0). The Tuckman model establishes five stages of group development—Forming, Storming, Norming, Performing and the later added Adjourning— during a team’s working life (Tuckman 1965, 396). A cyclical adaptation of this model (fig. 1.1) allows for groups to learn from previous mistakes and reassess their working methodology by going back to the beginning of the process—Forming. This return to the start of the cycle is defined in this assignment as Re-Forming. In Re-Forming, the group re-orients to the task by re-testing group roles, but as initial relationships have been established and some knowledge of the task has developed, this process allows for Storming to be skipped, moving directly to the adoption of new roles in Norming (Tuckman 1965, 396).

We then identified roles we thought to be necessary for the game. These included: Contract Navigators, to find the relevant clauses in the contract; Scribe, to write out the scenario responses, and a Document Controller, to fill in supplementary documents and assist the Scribe (fig. 1.3). As all team members were equal in having no experience of contract navigation, we established an ambition of ensuring each member gained experience in each role, to enable balanced learning. We decided the fairest way to delegate tasks was to alternate roles with every new time period of play (time periods of the game are day 1 am (before lunch), day 1 pm (after lunch), day 2 am and day 2 pm).

ADJOURNING

TRANSITION

E)F

team working paradigms

At the start of day 1 our team set up a shared Google Document, in order to streamline information sharing and limit task overlaps. Team Member 3 (M3) was the first to act as the Scribe, assisted by M4, with M1 and M2 acting as Contract Navigators (fig. 1.5) In comparison with the intended work-flow shown in figure 1.3 (page 4), figure 1.5 demonstrates moments of breakdown in the actual flow of work. The only role that was formally rotated during the day was the Scribe, with all team members involving themselves with contract navigation rather than sticking to assigned roles. This “resistance to group influence and task assignments” marked our first stage of Storming (Tuckman 1965, 396).

CONTROLLER 1/DAY 1 & CONTROLLER 2/DAY 2

START OF DAY 1

FORMING

MIN

TIME TO COMPLETE SCENARIO (MINUTES)

FOR

)

PERFORMANCE LEVEL

d ay 1 | S t o r m i n g — r e - f o r m i n g — n o r m i n g — P e r f o r m i n g

docum ed

I RM

(ST

RE A -F FT ST O ER O RM M RM IN SK AY IN G G , IP B E PE D

introduction

/(R

The first individual report includes an analysis of the learning experience, detailing dynamics of team working, roles and responsibilities of team members, reflecting on strengths and weaknesses of the team and highlighting particular cost control measures implemented by the team during the game.

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 72

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Contract Game Reports]

Section 1: Team Working Analysis Extracts

Day 1: Stor ming—Re-For ming— Nor ming—Perfor ming At the start of day 1 our team set up a shared Google Document, in order to streamline information sharing and limit task overlaps. Team Member 3 (M3) was the first to act as the Scribe, assisted by M4, with M1 and M2 acting as Contract Navigators (fig. 1.5). In comparison with the intended work-flow shown in figure 1.3 (page 4), figure 1.5 demonstrates moments of breakdown in the actual flow of work. The only role that was formally rotated during the day was the Scribe, with all team members involving themselves with contract navigation rather than sticking to assigned roles. This “resistance to group influence and task assignments” marked our first stage of Storming (Tuckman 1965, 396).

MIN

G /(R

RE A F ST FO TE O RM R M R M IN S K AY IN G G , IP B E PE D

FOR

)

E)F

(ST

ORM

ING

ADJOURNING

ING

PER

ROTATION OF ROLES IN NEW TIME PERIOD

ING

COMPLETION

HIGH

MIDPOINT TRANSITION

LOW

PHASE 01

(A+B)/2

NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

NO REQUIREMENT FOR ROLE ON DAY 1

M3 WRITE FULL RESPONSE

ASSIST AND SEND DOCUMENTS

M4 AFTERNOON BREAKDOWN OF ROLE ROTATION

COMPLETE SUPPORTING DOCUMENTS

SUBMIT ANSWER

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

NAVIGATE CONTRACT FOR RELEVANT INFORMATION

FIRST MEETING

SUBMIT ANSWER

END OF DAY 1

M1 M3 M2 M4

ASSIST AND SEND DOCUMENTS

NO ROTATION OF ROLE UNPRODUCTIVE OVERLAP OF INFORMATION FLOW

IMBALANCED ROLE ROTATION

WRITE FULL RESPONSE

SCENARIO

COMPLETE SUPPORTING DOCUMENTS

ROTATION OF ROLE FROM AM TO PM

(A+B)/2

(Top) - time taken to complete scenarios TIME on day 1, including averages and number of scenario attempts (Bottom) - adapted PEM mapped against performance on day 1, showing period of ‘transition’ at the mid-point of the day moving the team from low to high performance

Graduate Attributes

2.1

Author’s own adaptation of Gersick’s Punctuated Equilibrium Model, (1988)

1.1

INFORMATION COMPILED IN GOOGLE DOC

LOW

ROTATION OF ROLE FROM AM TO PM

TIME

General Criteria

START SCENARIO

BEGIN WRITING EMAIL TEMPLATE

Diagram of actual work-flow and roles on Day 1

1 ATTEMPT

HIGH

INFORMATION COMPILED IN GOOGLE DOC

ROTATION OF ROLE FROM AM TO PM

M4 ROTATION OF ROLE FROM AM TO PM

RE-SUBMISSION

FIRST MEETING

ASSIST AND SEND DOCUMENTS

NAVIGATE CONTRACT FOR RELEVANT INFORMATION

BEGIN WRITING EMAIL TEMPLATE

AVERAGE/PM = 37 MINS

STRATEGISE M1 M3 M2 M4

ALL READ SCENARIO

RE-SUBMISSION

PERFORMANCE LEVEL

PHASE 02

2 ATTEMPTS

M1 M2 M3 02 M4

STRATEGISE

ROTATION OF ROLE FROM AM TO PM

AVERAGE/AM = 59 MINS

START SCENARIO

ALL READ SCENARIO

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

Author’s own adaptation of a cyclical model for Tuckman’s model of Developmental Sequence in Small Groups (1965), (Hurt and Trombley, 2007)

M1 M2 M3 M4

AVERAGE SCENARIO COMPLETION TIME PER DAY

3 ATTEMPTS

LITTLE STRATEGY EMPLOYED - RUSH TO NAVIGATE CONTRACT

our performance (Gersick 1988, 34). We identified—with M1 START M2 SCENARIO the help of our controller— M3 M4 that we were doubting our ALL READ understanding of SCENARIO the contract and over thinking our answers. With a revised STRATEGISE strategy to have more confidence and M3 NAVIGATE BEGIN CONTRACT FOR WRITING our responses, efficiencyM3M4 with M4 M2 RELEVANT EMAIL INFORMATION TEMPLATE we performed at a higher level M1 in the afternoon (fig. 1.6.1). This transition, INFORMATION coupled with COMPILED IN our first stage ofGOOGLE Re-forming, DOC moved the team past the morning’s Storming towards Norming and Performing, WRITE COMPLETE FULL SUPPORTING M4 M3 where “cohesiveness” developed RESPONSE DOCUMENTS and progressed to a stage of SUBMIT accelerated task ANSWER completion M3 as group roles became more “flexible and functional” (Tuckman 1965, 396).

DAY 1 / PM

RE-FORMING

I RM

DAY 1 / AM

NUMBER OF ATTEMPTS PER SCENARIO NEW TIME PERIOD OF GAME

TRANSITION

Sha r

ent

Team 14’s layout for the duration of the Contract Game

START OF DAY 1

CONTROLLER 1/DAY 1 & CONTROLLER 2/DAY 2

docum ed

CONTROLLER 1

FORMING

Occasional movement of M4

TIME TO COMPLETE SCENARIO (MINUTES)

This report adopts Tubbs’ suggestion that the Tuckman model should be “circular in nature” (Hurt and Trombley 2007, 3), as this is most suited to analysing our iterative strategy of role rotation (set out in Day 0). The Tuckman model establishes five stages of group development—Forming, Storming, Norming, Performing and the later added Adjourning— during a team’s working life (Tuckman 1965, 396). A cyclical adaptation of this model (fig. 1.1) allows for groups to learn from previous mistakes and reassess their working methodology by going back to the beginning of the process—Forming. This return to the start of the cycle is defined in this assignment as Re-Forming. In Re-Forming, the group re-orients to the task by retesting group roles, but as initial relationships have been established and some knowledge of the task has developed, this process allows for Storming to be skipped, moving directly to the adoption of new roles in Norming (Tuckman 1965, 396).

PERFORMANCE LEVEL

Team Working Paradigms

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 73

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Contract Game Reports]

Repor t 2: Procurement Overview

DESIGN AND BUILD procurement

KERR CLERKCHING OF WORKS QUANTITY SURVEYORS CLERK OF WORKS

CONTRACT ADMINISTRATION CONTRACT ADMINISTRATION

CONSTRUCTION TEAM

CONTRACTOR CONSTRUCTION TEAMSUB-CONTRACTORS DOUBLE FELIX

WIND & FIRE SUB-CONTRACTORS

DOUBLE FELIX CONSTRUCTION LTD

MESSRS. HEARTH, CASTICAT WIND & FIRE

In D&B procurement, the contract has “no place for an architect or contract administrator” (Clamp et al. 2012, 286). Whilst the client may directly employ an Employer’s Agent—who may be an architect—who can gain access to the Works, this person does not have the same authority to inspect the works as in Traditional procurement. In the contract game, in this instance the architect would have no role as contract administrator in monitoring the works to ensure the quality of construction was being upheld to the standards required by the employer.

CONTRACTOR CONTRACTOR

CONSTRUCTION OF PROJECT

CORE PROJECT REQUIRMENTS AND SET OUT BRIEF CORE PROJECT REQUIRMENTS AND SET OUT BRIEF

DESIGN DEVELOPMENT AND PLANNING PROCESS DESIGN DEVELOPMENT AND PLANNING PROCESS

PRODUCE FULL DESIGN DRAWINGS FOR PRODUCE FULL TENDER DESIGN DRAWINGS FOR TENDER

PRACTICAL COMPLETION AND HANDOVER OF PROJECT POST-OCCUPANCY EVALUATION PRACTICAL AND AND COMPLETION REVIEW PROJECT HANDOVER OF PROJECT PERFORMANCE POST-OCCUPANCY EVALUATION AND REVIEW PROJECT PERFORMANCE

PREPARATION

CONTRACT ADMINISTRATION

BUILDING CONTRACT

CONTRACT ADMINISTRATION

Fig. 2.2.1 Contractual links and contract administration in D&B procurement

ARCHITECT CONTRACTOR

SUB-CONTRACTORS

DOUBLE FELIX CONSTRUCTION LTD

MESSRS. HEARTH, WIND & FIRE

CONTRACTOR

SUB-CONTRACTORS CASTICAT MESSRS. HEARTH, WIND & FIRE

DOUBLE FELIX CONSTRUCTION LTD

CASTICAT

DEFINE EMPLOYERS REQUIREMENTS AND SET OUT BRIEF

CONTRACTOR RESPONSIBLE FOR DESIGN AND CONSTRUCTION - THESE PROCESSES MAY OVERLAP CONTRACTOR RESPONSIBLE FOR DESIGN AND CONSTRUCTION - THESE PROCESSES MAY OVERLAP

DEFINE EMPLOYERS REQUIREMENTS AND SET OUT BRIEF

2 CONCEPT DESIGN 2

STRATEGIC 1

DEFINITION PREPARATION AND BREIF 1 PREPARATION AND BREIF

PRACTICAL COMPLETION AND HANDOVER OF PROJECT POST-OCCUPANCY EVALUATION AND REVIEW PROJECTAND PRACTICAL COMPLETION PERFORMANCE HANDOVER OF PROJECT -

3 CONCEPT

DESIGN DEVELOPED DESIGN 3

CONSTRUCTION

HANDOVER AND CLOSEOUT

IN USE

HANDOVER AND CLOSEOUT

IN USE

TIME AND COST SAVINGS

(PLAN OF WORK 2013) RIBA WORK STAGES (PLAN OF WORK 2013)

PREPARATION

DESIGN ANDOF CONSTRUCTION (PLAN WORK 2013)

RIBA WORK STAGES

As identified previously, the three key considerations for any client are usually time, quality and cost. When deciding on a type of contract, the risks in relation to these three factors should be identified and mapped to help identify the most appropriate procurement method (Lupton and Stellakis 2019, 53).

Fax From: Laurence Poplady, Triffac Building Consultants and Clerks of Works To: A Lamb – Team X Architectural Partnership, 2 The Streets, Tweedie Dew 25 April 2014

NEW VET SCHOOL After our discussion on the amount of reinforcement steel being brought to site, I have been watching Casticat, the reinforced concrete subcontractor closely and I can tell you that reinforcing bars for the first floor landing in the in-situ concrete floor are of a much smaller gauge than is shown in the Engineer’s drawings and bending schedules. I didn’t clock the situation right away and they had started pouring the slab, so I issued a direction to the site agent to get him to stop the pour immediately and strip out the wrongly sized bars and concrete. The Casticat foreman has confirmed that he is going to rip up the slab and remove the bars of site and start again. As you know the mezzanine, the balcony and the two other staircases and landings were poured last week and although the area in each case is slightly larger, the spans are the same and the gauge of the rebar indicated by the engineer is the same for all elements. I spoke to Mr Block, the Director of Casticat on the phone, and he said that he saw the bars for mezzanine slab and he was pretty sure they were exactly as the engineer’s drawings. I don’t know if that is true, because it’s all covered up, but the bars may be the same gauge as the other defective landing, in which case the engineer has confirmed they should come out.

Under Clause 2.17.1 of the JCT Design and Build Contract 2011 (DB11), the contractor remains liable to the Employer for any inadequacy in the work carried out (Clamp et al. 2012, 287). Therefore, in this scenario the cost of this would still fall on the contractor with D&B procurement, with the client benefitting from the certainty of cost provided in the contract. The more integrated approach of D&B could have avoided part of this issue. Whilst there is a more complex chain of command and information in a Traditional procurement route, the single point of responsibility in D&B could have saved time by shortening the line of communication and allowing for issues to be rectified more efficiently.

Kind Regards, Sandy Lamb CC: Chianti Leaverer Consulting Engineers, Principal Quantity Surveyor

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

COST C2

3.1

COST C1 = Lowest possible capital expenditure C2 = Certainty over contract price, no fluctuation C3 = Best value for money overall

Kind regards Laurie Fig. 2.9 - Radial diagram exampling a balance of priorities for which Design and Build procurement would be more suitable.

Graduate Attributes

2.1

QUALITY Q1 = Top quality, minimum maintenance Q2 = Sensitive design, control by employer Q3 = Detailed design critical

Fig. 2.8 - Radial diagram of perceived priorities in the contract game, based on scenarios. The diagram suggests that Traditional procurement was the most suitable method for the project.

Could you speak to the contractor please and tell him what to do and who is going to pay for it? You might also want to speak to the client.

1.1

C2 = Certainty over contract price, no fluctuation

C3 = Best overallbalance of priorities for Figure 2.9 value mapsfor a money comparative which Design and Build procurement would be most suitable. Despite the potential for cost and time savings in the project, this method does not provide for the flexibility or control over design quality required by the client during the game, making it a less suitable method of procurement in this instance.

Rusty R Rebar Chianti Leaverer Consulting Engineers 8 Pattress Place, Roseabbey

General Criteria

TIME

Figure 2.8 maps the perceived priorities of the client in T1 = Earliest possible start on site the contract game based on scenario outcomes. The T2 = Certainty over contract duration figure shows apossible leaningcontract towards cost and quality being T3 = Shortest period key concerns, meaning that in this instance Traditional procurement was the most suitable procurement method. QUALITY AQ1number of game scenarios involved changes to the = Top quality, minimum maintenance design, and thedesign, regular monitoring of costs, as well as Q2 = Sensitive control by employer issuing Instructions forcritical the rectification of non-compliant Q3 = Detailed design or faulty works carried out on site. Traditional procurement provides the scope for this flexibility in design, whilst COST maintaining certainty for expenditure the client. C1 = Lowestcost possible capital

Sandy

The RIBA recently noted that the rise of D&B procurement has diminished the role of the Clerk of Works on site (RIBA 2018). If this had been the case in Scenario 11, there may not have been a Clerk of Works to observe the defective works, and the client would have no direct control over the contractor’s performance.

QUA LIT Q2 Y

Further to recent communication regarding the Eastoduct pipes, unfortunately I note that you have decided to keep them and that in the last week the pipes have been fully installed and backfilled with concrete. All that I said to the client was that Eastoduct do provide a similar pipe to Britapipe. However, on further inspection, the one that the contractor has fitted is not of that specification. I can confirm that the pipe fitted does not comply with the SUDS regulations in terms of reservoir capacity due to the inadequacy of the joint seals (having a Pressure Utility Status of less than 14.8) and the lack of strength in their walls (a lateral loadbearing capacity of less than 28.6 Zitulons). As you know Splash UK require these figures to be 17pus and 36zit respectively. Simply expressed, we had designed these pipes to be able to hold lots of water within them when the sewers back up. If this happens with the Eastoduct pipes they have fitted, the seals may leak and the pipes may crack. The only way we can salvage this situation is to fit an attenuation tank under the East terrace, which we thought we had avoided. There is no other solution, as will be confirmed by Splash UK. I know from previous experience, and from speaking to the contractor that it will be over £25,000 to excavate the ground and install it in such close proximity to the piles. I would also imagine that it would hold up the works. If you can find a way by which your client wouldn’t have to pay more for this work not in accordance with the contract, I’d like to hear of it.

As these works carried out by the contractor are not in compliance with Clause 2.3, in which it is stated that ‘All materials and goods for the Works, excluding any CDP Works, shall, so far as procurable, be of the kinds and standards described in the Contract Bills’, the Contractor has not acted in compliance with the Contract in regards to the installed pipes. This was previously stated by us to the Contractor in email correspondence on 24 March 2014. As this change has resulted in the requirement of a new attenuation tank on site, this will be issued as Variation which, in accordance with Clause 3.18.3 will not be added to the Contract Sum, and no extension of time shall be given. As the original works were not in accordance with the contract, our Client will not be liable to pay for this work. Please find attached our Architects Instruction of this Variation.

Fig. 2.7 - Scenario 10: The complex chain of communication

TIME T1 = Earliest possible start on site T2 = Certainty over contract duration T3 = Shortest possible contract period

COST C2

If a D&B route had been adopted, the quality would not have been protected in such a way. The architect would have had no power to inspect the work or issue an Instruction for the rectification of the works at no cost to the client (Clamp et al. 2012, 286). The contractor, being solely responsible for the design and construction, would enjoy the flexibility of making such a substitution to prioritise cost savings by using lower quality construction materials.

Dear Havana, 4 STOREY BUILDING - VETERINARY SCHOOL, BORWICK

Fig. 2.4 - Balancing time, quality and cost in Design and Build procurement, displaying the benefits to time and cost at the expense of quality

E TIM T2

Acting as Contract Administrators through Traditional procurement, we were able make use of Clause 2.3 of the Contract to ensure that the contractor would fix the issues at no addition to the contract sum with no extension of time, through the issuing of an Architect’s Instruction, thus protecting the quality of the work whilst ensuring no additions to time or cost were incurred at the expense of the client.

Sandy

COST (PRICE OR CERTAINTY)

QUA LIT Q2 Y

In this instance the client chose to keep the pipes, as their priority was to avoid delay. In Scenario 8 the newly installed pipes failed, resulting in rectification costs and the contractor requesting a delay to construction of four weeks.

QUALITY (DESIGN, PERFORMANCE, FUNCTIONALITY)

c o m p a r at i v e a n a ly s i s

In Scenario 10, the Clerk of Works notified us of sub-contractor works on site that did not match the Engineer’s drawings. We acted upon Clause 3.18.4 to instruct for the inspection of the work to ensure the structural elements were compliant. As the contractor was liable to claim for Loss and Expense if the works were found to be compliant, in this scenario we prioritised construction quality, risking the cost certainty of the project. In Scenario 11, we learned that the works were defective, and we were therefore able to ensure the cost of the inspection was not added to the contract sum.

Havana Double Felix Construction Ltd Clawmark Row Purton 8th April 2014

TIME (SPEED OR CERTAINTY)

t i m e , q u a l i t y, c o s t : s c e n a r i o s 1 0 & 1 1

Fig. 2.6 - Scenario 8: Response

Fig. 2.3 - Balancing time, quality and cost in Traditional procurement, displaying a priority to cost and quality at the expense of time

D&B procurement provides an even higher certainty of cost. In this method, as the contract is agreed early in the process, a price can be agreed at the outset. The cost is only liable to rise if the client decides to make changes after the contract is agreed, which can be very costly (Clamp et al. 2012, 46).

RIBA WORK STAGES (PLAN OF WORK 2013)

In Scenario 6, we were notified by the Quantity Surveyor (QS) that drainage pipes installed on site were of a lower quality and price than those described in the bills. The scenario describes an example of the contractor prioritising their own profit margins by cutting costs in the construction process.

Email from Structural Engineer: 8 April 2014

COST (PRICE OR CERTAINTY)

In Traditional procurement, a lump sum contract can be used to decide the cost before construction begins. Whilst contract will allow for adjustments to the sum during construction if necessary, there is a level of certainty of the cost for the client.

t i m e , q u a l i t y, c o s t : s c e n a r i o s 6 & 8

Fig. 2.5 - Scenario 8: Email from Structural Engineer

QUALITY (DESIGN, PERFORMANCE, FUNCTIONALITY)

cost

PREPARATION Fig. 2.2.2 - D&B procurement and the RIBA Plan of Work (2013)

In contrast, in a D&B approach the contractor will be engaged much earlier in the design process. As the contractor is solely responsible for the design and construction of the project, detailed design work can happen in parallel with construction, allowing work on site to begin much earlier in comparison (Clamp et al. 2012, 36).

In D&B, the client has no direct control over the contractor’s performance. There is a risk that the contractor will have insufficient design experience or expertise to deliver a high quality project, and as the contractor has an incentive to keep costs low, quality may suffer. (Clamp et al. 2012, 46).

RIBA WORK STAGES CONSTRUCTION DESIGN

A Traditional procurement approach requires a full set of design drawings to be produced before beginning the tender process, so sufficient time is required to allow for this. During the construction process, the contractor is heavily dependent on the architect issuing necessary documents and instructions on time, which can risk delays in the process (Clamp et al. 2012, 33).

In a Traditional contract, the client retains control over the design and quality required of a project, as they directly appoint consultants to advise on these matters (Clamp et al. 2012, 33). The client will require certain standards in the project, which the contractor is responsible for achieving.

TIME AND COST SAVINGS

DEVELOPED 4 CONSTRUCTION DESIGN TECHNICAL DESIGN TECHNICAL DESIGNDESIGN AND CONSTRUCTION

TIME

quality

POST-OCCUPANCY EVALUATION AND REVIEW PROJECT PERFORMANCE

STRATEGIC DEFINITION 0

DEVELOPED TECHNICAL CONSTRUCTION HANDOVER STRATEGIC PREPARATION CONCEPT AND 6CLOSEOUT IN 3 DESIGN 0 2 4 5 7 USE DEFINITION AND1 BREIF DESIGN DESIGN DEVELOPED TECHNICAL CONSTRUCTION HANDOVER STRATEGIC PREPARATION CONCEPT AND CLOSEOUT IN USE DESIGN DEFINITION AND BREIF DESIGN DESIGN CONSTRUCTION DESIGN PREPARATION

Fig. 2.1.2 Traditional procurement and the RIBA Plan of Work (2013)

OTHER CONSULTANTS OTHER CONSULTANTS

ARCHITECT BUILDING CONTRACT

TIME (SPEED OR CERTAINTY)

RESPONSIBILITY RESPONSIBILITY

CASTICAT

ARCHITECT ARCHITECT

As contract administrator the responsibility fell to us to communicate on issues relevant to the contract between the client and contractor. We were required to act impartially to ensure that honest and reasonable action was taken in the delivery of game scenarios.

MESSRS. HEARTH,

CONSTRUCTION LTD CONTRACTOR

Fig. 2.1.1 Contractual links and contract administration in Traditional procurement

EMPLOYERS AGENT

E TIM T2

BUILDING CONTRACT BUILDING CONTRACT

CONSULTANTS

CLIENT

(ROLE LIMITED TO EARLY STAGES)

Time, quality and cost are the three most important considerations for any client. In building procurement, whilst ideally a balance would be struck between the three, in reality a compromise is often required in which two factors are prioritised at the expense of the third (Clamp et al. 2012, 23). Figures 2.3 and 2.4 compare the balance of priorities between Traditional and Design and Build procurement.

EMPLOYERS AGENT

THE BORDER COLLEGE TRUST THE BORDER COLLEGE TRUST

THE TRUST BORDER COLLEGE TRUST

OTHER CONSULTANTS OTHER CONSULTANTS

KERR CHING QUANTITY SURVEYORS

CONSULTANTS

CLIENT

CONTRACTOR CONTRACTOR

DESIGN TEAM

ARCHITECT

RESPONSIBILITY RESPONSIBILITY

APPOINTMENT

ARCHITECT ARCHITECT

ARCHITECT

TEAM 14 (LEAD CONSULTANT & CONTRACT ADMINSTRATOR) TEAM 14 (LEAD CONSULTANT & CONTRACT ADMINSTRATOR)

THE

Time, Quality and Cost in procurement EMPLOYERS ARCHITECT (ROLE LIMITED TO EARLY STAGES) EMPLOYERS ARCHITECT

In traditional procurement, design and construction are treated as “separate elements” (Clamp et al. 2012, 31). The client appoints consultants for overseeing the design, cost control and contract administration. Once a full set of design documents has been produced, a competitive tender process is used to appoint a contractor. The contractor becomes responsible for carrying out the Works, and by extension all materials, workmanship, and work by sub-contractors and suppliers (Clamp et al. 2012, 31).

APPOINTMENT

CLIENT BORDER CLIENT COLLEGE

The use of Design and Build (D&B) procurement would have significantly affected our role and responsibilities as the architect in the contract game. Design and Build (D&B) is a more integrated approach to procurement, in which a contractor is responsible for both the design and construction of the project under one contract. Having a single point of responsibility for design and construction in D&B procurement limits the role of the architect to the earliest design stages, but comes with potential benefits of a more unified and streamlined design team.

DESIGN TEAM

The contract game began with the client— The Border College Trust—agreeing to a tender submitted by Double Felix Construction. The client requested us— Team 14 Architectural Partnership—to run the project and submit the required paperwork to accept the tender and set a commencement date.

traditional procurement

DESIGN DESIGN & CONSTRUCTION & CONSTRUCTION TEAM TEAM

The second individual report constitutes a reflection on how a different form of procurement and contract would have had an impact on the delivery of the scenario project in relation to time, cost and quality.

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 74

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Contract Game Reports]

Section 2: Procurement Extracts

Traditional Procurement

Design and Build Procurement

Comparative Analysis

CLERK OF WORKS

KERR CHING QUANTITY SURVEYORS

EMPLOYERS AGENT

THE BORDER COLLEGE TRUST

BUILDING CONTRACT

CONSTRUCTION TEAM

SUB-CONTRACTORS

CONSTRUCTION TEAM

MESSRS. HEARTH, WIND & FIRE

SUB-CONTRACTORS CASTICAT

ARCHITECT

CONTRACTOR CONTRACTOR

ARCHITECT ARCHITECT

RESPONSIBILITY

CONTRACTOR

4 5

PREPARATION

DESIGN

AND BREIF

3 DEVELOPED DESIGN DEVELOPED

HANDOVER HANDOVERIN USE IN USE AND CLOSEOUT

CONCEPT CONCEPT DESIGN

1 PREPARATION AND BREIF PREPARATION

DEVELOPED STRATEGIC PREPARATION CONCEPT HANDOVERHANDOVER DEVELOPED STRATEGIC PREPARATION CONCEPT TECHNICAL TECHNICAL AND CLOSEOUT IN USE IN USE DESIGN AND BREIF DESIGN DESIGN CONSTRUCTION AND CLOSEOUT DESIGN DEFINITION ANDDEFINITION BREIF DESIGN DESIGN CONSTRUCTION

PREPARATION

STRATEGIC

STRATEGIC DEFINITION DEFINITION

CONTRACTOR RESPONSIBLE FOR

CONTRACTOR RESPONSIBLE FOR DESIGN AND CONSTRUCTION - THESE DESIGN AND CONSTRUCTION - THESE PROCESSES OVERLAP PRACTICAL COMPLETION AND PROCESSES MAYMAY OVERLAP PRACTICAL COMPLETION AND HANDOVER OF PROJECT HANDOVER OF PROJECT TIME AND COST POST-OCCUPANCY EVALUATIONTIME AND COST POST-OCCUPANCY EVALUATION SAVINGSSAVINGS AND REVIEW AND REVIEW PROJECTPROJECT PERFORMANCE PERFORMANCE

AND CLOSEOUT

CONSTRUCTION

DESIGN 4

CONSTRUCTION

Fig. 2.9 - Radial diagram exampling a balance of priorities for which Design and Build procurement would be more suitable.

TECHNICAL 4 DESIGN TECHNICAL

PREPARATION

CONSTRUCTION

PREPARATION

RIBA WORK STAGES

DESIGN

DESIGN AND CONSTRUCTION

DESIGN AND CONSTRUCTION RIBA WORK STAGES

TIME

(PLAN OF WORK 2013)

RIBA WORK(PLAN STAGES OF WORK 2013) (PLAN OF WORK 2013)

RIBA WORK STAGES (PLAN OF WORK 2013)

Traditional procurement and the RIBA Plan of Work (2013)

T1 = Earliest possible start on site T2 = Certainty over contract duration T3 = Shortest possible contract period

D&B procurement and the RIBA Plan of Work (2013)

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Figure 2.9 maps a comparative balance of priorities for which Design and Build procurement would be most suitable. Despite the potential for cost and time savings in the project, this method does not provide for the flexibility or control over design quality required by the client during the game, making it a less suitable method of procurement in this instance.

Q UQAU A L ILTI T Q 2Q 2 Y Y

DEFINEEMPLOYERS EMPLOYERS DEFINE REQUIREMENTS AND REQUIREMENTS AND SETOUT OUT BRIEF BRIEF SET

CC 1 1

CC 33

Contractual links and contract administration in D&B procurement

CORE PROJECT DESIGN CORE PROJECT DESIGN REQUIRMENTS AND REQUIRMENTS AND DEVELOPMENT AND DEVELOPMENT AND DRAWINGS FOR DRAWINGS FOR SET OUT BRIEF PLANNING PROCESS SET OUT BRIEF PLANNING PROCESS TENDER TENDER

CC OO SS TT C2 C2

Q 3Q 3

RESPONSIBILITY

CASTICAT

CONSTRUCTION CONSTRUCTION OF PROJECT PRACTICAL COMPLETION AND OF PROJECT PRACTICAL COMPLETION AND HANDOVER OF PROJECT HANDOVER OF PROJECT POST-OCCUPANCY EVALUATION POST-OCCUPANCY EVALUATION AND REVIEW PROJECT PRODUCE FULL AND REVIEW PROJECT PRODUCE FULL PERFORMANCE DESIGN DESIGN PERFORMANCE

MESSRS. HEARTH, WIND & FIRECASTICAT

WIND & FIRE

Contractual links and contract administration in Traditional procurement

ARCHITECT

DOUBLE FELIX CONSTRUCTION LTD

CASTICAT MESSRS. HEARTH,

DOUBLE FELIX CONSTRUCTION LTD

ARCHITECT

COST CONTRACT COST ADMINISTRATION C1 C1 = = Lowest Lowest possible possible capital capital expenditure expenditure CONTRACTOR SUB-CONTRACTORS C2 = Certainty over contract price, no fluctuation C2 = Certainty over contract DOUBLE FELIX price, no fluctuation MESSRS. HEARTH, CONTRACTOR SUB-CONTRACTORS C3 = Best value for money overall CONSTRUCTION LTD WIND & FIRE C3 = Best value for money overall

Fig. 2.8 - Radial diagram of perceived priorities in the contract game, based on scenarios. The diagram suggests that Traditional procurement was the most suitable method for the project.

T 1T 1

CONTRACTOR

OTHER CONSULTANTS

EE T ITMI M T 2T 2

CONTRACTOR DOUBLE FELIX CONSTRUCTION LTD

RESPONSIBILITY

CONTRACT ADMINISTRATION

TT 33

BUILDING CONTRACT

DESIGN & CONSTRUCTION TEAM

CONTRACT ADMINISTRATION

QUALITY QUALITY Q1 Q1 = = Top Top quality, quality, minimum minimum maintenance maintenance Q2 = Sensitive design, Q2 = Sensitive design, control control by by employer employer OTHER ARCHITECT Q3 = Detailed design critical CONSULTANTS Q3 = Detailed design critical

DESIGN & CONSTRUCTION TEAM

CLERK OF WORKS

BUILDING CONTRACT

T 1T 1

CONSULTANTS

CLIENT

(ROLE LIMITED TO EARLY STAGES)

EE T ITMI M T 2T 2

OTHER CONSULTANTS

ARCHITECT TEAM 14 (LEAD CONSULTANT & CONTRACT ADMINSTRATOR)

THE BORDER COLLEGE TRUST

EMPLOYERS ARCHITECT

Figure 2.8 maps the perceived priorities of the client in the contract game based on scenario outcomes. The figure shows a leaning towards cost and quality being key concerns, meaning that in this instance Traditional procurement was the most suitable procurement method. A number of game scenarios involved changes to the design, and the regular monitoring of costs, as well as issuing Instructions for the rectification of noncompliant or faulty works carried out on site. Traditional procurement provides the scope for this flexibility in design, whilst maintaining cost certainty for the client.

1 QQ 1

QUANTITY SURVEYORS

TT 33

CLIENT

(ROLE LIMITED TO EARLY STAGES)

Q UQAU A L ILTI T Q 2Q 2 Y Y

APPOINTMENT

EMPLOYERS ARCHITECT

CHING DESIGNKERR TEAM

1 QQ 1

OTHER CONSULTANTS

ARCHITECT TEAM 14 (LEAD CONSULTANT & CONTRACT ADMINSTRATOR)

Q 3Q 3

APPOINTMENT

THE BORDER COLLEGE TRUST

CC 1 1

CC 33

TIME TIME T1 T1 = = Earliest Earliest possible possible start start on on site site CONSULTANTS T2 = Certainty over contract duration T2 = CertaintyEMPLOYERS over contract duration AGENT T3 T3 = = Shortest Shortest possible possible contract contract period period

DESIGN TEAM

CLIENT

CC OO SS TT C2 C2

QUALITY Q1 = Top quality, minimum maintenance Q2 = Sensitive design, control by employer

COST C1 = Lowest possible capital expenditure C2 = Certainty over contract price, no fluctuation

Q3 = Detailed design critical

C3 = Best value for money overall

Skill Development

Collaborators

KSa

RB 75

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Regulatory Drawings]

2: Regulatory Drawings

HS/FA/18/00896 Change of use from internal visitor centre function room into a family entertainments centre (Sui Generis) to include amusement arcade machines.

jections

Ob 0

"Hastings Pier is a masterpiece in regeneration and inspiration. The architects and local community have transformed a neglected wreck into a stunning, flexible new pier to delight and inspire visitors and local people alike" (Ben Derbyshire, RIBA President; October 31st, 2017)

“The community support and Heritage Lottery funding was intended for a pier for the whole community. This plan goes against this vision.” (L. Carlyle; May 1st, 2019)

ting p or

“As an original shareholder this is not the image of the pier I had envisaged. The listed building in question and the prize-winning pier it stands on deserve far better than this.” (J. Howell; May 1st, 2019)

p Su

upporting 1S

“The pier rejuvenation to date has been a resounding endorsement of community activity and heritage preservation, award winning and should remain a public icon.” (P. Hogan; June 18th, 2018)

bjections

PLANNING APPLICATION(S):

HS/LB/13/00783 | HS/FA/13/00782 Construction of a new Visitor Centre on Hastings Pier for a digital archive, heritage interpretation, multifunctional education/community space, shop, kiosk and bar and external stairs to a roof-top viewing terrace. Construction of new substructure to support the Visitor Centre.

“I know people say it’s not what they expected... I love the idea of open space. I love to sit on a bench and look at the sea.” (I. Soldatkinal; May 3rd, 2016)

“This is the sort of thing people were worried about. The pier had been allowed to fall into ruin and now we may never get it back.” (Dale Turner, local B&B owner; October 2010)

Lions Ltd.’s Planning Applications approved

PLANNING APPLICATION(S):

Public Comments on Planning Applications (HS/ FA/18/00900, HS/LB/18/00732 & HS/FA/18/00896) submitted in 2018, after change of ownership

Public Comments on Planning Application (HS/FA/13/00782) for the redevelopment of Hastings Pier. There were no comments on any of dRMM’s other applications.

“The 910ft-pier first opened in 1872 and in its Victorian heyday featured a 2,000-seat pavilion, a shooting range, slot machines and ‘animated pictures’.” (The Telegraph, 2016)

May 2019

October 2018 Planning Application submitted by Lions Ltd. for change of use from internal visitor centre function room into a family entertainments centre to include amusement arcade machines

Ice cream kiosk installed on the listed pier without planning permission

August 2018

May 2018

Hastings Pier sold to Sheikh Abid Gulzar

Part Retrospective Listed Building Consent and Planning Applications submitted by Lions Ltd. for 5 temporary kiosks

May 2018

Hastings Pier Charity goes into administration

Hastings Pier wins the National Piers Society’s Pier of the Year award

November 2017

April 2017

Hastings Pier reopens to the public

Hastings Pier wins the RIBA Stirling Prize

May 2016

dRMM Planning Application for 12 temporary trading kiosks

October 2017

December 2015

First timbers laid as part of pier renovation

dRMM Planning Application approved (subject to conditions)

NOVEMBER 19, 2012 “The sad, charred skeleton of Hastings pier should be restored to its gaudy glory, through an £11.4m Heritage Lottery fund grant to a local trust to buy and restore the seaside gem” (Guardian).

March 2014

December 2013

October 2013 dRMM submit initial Listed Building Consent and Planning Application for the redevelopment of the pier

Pier funding and ownership

Ownership of the pier passed to Hastings Pier Charity

Heritage Lottery Fund grants £11.4 million funding for the redevelopment of the pier

Pier History

August 2013

November 2012

dRMM Pier redevelopment

Hastings Pier was largely destroyed by a fire in 2010. London-based architects dRMM were chosen for the redevelopment. Following the success of the pier’s redevelopment, the design went on to win multiple awards, most notably the RIBA Stirling Prize in 2017. However, shortly after this the Pier’s owners went into administration. Simon Opie, the Charity’s former CEO, commented that the project was about restoring the pier’s social value, rather than its generated income, but it quickly became clear dRMM’s restoration was not as economically rejuvenating as was needed (McVeigh, 2016). The dissolution of Hastings Pier Charity meant there was no funding to complete the second phase of dRMM’s proposals, thus the pier was sold on in 2018.

Hastings Borough Council Compulsory Purchase Order (CPO) approved for the pier

OCTOBER 5, 2010 “A major fire has destroyed most of Hastings Pier in East Sussex, a day after redevelopment plans were invited.” While the priority of firefighters was to preserve as much of the structure as possible “to see if something [could] be done with it in the future”, approximately 95% of the upper structure was destroyed (BBC).

Pier Timeline (Key) Current owner changes (June 2018 onwards)

An Assessment of the Failure of the Planning Process to Protect the Architectural Significance of Hastings Pier

September 2012

Competition launched for the pier’s redevelopment by RIBA Competitions on behalf of Hastings Pier and White Rock Trust (HPWRT)

dRMM win RIBA competition for the redevelopment of Hastings Pier

September 2010

Pier closed to public over safety concerns

January 2011

2008

Pier given Grade II Listed status

Pier Pressure

Pier largely destoyed by fire

1976

Parts of pier destroyed in fire

Drawing 01: Planning

October 2010

1917

Pier Opens

In pairs, you are asked to complete two analytical drawings demonstrating how a chosen precedent complies with UK statutory requirements. The drawings are to illustrate a critical understanding not only of how the statutory requirement(s), have been complied with but potentially how this requirement for compliance has been challenged by the originality of the solution.

1872

Brief:

“The Council is proposing a cheap crass pier in a desperate attempt to get the pier making money... The council has disregarded its own policies.” (T. Szendeffy; April 30th, 2019)

Since the change in ownership, insufficient and misleading planning and listed building applications have been granted permission by Hastings Council, with them being accused by the community of “disregard[ing] [their] own policies” (T. Szendeffy, 2019). The increased economic focus of the pier saw policies disregarded as well as the breach of planning protocols at the detriment to the pier’s architectural integrity and significance. The developments at Hastings Pier raise questions about subjectivity and a lack of consistency in the planning process. Hastings Pier exhibits the point at which architectural integrity and planning protocols that safeguard assets of local and cultural importance are compromised to ensure economic sustainability. The neglect of planning policies, protocols and local campaigns against the sale of the pier turned Hastings Pier from a pier for the people into a pier for profit.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 76

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Regulatory Drawings]

Drawing 02: Regulations A

C UNISEX WC

PLANT/STORE

D Dry Riser Outlet

EXIT

Requirement B5: Access and facilities for the fire service

m rs “fo 5% )1 (a

mpliant)

Distance CD = 130m (non-co

Approved Document B:

Dry Riser Outlet

Fig. 6

m auto e 60m h = with an ould b ore h om ut ss gho shaft y is n u thro ting store er tted re-figh fying Ris ” is fi li Dry uilding icient fi ry qua outlet e b n suff of eve main th e f fire : “I ... th part a 7 1 m m ry 0 9:2 syste at eve m fro r 0 999 BS prinkle such th than 6 s ed vid pro

eac

iu Rad

Distance AB

= 155m (no

Approved Doc

n-compliant)

ument B: Tab

le 2.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

Fir ex uss e st S cu Ea Res d an

A B5: ire Serv ent F irem for the equ

oa eb Lif LI

Requirement B5: Access and Facilities for the Fire Service

High Tide

No Fire Fighting vehicle access beyo this point

Requirement B1: Means of Escape Requirement B3: Internal Fire Spread (Structure and Sprinklers) Requirement B4: External Fire Spread Resistance

High Tide

ise

116 metres

“the Visitor Centre is more than 100m away from the public highway, which is too far to use the standard fire fighting equipment” (J. Cornell, 2015) 15% of Perimeter

ius

Dry Riser Outlet

Previous Fire Damage to Pier

Dry Riser Outlet

Requirement B5: Solutions

“the ‘open space’ [is considered] sufficient for people to find a place of safety, including jumping into the sea, or waiting for the RNLI” (J. Cornell, 2019)

Requirement B5: Challenges and Non-Compliance

Requirement B1: Means of Escape

East Sussex Fire and Rescue

Low Tide

3.1

ies

s cilit etre nd Fa 45 m ccess a ice

Key

RNLI Lifeboats

Low Tide

RNLI Lifeboats: Retricted Access at Low Tide

Reinforced Structure Under Visitor Centre

Requirement B5: Access and Facilities for the Fire Service

Requirement B3: Internal Fire Spread (Structure)

“the pier structure is not capable of supporting the standard fully equipped fire fighting vehicle” (J. Cornell, 2015) Requirement B5: Access and Facilities for the Fire Service

Graduate Attributes

2.1

EXIT

Requirement: Access and facilities for the fire service (B5)

1.1

Dry Riser Route

n Re EXIT B (b ero qu ) W us ire me ith of nt in the B 5 45 : Ac m follow e cess of ervic and Fa ev ing: cilities for the Fire S ery poi nt o 9) f the , 201 footpri nt of the building” (AD B

EXIT

atic

Table 2.1

Dry Riser Outlet

Visitor Centre

Requirement B1: Means of Escape

EXIT

horizontal dry fire mains “are typically not a practical design solution

Requirement B1: Means of Escape

Nearest Water Mains

EXIT

Fig. 5

of p

Dry Riser Intlet

EXIT

Old Pavilion

“the ‘open space’ [is considered] sufficient for people to find a place of safety, including jumping into the sea, or waiting for the RNLI” (J. Cornell, 2019)

EXIT

15%

e rim e te r

To meet requirement B1, all people must be able to “escape to a place of safety without external assistance” (AD B, 2019). Table 2.1 of AD B (2019) states that the maximum safe evacuation distance in a place of assembly or commercial space is 18m. Whilst the Visitor Centre provides adequate escape routes to ensure safe evacuation of the internal spaces, once evacuated from the building occupants are still on the pier structure, with the furthest Visitor Centre fire escape door being 155m away from the main pier exit. Jonathan Cornell (2019), a former Building Control Manager for Rother & Hastings, stated in correspondence with the authors that during the pier planning process it was “considered that the ‘open space’ was sufficient for people to find a place of safety, including jumping into the sea, or waiting for the RNLI”; a questionable “satisfactory means of escape” (Building Regulations, 2010).

General Criteria

al o of l bu ss le er; t he ildin e th met pe gs i is ir m … v er per eh et ev e ich f the r ; (b icle a wh o ) Wi ccess f d to 15% thin or a p vide ) ump appliance should be pro ding(a 45m of ev uil ery poin the b t of the footprint of

The Old Pavilion “is under our usual fire-fighting strategies,” (East Business Fire Safety Office, 2019)

Requirement: Means of Warning and Escape (B1)

AD B states that “for small buildings… vehicle access for a pump appliance should be provided to whichever is the less onerous of the following: (a) 15% of the perimeter; (b) Within 45m of every point of the footprint of the building. Whilst Hastings Fire Station have confirmed that the Old Pavilion at the front of the pier complies and “is under our usual fire-fighting strategies,” (East Business Fire Safety Office, 2019), Cornell noted issues with the Visitor Centre early in the planning process. He stated that as the Visitor Centre “is more than 100m away from the public highway, which is too far to use the standard fire fighting equipment and the pier structure is not capable of supporting the standard fully equipped fire fighting vehicle,” alternative access provision was required. As the Grade II Listed pier structure could not be made strong enough for to solve this issue, a dry fire main was the chosen solution in this instance, with outlet points located at the corners of the Old Pavilion and Visitor Centre. Despite BS 9990:2015 stating that the use of horizontal dry fire mains “are typically not a practical design solution,” given the difficulties imposed by the long pier structure this was deemed the only option.

No Fire Fighting vehicle access beyo this point

STORE

Requirement B5: Access and Facilities for the Fire Service

EXIT

NORTH ROOM

EXTERNAL RAKED SEATING (STAIR 2)

Requirement B3: Internal Fire Spread

Do ce A cu m B= en t B 13 : T .5 m ab le 2.1

Dis ta

ov ed

pr Ap

SHOP

KIOSK

CIRCULATION

2m 2.1 = 1 able CD B: T ce ent tan um Dis d Doc

Requirement B3: Internal Fire Spread

DDA WC

SOUTH ROOM

pro

As the redevelopment of Hastings Pier came in the wake of the devastating 2010 fire, which destroyed 95% of the upper structure, this drawing examines dRMM’s development against the Building Regulations 2010, Schedule 1, Part B Fire Safety, focusing on their scheme for the Visitor Centre and wider pier structure. Making use of Fire Safety Approved Document B (AD B), the fire prevention and evacuation strategies of the newly developed pier are scrutinised to assess the extent to which the development has responded to the destruction previously inflicted upon the pier, and the limitations of these measures resulting from nature of the standard pier typology.

LOBBY

Sprinkler System

PLATFORM LIFT

Sprinkler System

Lessons From the Past: Strategies and Limitations of Fire Safety Measures at Hastings Pier

EXIT

Pier Pressure

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 77

Y2 | S1

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Management, Practice and Law] [Exam]

3: Exam

Question 1: Appointment and Insurance

Question 3: Planning for Future Business

Brief:

We have just received a proposed, appointment document from the lawyers acting for the Woodland Trust. It is full of legal jargon but they want us to sign it by return. One of the items asks us to ensure that we will successfully obtain planning permission for the development, despite the fact that they now want us to revise the scheme to include the demolition of the existing listed mill building on the site? The project is to be covered by a collateral warranty. What can we compare this proposed appointment with to see whether it seems fair and reasonable and what else should we do before signing? The appointment also asks some questions about our professional indemnity insurance policy, which we put in place last week. The premiums are really low which is great! Much cheaper than the RIAS or the RIBA! I have checked the indemnity policy and can confirm that our policy has an aggregate limit of £250,000.00. The providers have confirmed there is no need for an ‘Innocent Non-Disclosure Clause’. I also asked them about the proposed collateral warranty but they said the policy would not cover specific third party agreements. Can you please take a look at this and send me your thoughts before I reply?

We would like to make a pitch to a bank for some additional start-up funding to see us through the first year until as we hope, regular fees start to come in after the completion of the Tyndrum, Woodland Trust commission. Can you please prepare an outline summary business plan which considers questions the bank is likely to ask in relation to our start-up? Please provide a short paragraph on relevant content in each of the business plan sections proposed. I am told it has to include a SWOT analysis and set out our USPs for winning work in a competitive environment?

In pairs, you will answer to of three questions on a given scenario, based on the running of a small architectural practice.

Scenario: Three recently qualified Part 3 students, (including you) have won an open architectural competition to design and see through to completion an archive and education centre building project for the Woodland Trust at Tyndrum in the Scottish Highlands worth £2.5 million with a fee of £180,000. The project is to receive funds from the National Lottery. As a result of this you intend to formally start up an architectural practice in an as yet unidentified location. Please note your examination pair are two of the three individuals who will be involved in the setting up of the practice.

There are two systems of financial management; financial control, which creates an accurate record of monetary history (‘bookkeeping’) and management accounting, which attempts to create a logical prediction of the future. Fee forecasting falls under this second category, and is important to ensure the vitality and continuity of a business. As a small young practice, management accounting and fee forecasting will allow us to plan ahead, and ensure efficient financial and cultural practices are put in place from the outset. At the time of this memo, our only ongoing project is the archive and education centre in Tyndrum. As a result, our only captive fee – fees which are agreed, documented and scheduled for invoicing – is the £180,000 agreed for the design and construction of this work which will be paid by the Woodland Trust. This fee will be paid based on the hours spent on each design stage, with 70% of it being paid pre-contract. Stage 2 of this project requires the complete attention of all three of us, but once this stage has been completed, there will be more time for one or two of us to seek out new work, and target work that is winnable and within the scope of our new practice and fee structure. If any new work is attained, hopefully our possible fees, or even our captive fees, will increase. Monthly fee invoicing to the Woodland Trust and the timely collection of money owed, which is typically within thirty days, will assist our cash flow and reduces the risk of running out of money. In general, monthly management accounting allows us to monitor project costs and practice finances simultaneously.

UPDATE IN ARCHITECTURAL MANAGEMENT 2019 ISSUE 4: PROGRAMME PRO-FORMA Job Stage

Jan-20

Feb-20

Mar-20

Apr-20

May-20

2 Concept Design (Revised) 3 Developed Design Planning Application 4.1 Technical Design (1) Building Warrant application QS Billing Tender Period Tender Review/ Contractor Appointment Contractor Mobilisation 4.2 Technical Design (2) - Architect's input during billing & tender Construction Starts Hours per month Hours cumulative

Hours per job stage Staff cost per hour Cost per job stage

485

Stage 2

485 £50.00 £ 24,250.00

Cumulative cost for project Percentage of total fee (cumulative) WORKINGS Total Fee Deduct profit Resource

Jun-20

Jul-20

Aug-20

Sep-20

Oct-20

Nov-20

Dec-20

Building Warrant App. Processed by Local Authority

è 300 785

300 1085

225 1310

225 1535

150 1685

150 1835

150 1985

75 2060

75 2135

75 2210

100 2310

Stage 3 Stage 4.1 Stage 4.2 1050 675 100 £50.00 £50.00 £50.00 £52,500.00 £33,750.00 £5,000.00

42.64%

61.39%

64.17%

2.0

£180,000.00 £15,000.00 £165,000.00

Staff cost per hour Total number of project hours 70% hours pre-contract

£50.00 3300 2310

Assign hours to each job stage (14.7% Concept Design, 31.8% Developed Design, 20.5% Technical Design 1, 3% Technical Design 2) Full time staff equivalent

3.2

Feb-21

Planning App. Processed by Local Authority

£76,750.00 £110,500.00 £115,500.00 25.80%

Jan-21

1.5

1.0

0.5

Note: Staff average 1,800 hours per year (150 hours per month) KEY: Architect's Input Local Authority QS Input Contractor Input

Programme Pro-Forma for fee forecasting across job stages, submitted as part of question 1

General Criteria

0.7

Fee forecasting is also evident by the fact that a project profit target has been set for £15,000, forecasting and demonstrating our profitability. The building programme completed for this project takes into account time spent in relation to each work stage, and thus the fee required for each stage, which allows us to understand our incoming funds for the work we will complete and when it should be paid. While it is necessary to undertake this programme to understand the project’s timeline on a larger scale, it is also a way for us to ensure we are staying within the time set for completing each stage and not working overtime without an adjustment of fees. The message from our other colleague suggests that we will need to work overtime in Stage 2, in order to revise the design for the project. The ‘hours spent per month’ were increased from 450 hours (3 architects x 150 working hours per month, the average) to 485 hours to allow for paid overtime work to occur if necessary. By analysing the number of hours spent per practice member against the stage fee and monthly breakdown, we know the cost of time for each practice member, thus understanding their value and the potential changes that might need to occur to increase or decrease resources in accordance to incoming fees.

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Business Plan Extract: 1.Executive Summary Description of the Business Concept and Business ROK Architects are a young, innovative design studio with sustainable architecture at its heart. Sustainability and quality are combined in the practice approach to produce innovative, affordable design solutions to the Scottish construction industry, creating efficient, low-emission projects so needed in the contemporary building sector. With a focus on local and community design-led projects, working for small and medium sized companies who share our ethos, ROK will provide sensitive, contextually informed projects that respond to modern local and environmental needs. The Opportunity and Strategy With the Scottish Government setting a net-zero emissions target for 2045 (Scottish Government), there is a huge opportunity in the Scottish construction industry for affordable, quality sustainable architecture. The strength of ROK is through creative, thoughtful approaches to sustainability in Scotland, always seeking to create locally sensitive and appropriate projects with the environment as its focus. The Target Market and Projections Our target customers are small and charitable environmentally conscious organisations aiming to provide sustainable, innovative public projects for their local communities. First year sales are projected at £180,000with a profit target of £15,000, with sales increasing to £300,000 by the third year of operation 3.2 SWOT Analysis Comprising a young, innovative team of ambitious architects, ROK are in a strong position to win work against competitors in the Scottish building industry. With combined previous experience in both small and large sustainable projects with other UK based practices, the ROK team have the knowledge and passion to produce new, efficient solutions to building in Scotland that the contemporary market requires. ROK will assist smaller local communities in reaching government emissions targets whilst producing sensitive, contextually relevant work across Scotland.

Internal: Strengths: - Strong team working - Design ability - Technical advantages - Network of local architects

Weaknesses: - Limited experience of construction stages - Inefficient staff-to- principle ratio - Client base needs to be built

External: Opportunities: - University links - Location in Scotland - Strong Scottish network of staff, friends and family - Competition wins

Threats: - Other young start- ups from ESALA (Civic Soup) - Brexit and resulting recession

Skill Development

Collaborators

KSa

RB 78

Ye a r 2 | S e m e s t e r 2

Ar ch itectu r a l Des ig n : S tu d io D

City Fragments: Neapolitan Porosities

Learning Outcomes

Studio Brief

Project Statement

Through Tectonic Assemblages you are to design and detail a complex public building; this project should enable a more complete articulation of the architecture of your developing theses, and of the full material, functional, formal and technological complexities of an architecture of porosity.

Taking programmatic, spatial, material, tectonic, or technological impetus from the Animate Drawings or Performative Constructions, you are to select an appropriate (series of) site(s), and put forward proposals for a new (series of) building(s) and associated public spaces. These should be public buildings charged with engaging the cultural and social concerns of the city. They will be more spatially, organisationally and programmatically complex than the work completed to date; they will have multiple parts and multiple functionalities, each with their concomitant material, formal and technological enunciations. They will contain a series of (interpenetrating) spaces of both primary, secondary and tertiary functionalities, and will work in the contingent space between the public and private realms that pervades Naples.

The proposals in Tectonic Assemblages were originally curated to be read together as a coherent body of work towards an overarching thesis under shared authorship. They are however composed of components within such a framework that explore elements of the enquiry more explicitly with reference to the specificities of particular programme(s) and/or scale(s). In this sense, the set of proposals that the thesis offers for the Santissima Trinita delle Monache may be approached holistically as one response to the site, or deconstructed as works that pertain to the work of two pairs of authors with specifically domestic or institutional oriented focuses, or as works under singular authorship within those pairs that are construed more definitively by programme.

LO3 - The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 - A critical understanding of the effect of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

These buildings will explore the architecture of your emerging theses in greater detail. In contrast to work conducted in Brief 1 and Brief 2, where group and individual work were seen as acting toward a shared thesis, through Brief 3 you will develop demonstrably individual outputs within the group structure that will test these theses in specific, situated ways. This does not necessarily mean the design of separate buildings, but might involve the individual testing of certain aspects of a given building proposal.

The focus of this Academic Portfolio document is the Gallery, which forms one quarter of the overall strategy in Tectonic Assemblages, and one half of the pair of projects within this structure which focuses on the institutional, urban scale of the site.

Y2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Tectonic Assemblages Material Porosities Tectonic Assemblage(s) manifests in the composition of strategies and fabrication of architectures that are held at the centre of a reading of the city (un)done by the thesis. They employ the tectonic language established by the overarching enquiry to produce architectures with the material, functional, formal and technological complexities of the porous. As such, Tectonic assemblages present a conception of porosity and articulate the specificities of this conception (be they ruinous, labyrinthine or theatrical) by means of architectural proposition.

â&#x20AC;&#x2DC;Field Drawingâ&#x20AC;&#x2122; (A new iteration of the Field Drawing produced in Studio C)

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 80

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Santssima Trinità Delle Monache A ‘Sleeping Giant’ Naples is a city in crisis. As De Rosa and Salvati describe, Naples is characterised by “political instability, economic backwardness, consolidated social disparities, and the recession”. Its sense of “citizenship and collective protection” has been lost in the disfiguration of the urban cityscape, as a result of decades of sustaining disasters of both a natural and manmade nature.

“ Th e r i c h e st pa r t o f N a p l e s i s o n t h e h i l l , n o t fa r f r o m S pa n i s h Q u a r t e r s. Th e y ’r e r i g h t n e x t to e a c h o t h e r b u t wo r l d s a pa r t. ”

The persisting lack of provisions and planned development by governmental bodies, has led Naples to challenge the existing political structures by introducing social policies “establishing forms of selfgovernment for critical social infrastructure including urban commons such as abandoned, unused or underused city assets.” One such underused site at the centre of this European programme is the Santissima Trinità delle Monache, located at the top of the Spanish Quarters. Founded as a monastery, and then converted to a military hospital, the site now remains abandoned for the most part. The importance of the site lies in its location, sitting at the highest point and overlooking the Spanish Quarters. Its potential for social engagement and general uplifting of the economy and life of the local community is vast, yet immensely overlooked.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 81

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Santssima Trinità Delle Monache Measured Survey As precursor to an (un)doing of site, the Measured Survey drawings are composed and presented to be read as a collective opening to the Santissima Trinita Delle Monache site. The surveys expose the complex landscape and arrangement of existing buildings on the site, setting out the means by which future moves may be proposed. The measured survey takes ‘observation as a precursor to understanding’ by recording a series of found architectural drawings as a contextual backdrop to fold into new propositional fabric. The Santissimta Trinita Delle Monache site, which sits at the northern most point of the Quartieri Spagnoli, is carefully observed and surveyed, laying the groundwork for a collective (un)doing of situation.

Survey Roof Plan and Elevations

Survey Axonometric

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 82

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

(Un)Doing Thresholds

Santissima Trinita Delle Monache: Field Axonometric

Santissima Trinita Delle Monache Tectonic Assemblage(s) performs as an (un)doing of the Santissima Trinita delle Monache site, an abandoned monastery on the hill above Montesanto. As a collective strategy, four projects work in direct response to the site history, re-appropriating the former functionalities of the monastery in an overwriting of the site and a reconfiguration of its existing urban conditions. The proposals have been developed as two pairs. Two proposals–1a & 1b– respond to the ‘domestic’ performance of the site, whilst the other two–2a & 2b–respond at an urban and institutional scale. Within these pairs, each of the four proposals retains an individual voice within the collective strategy, allowing for individual explorations of more specific porous conditions

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 83

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 84

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Pro pos al 1 a: L ive /W

b: B

)

al 1

(JC

pos

ork

Pro ath hou se ( EM ) Propos

al 2b: L

ibrary

(KSa)

Pro

pos

al 2

lle : Ga

ry (

aut

pr orâ&#x20AC;&#x2122;s

oje

ct)

Methodological Commoning: A Collective Overwriting

Santissima Trinita Delle Monache: Joined Site Plans

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 85

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Methodological Commoning A Collective Overwriting The proposals have been developed as two pairs, which work together to respond at certain scales and to specific conditions across the site. Two proposals on the north of the site respond to the former domestic qualities of the monastery, and two at the south of the site respond at an urban and institutional level. Within these pairs, each of the four proposals retains an individual voice within the collective strategy, expanding upon the explorations of more specific porous conditions begun in semester one. The four proposals are the product of an interpenetrative practice seeking to produce long term solutions to transform the isolated site into a place of collective life.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 86

Y2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

(In)Between Urban Thickness and Void Gallery and Library

As a pair, the proposals put the terms of the thesis–Ruin, Labyrinth, Theatre–into practice, using them to determine and test programme and spatiality in an (un)doing that challenges, produces and thickens thresholds within the site and outwards across the city. In response to their situation, the Gallery (author’s project) and Library (by KSa) employ an architectural language of void, thickness and performance at different scales, in an urban reconfiguration of the edge condition of the site.

(In)Between Urban Thickness and Void: Gallery (Author’s Project)

(In)Between Urban Thickness and Void: Library (Kat Saranti)

‘(In)Between Urban Thickness and Void’ (one pair forming part of the collective strategy for the SS Trinita) responds to the public and institutional functionalities of the former monastery, reconfiguring these programmes in a contemporary rewriting of the southern side of the site, where the monastery complex meets the neighbouring Quartieri Spagnoli.

op os al 2b :L ib ra ry (K Sa )

Prop

osal

2a: G

aller

y (au

thor

’s pr

ojec

(In)Between Urban Thickness and Void: Joint Banner Originally Produced for Design Report

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 87

e ous

Y2 | S2

AD:B

S C AT

AD:C

AMPL

AD:D

Wo rks hop Yar d

ATR

[Architectural Design: Studio D]

2a Legend Urban / Public Gestures 1. Theatrical Thresholds 2. Gallery Lift: ‘Urban Tower’ 3. Goods Lift 4. Gallery Stairway 5. WCs 6. Balconies 7. ‘Courtyard’ Void 8. Bridge to Ruin 9. Thickened Void Threshold 10. Connecting Ramp to Art School 11. Break Space 12. Pottery Studio 13. Changing Rooms 14. Dance Studio 15. Stairway to Live/Work Shared Garden

2a Legend Artwork Index i. Jusepe de Ribera: Six Cherubs in The Clouds (37x72mm) and other studies ii. Ribera: Trinitas Terrestris (c. 1626, 3370x2600mm) iii. Ribera: Saint Bruno Receiving the Rule (c. 1643, 380x270mm iv. Ribera: Drunken Silenus (1626, 1850 x 2290mm) v. Ribera: Drunken Silenus (Etching; 1628, 273x355mm) vi. Ribera: Etching and Sketch Vitrines

Exten de d T resh old C

Legend Program Distribution A. Public Theatre B. Gallery C. Arts School

onn ec ti

on to

AD:G

14.

10.

Ex ten d

13.

T eat

r ic

T res ho ld

12.

Fi el

dt o‘ Ur b

’ re at

T e

11.

5. 4.

1b.

vi. 6.

Propos

al 2b: L

ibrary

iii.

iv.

1a.

ld to esho l Tr Visua

an Urb

atre Te

vii.

’ nte ‘Il Po

(KSa)

9. ii.

The Gallery and Library connect on the second floor (+3.5m) via an internal connecting ramp which bridges across the Urban Ramp, which sits below as a new urban threshold into the site.

po Pro

sal

lle : Ga

ry (

aut

p or’s

roj

ect

)

Second Floor Plan (+3.5m)

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 88

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Sixth Floor Plan - Urban Tower (+19.0m)

First Floor Plan - Gallery and Projection Room (-1.5m)

General Criteria

Upper Ground Plan - Urban Gateway and Theatre (-6.5m)

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 89

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

The proposal is characterised by an intrinsic performativity throughout, responding to the notion of ‘public spectable’ in Naples. An Urban Theatre formalised Neapolitan urban street theatre, whilst the gallery holds artworks which ‘perform’ in their own right across an architectural language of ‘voids’

‘Urban Theatre’

Gallery: Jusepe de Ribera, Saint Jerome and the Angel of Judgment

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 90

Y2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

(In)Between Urban Thickness and Void: Gallery (2a) Gif originally produced as par t of video submission

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 91

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Proposed Gallery Section AA: Urban Gateway

Proposed Gallery Section BB: Courtyard Void

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 92

Y2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Performing Thresholds The ‘Urban Gateway’ performs as an (un)doing in its reconfiguration of its urban conditions. Leading through the ‘cloister’ space, the threshold thickens the entry from the street into the ‘Urban Theatre’; slowing the act of passing through. Above this threshold, a ‘void’ space separates the artworks by Jusepe Ribera on display–two works originally painted for the altar of the church previously on the site–from its viewers. Visitors stand on stand on ‘theatre box’ platforms at one edge of the void, which acts a physical, but not visual blockage; a ‘thickened’ threshold across which the artworks perform.

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 93

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

The Gallery utilises ‘voids’ in its spatial and environmental strategies. As a spatial tool, voids separate viewers from artworks, creating a physical ‘blockage’ through the thickness of void. The ‘Courtyard Void’ through the centre of the gallery–a response to the tall, labyrinthine urban fabric of the Quartieri Spagnoli–brings light down through the gallery floors, and allows air flow through operable panels at its top.

6. 7.

10.

4. 9.

1. 8.

Shared Garden with Live/Work

Live/Work (JC)

Restoration Workshop and Art School

1. ‘Urban Gateway’ 2. Gallery Foyer 3. Gallery ‘Void’ Space 4. Exhibition Spaces 5. ‘Urban Tower’ 6. Artworks on Display 7. Terraces 8. Restoration Workshop 9. Art School: Changing Room 10. Art School: Fine Art Studio

Gallery

Proposed Gallery Section XX (west): Voids and Artworks

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 94

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

The Gallery hinges at the corner of the SS. Trinita site, engaging at certain moments with each of the three other proposals. In these longer sections, the project meets the Bathhouse and Live/Work proposals to the north of the site.

Gallery

Live/Work (JC)

Gallery

Bathhouse (EM)

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

Collaborators

KSa

RB 95

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

The ‘Urban Gateway’ and ‘Urban Tower’ work in dialogue through a shared relationship between the gallery and the city. At the ground level, the ‘Urban Gateway’ connects to its urban fabric through a reconfiguring of the streetscape, where the ‘Urban Tower’ connects back to the city at the top of the building through an extended visual field created through its exaggerated verticality.

‘Urban Gateway’

‘Urban Tower’

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 96

Y2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

(In)Between Urban Thickness and Void Performing Thresholds

‘(Un)Doing Towers and Thresholds’ [Banner produced for print at 950x1850mm] General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Skill Development

Collaborators

KSa

RB 97

Y2 | S2

AD:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Architectural Design: Studio D]

Propsosed Future Moves Exhibiting Porosity In the absence of studio and workshop access, and in leiu of a degree show, future moves and an ‘ideal exhibition’ have been drawn, as indication of our intentions for the physical and material proposals that would have formed part of the final output. The ideal exhibition explores the same field conditions that appear across the project. By placing the opening proposals on their ‘sites’ it articulates the relationship between them and sets the stage that promotes their function as performative nodes of overwriting.

Proposed 1:200 Model

A new ‘door drawing’ is proposed for the back of the ‘Animate Drawing’ model (produced in Studio C). Fabricating porous thresholds becomes another layer of overwriting in the ongoing process of (un) doing of borders articulated in the Animate Drawing. A small window is proposed for the doors, in a gesture to explore varied scales of operation of porosity by way of introducing an element of ambiguity that is open to interpretation. Intended as a 1:200 construction, the proposed model employs a dense layering of material, as a representation of the interpenetrating ‘gestures’ forming an (un)doing of the Santissima Trinità site. Utilising material techniques explored through the projects thus far–layerings of paint, plywood, gesso and paper–the model represents intensities and connections in the material and tectonic language employed by each proposal across the site in their architectural approach to ruin, labyrinth and theatre.

The ‘Ideal Exhibition’

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Proposed Door ‘Field Axonometric’

Skill Development

Collaborators

KSa

RB 98

Ye a r 2 | S e m e s t e r 2

Des ig n R ep or t

(Un)doing Thresholds: Door/Ways To New Neapolitan Practice(s)

Course Aims

Learning Outcomes

Course Brief

LO1 - The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the Programme.

Construct a design report as a designed object that effectively, efficiently and eloquently introduces an architectural design project or design thesis undertaken during the MArch Programme.

The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the studentâ&#x20AC;&#x2122;s study process, allowing an understanding of the material examined, decisions taken, etc. The design report is also a reflective document allowing the students to reflect not only on their finished project but also a key aspect of their methodology and practice. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object.

Appropriately structure and present a comprehensive design report as a fully referenced academic document which fully demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design and reflects upon aspects of personal architectural practice.

LO2 - Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architectureâ&#x20AC;&#x2122;s professional and economic context. LO3 - The development of transferable skills and techniques through the preparation of a sophisticated graphic document.

Course Objectives 1.

Critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

Demonstrate ability to analytically and logically synthesise documentation which encompasses a range of architectural issues, research and design processes undertaken in the development of a major architectural thesis and to reflect upon aspects of personal practice.

Develop skills in the communication of architectural design proposals, through sophisticated visual and textual synthesis.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

Y 2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Design Report]

(Un)Doing Thresholds Door/Ways to New Neapolitan Practices As with the design work produced throughout the second year of this course (Neapolitan Porosities Studio C &D), the Design Report has been produced as a team of four. A collective thesis is discussed and reflected upon, with individual projects also discussed within the context of the overarching group practice.

POROSITY; ‘A dynamic social, material and/or spatial condition of Naples established by the thesis to constitute of three interpenetrative fragments in ‘ruin’, ‘labyrinth’ and ‘theatre’ and which operate to create ‘openings’ across ‘fields’ of ‘thresholds’.

ato erc

FIELD(S); ‘The spaces and/or sites that constitute the regions bound into territories affected by or associated with a particular threshold.’

ca ec nas Pig

* Pia

lla de zza

ita Car

(Un)doing

thetic vocabulary:

+ Vico 2° Montecalv ario

+ Via Toledo

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Gi an

THREHSOLD(S); ‘The architectonic components and adjoining space(s) that contribute to, and are immediately affected by, the theatrical performance or mobility of an architecture.’

ca asec Pign Via

lvario nteca Mo zza

ese a Montecal vario

rte Po

lla de

ta Cit

’

tto pe am Il C

’ + Vico Tofa

* Piazza Portacarr

* Quartieri Spag noli

S. An na

e Trento

ito Plebisc

[ 2019]

pin g

i Spagnol

ntro la Mu ra ’

Mer cato di Primary Direction al Axis

co ith Par

*‘ *‘

* ‘ De

Vico Lung o Montecalv ario

l ee

he ac on M lla de

Vico Tofa

* Ex

* Piazza Trieste

del * Piazza

The chapter titles and structure in the report refer to these terminologies to describe moments of these architecture(s) and the way they came in being as part of the wider investigations. This thetic vocabulary can be considered in architectural and/or methodological contexts.

Eman uele

* Pia

Specific working methodologies emerged as the thesis developed. These are folded into the discussions within the document which is structured around key terminology that together construct an interplay of porosities and explore the implications of the way in which (Un)Doing Thresholds considers its architecture(s) porous.

Vitto rio

w ctivity C o n ne

+ Co rso

pT he S

tablish Re-Es

+ Vico Lungo Montecalv ario

ita rin ST *S

The Design Report sets out the development and conclusion of the practice through a discussion of methodologies, readings and explorations of conditions specific to Naples, and the design proposals undertaken throughout Studios C and D.

T H R E S H O L D S

2nd Chan ce : W akin

design.

ico men a Do + Vi

[animate drawing] [performative construction] [tectonic assemblage]

* Piazza

telli Capi

Dante

(Un)doing Thresholds Door /Ways to New Neapolitan Practice(s)

RUIN; ‘The memory, or remnants of an architecture that facilitates the performance or agency of a given theatre.’

* Piazza del Gesu Nuovo

(Un)doing Thresholds explores the temporalities and architectonic specificities of porous conditions of Naples, where (un)doing is presented through Andrew Benjamin as a productive conception of urbanity; one in which porous architectures are (un)done, drawn through one another, in a constructive overwriting founded in the immediacy of the city. Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city.

LABYRINTH; ‘The register of a means of connectivity between architectures and/or fields that at once disconnects someone through the journey or experience of its discovery.’

ro te as on *M

rico Sto ntro * Ce

* zz * Pia

THEATRE; ‘The mobility or agency of an architecture to change, choreograph or calibrate the quality of a space.

a S.

rio to ra O

nta Sa di

e ed aF ell ad ari M

nta Sa di

a iar Ch

iore Mag

nali a Tribu + Vi

enico Dom

joseph coulter eirini makarouni katy sidwell kat saranti

002

OPENING(S); ‘An architecture or spatial gesture that performs or constructs an availability or inherent capacity to advance.’

lo ta Ni zzat * Pia

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

Skill Development 2.4

2.5

2.6

2.7

CO PH

rai i Lib io de Biag San Via

General Criteria

Collaborators

KSa

RB 100

Y 2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

[Design Report]

page

10. “Catacombs of San Gennaro,” Catacombe Di Napoli, accessed November 30, 2019. http://www.catacombedinapoli.it/en/places/catacombsof-san-gennaro-naples#.

figure(s) 4 & 5.

Walter Benjamin and Asja Lacis, “Naples” in Reflections: Essays, Aphorisms, Autobiographical Writings edited by Peter Demetz, 163-173. New York: Schocken Books, 2007 (1978), p. 166.

11.

predecessor, (becoming one of the foremost cities of Magna Graecia), which now forms the Centro Storico

cities, where traces of the Greek and Roman settlements, - the historic centre of the city as we know it today. preserved in the underfoot layers, systematically overflow onto streets and corners”.8 In more recent history, the city opened out to the

In the 6th Century BCE, this first iteration of the city was renamed Neapolis (the “new city”), overwritten in the Neapolitan plains to the North-East of its

West in the 16th Century with the formation of the Quartieri Spagnoli, taking its name from the Spanish viceroys, rulers of the city for the next 200 years.

napoli / the ‘layered’ city

The city was founded as Parthenope, a small commercial port, which expanded around Monte Echia on the South coast of the city, in the 8th and 9th Century BCE by Greeks from the city of Cumae, who had themselves settled from Euboea (now Evia).9

Today, ancient history and contemporary events

interpenetrate. “The Greek Neapolis and the presentday city are not separated by millennia but by metres of soil under the ground. The past is not placed in a glass case or forgotten, but peeps out in some parts of the present-day city.” 10

projection became a gestural ritual: a process filled with performance and improvisation.

“The ordering of the drink, its consumption and the passage out from the cafe, all need to be understood within the rhythm of the gesture. Space is positioned - and therefore created - by one particular rhythm rather than another.What occurs within the cafe is the inter-articulation of spatial positioning and the rhythm of the body […] Time, space and the rhythms of the body work together. If there is a way into the general sense in which porosity figures within Benjamin’s writing on Naples, then it resides in its effects [...] Porosity, if only as

It is situated between spontaneity, intuition and a carefully rehearsed act of drawing. It is an elaborate choreography of methodological practice(s) and overwriting or ‘(un)doing’ of ruins, labyrinths and theatres of Naples, whilst touching upon the city’s theatrical character.

a beginning, provides a way of making space and time work together to define both the urban condition and the body’s place within it. Time is integral to an understanding of urban affect.” 34

The ‘act of making’ the Animate Drawing and the duality of its bodily

It becomes a gestural drawing.

figure(s) 17 & 18.

The ‘making of’ the Animate Drawing through several stages of projection.

G E ST U R E (S) O F ‘(UN)DOING’

33. Benjamin. W and Lacis, “Naples”, p. 173. 34. Benjamin. A, “Porosity at the Edge”, p. 34-35.

Provides the grounds for the gesture of drawing and recording conditions of the ongoing enquiry to become a porous register of its architectures and their relationships through time and across space. It allows porosities to be drawn and re-drawn through each other by which ‘Animate Drawing’ becomes a way to represent porosity assumed by the thesis both in its making (methodologically) and as made (tectonically).

Longer page sub-title for this page to be entered into this text box right here.

p r i m a ry pag e t i t l e

The thesis, and as such this document, works with, and refers to three key thematic frameworks offered up by the design studio. These have been taken on, challenged by and re-defined by the thesis and as productive constructs for its ongoing development. Each can be identified as an ‘act’ and/or ‘output’ of the thesis and are determined as follows;

figure 1.

Longer page sub-title for this page to be entered into.

page

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E ( S )

lmo t’E l San ste Ca

figure 1. ro * Vome

rio o Vitto Cors

e nuel Ema

Longer page sub-title for this page to be entered into.

* Certosa di San Martino

to tesan

e Mon colar * Funi

Wi der Urb an ‘S

* Urban

equ

enci ng’ of

Ur ban

ging Enga

with

g terin & En

& Cyop Into

s ‘O Kaf ’

tive’ pera

et Stre

n ditio Con Field Art

from

rtier Qua

elle ità d Trin ing of ssima ‘Urban T reshold(s)’ into Santi

etto’ Camp * ‘Il * ‘Dentro + Vico Lungo Montecalvario

* Piazza Montecalvario

le Mura’

ed Ur xtend

ban T

Q ofa’ & ico T m‘V ld fro resho

eri uarti

noli Spag

to SS

he onac elle M ita d Trin

* Mercato

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

v ati rm r fo ‘Pe g of doin (Un) to the Site(s) Open / Receptive

* Piazza

Portacarrese

a Montecalvario

2.5

2.6

2.7

Via

ca asec Pign Existing Metropolitan

Directional Axis

* Piazza

+ Via Toledo

Existing Metropolitan

* Piazza

della

Dante

Carita

Directional Axis

Open

ing(s ) of P iazza &

Piazzett a

Punctuate

a Slowness of Move

ment as Treshold(s) within

the ‘Tick

ise herw an Ot ness’ of

Dens

ban e Ur

Fiel

* Piazza del

of E

xist

ing Ur ba n‘ Ru ins’

tha tO

pen &

En ter int oa

Wi de

rU rb a n‘ Fiel dC

ond itio n’

-C

on fg ur

in go r( Un )d oin ga

Co nt em po rar y

Sp ati a

lP rac

tic

eo fC

om mo nin gt oE ng ag ew

Gesu Nuovo

ith

Mu n

ici pa

l St

rat egic

vel op me nt

o di tori * Ora

Sit e(s )O

[(un)doing thresholds: (door / ways to new neapolitan practice(s)]

Legend

Napoli is re-figured, the city is ‘(un)done’ by thetic intervention that culminates in new ‘field conditions’. ‘Threshold connections’ are opened up across a conception of the city that performs interpenetrative conditions of porous architecture(s) and their relationships through time and across space. The Santa Trinità delle Monache holds these urban gestures in place and creates a new metropolitan axis upon which the city is ‘hinged’. It opens up to wider sequencing of the city that is punctuated by porous sites which are drawn into play by the thesis.They contribute towards a porous re-making of the city; themselves door / ways to new Neapolitan practice(s).

1. ‘Into & Out of Everyday Thickness(es)’ a. ‘Live / Work’ b. ‘Bath House’ 2. ‘(In)Between Urban Thickness & Void’ a. ‘Gallery’ b. ‘Library’

Legend

Propositional Territories

Door / Ways Through the City 3. * Santissima Trinita delle Monache 4. Parco Spagnoli 5. ‘Il Campetto’(Quartieri Spagnoli) 6. ‘le Porta della Citta’ (Quartieri Spagnoli) 7. ‘Dentro le Mura’ (Quartieri Spagnoli) 8. Ex Mercato di S. Anna di Palazzo (Quartieri Spagnoli)

9. Oratorio di Santa Martia della Fede’(Centro Storico) 10. Piazzetta Nilo (Centro Storico) 11. * Monastero di Santa Chiara 12. * Monastero di Certosa di San Martino 13. * Castel Sant’Elmo

A. Vico Paradiso B. Via Pasquale Scura C. Via S. Lucia a Monte D. Scala Montesanto E. Funicolare Montesanto F. Piazza Montesanto

G. Mercato Pignasecca H. Via Toledo I. Corso Vittorio Emanuele J. Vico Tofa K. Vico Lungo Montecalvario L. Piazza della Carita

M. Murales Pudicizia N. Piazza Montecalvario O. Piazza Portacarrese a Montecalvari P. Piazza Trieste e Trento Q. Piazza del Plebiscito R. Piazza Dante

S. Via Trubunali T. Via San Biagio dei Librai U. Piazza del Gesu Nuovo V. Piazza San Domenico Maggiore

cep tive

ta San

raia Ma

o ric o Sto ntr * Ce

Thresholds’

explores the temporalities and architectonic specificities of porous conditions in Naples, a place in which (un)doing is—as described by Andrew Benjamin—a process vital to the formation of the city, one in which porous architectures

Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city. Making space for figures not to guard thresholds, (this would be anathema to Benjamin’s description of the threshold), but to inhabit them; they are not policemen responsible for borders (real or perceptual). Rather they maintain the threshold, extend the spaces between things, providing both separations from and thickenings of the spaces of the city. 1. Reference One, Reference Source, Pg. X.

e a Fed dell

to t he ( Un) doin g of ‘ Per fo rmativ e Constr

uction’

[1:1000 ]

‘M t. ity Vie ws to

wit T res ho ld Vis ua l ed

ten d Ex

a‘ Fie ld’

are (un)done, drawn through one another in a constructive overwriting founded in and based on the immediacy of the city.

TECTONIC ASSEMBLAGE(S) : PROPOSED FIELD CONDITION(S) (axonometric(s) to scale)

Ves uvi u

s’

‘(Un)doing

(U n) do ing

Skill Development 2.4

a Pignasecc

str on

* Quartieri Spagnoli

li itel

11.1

Alo ng ‘Vic o To fa’

o Cap nic me Do

10.1

Tr esh old Up &

tio n’

ing E Open

Vis ua l

Via

9.1

E xt end ed

he nac Mo

oli agn i Sp

Opening(s) to the Santissima Trinita Delle Monache

performative construction(s) / ‘theatre of a configurable market-scape’

Open

Pudicizia

iara Ch

Threshold(s), protagonists and their practice

CO N T E M P O R A RY ST R E E T W R I T I N G (S)

* Urban

* Murales

to tesan Mon

ta San

8.1

to san nte * Mo

* Piazz

7.1

1a. * Urban Gateway

o ter nas Mo

6.1

1b.

tto’ Campe

iso Parad

5.1

iants’ eping G e Sle p th ng U aki ‘W nce ha

* ‘Il

* Urban Garden

+ Vico

4.1

Li b

2a.

ay Gatew

3.1

dC 2n

2.1

ct ba Ur

1.1

ub l ic

n Garde

* Urban Landmark

A N I M A T E

Graduate Attributes

Viewpo int

D R A W I N G (S)

General Criteria

Gal ler y

s l Axi ona ecti Dir

Press, 2008, p. 78.

X. Stavros Stavrides, “Heterotopias and the Experience of Porous Urban Space,” in Loose Space: Possibility and Diversity in Urban Life, ed. Karen A. Franck and Quentin Stevens. New York: Routledge, 2007, p. 178.

* Urban

an Pr ac tic e

hH ou se

* Urban

‘(In)Between Urban Ticknes s&V oid’:

Emanuele

Bat

e as gn Pi ato erc M

X. Iain Chambers “Naples: A Porous Modernity,” in Mediterranean Crossings: The Politics of an Interrupted Modernity. North Carolina: Duke University

+ Corso Vittorio

Ne ap oli t

th wi

The concrete slab sits lower than its neighbouring roofs, remaining empty and unoccupied–a dormant, open, flat plane in an otherwise chaotic quarter of the city. Rather than spilling out into the street in the fashion of a typical Neaopolitan market, the space is covered and closes in upon itself; an internalising of public space antithetical to the theatrical reality of Neapolitan street life.

Ne w

he nac e Mo dell

an olit trop ’ Me ged ‘Hin

Like many sites around Naples, the inadequacy of local government has resulted in a failure to regenerate the abandoned market. Despite persistent community efforts to regenerate the site, the process has been extremely slow. Existing as ‘void’ in the Quartieri Spagnoli, the existing roof slab of the market looms over the empty lower market space, contrasting to its dense urban context.

o Spag

* Parc

ita Trin

ed pos Pro

“They speak to the Neapolitans, to distracted passers-by, to curious tourists, to children who live in the street, to students and football supporters […] and they do it 365 days a year.” 28

societies consider and impose as normal…, characteristic of a temporary period of crisis.” x

/W ays to

ld’ ho res et T ark n ‘M rb a of U

The thesis identifies this practice and the sites of their intervention as ‘porous’. There is an inherent connection between the distinctive ‘threshold’ condition of the Neapolitan ‘bassi’ and those created at a wider urban scale through the implementation of these works.

The former market of Sant’Anna di Palazzo rests deserted and ruinous in the San Ferdinando neighbourhood, at the southern tip of the Quartieri Spagnoli. Designed by Salvatore Bisogni in the 1980s, the structure was deemed unfit for purpose and abandoned by market stall owners only months after opening in 2001. Since its desertion, the former market has deteriorated into a den of waste and illegality, despite persistent community efforts to recover and repurpose the structure. The market is a heterotopia within the Quartieri Spagnoli—“a place where differences meet”— inhabited in “ways that deviate from what these

oor

g nin

Through the performance of their acts in the streets and their contribution to Neapolitan life, their works soon spread to from basso to basso, garage after

garage, to satisfy all the requests of those requesting their very own ‘monsters’; embedding their practice in the everday communal life of the city.27

Longer page sub-title for this page to be entered into.

ds; D

Op e

The works are part of the re-writing project in Quartieri Spagnoli of the Neapolitan duo ‘Cyop & Kaf ’ which initially concerned themselves with buildings (destroyed by the earthquake and never restored) considered a ‘no man’s land’.

contemporary street writing(s) / cyop & kaf

“Soft, sinuous and sometimes sharp. Colourful, simple, but above all, urban. They are the monsters of the historical centre of Naples, good monsters that suddenly appear to snatch a smile, a reflection, or even just a photo.” 26

figure X.

doin gT resh ol

‘ Into & Out of Everyday Tick nes(es )’: Li ve/W ork & noli

* SS

+ Vico 2° Montecalvario

26. Racna Magazine, “Cyop & Kaf, Mostri Lunghi un Anno.” Racna Magazine, June 5, 2014. http://www.racnamagazine.it/cyopekaf-mostri-lunghi-un-anno/ 27. Cyop&Kaf, “Quore Spinato”. Cyop&Kaf.com, Accessed December 2, 2019, http://www.cyopekaf.org/en/qs/. 28. Racna Magazine, “Cyop & Kaf, Mostri Lunghi un Anno.” 29. Gilloch, Myth & Metropolis, p. 36.

Montesanto

Na po li

(Un)

. 2b

Street paintings in Quartieri Spagnoli, Cyok&Kaf.

Ac ross

Reading Walter Benjamin’s descriptions of cities, Graeme Gilloch notes Benjamin’s recurrent use of the terms ruin, theatre and labyrinth. If Benjamin’s Berlin, Gilloch suggest, is the labyrinth, his Naples is “the perpetual ruin, the home of the nothing-new” where “the cultural merges into the natural landscape, becoming indistinguishable.”X But this, as Gilloch subsequently notes, is to simplify Naples. In this merging of culture and nature—what Benjamin might describe as an interpenetration, a porosity—the city becomes labyrinthine. Boundaries blur and territories bleed, definitions lose their definition, terms are redetermined. These processes, as Benjamin and Lacis observe, are performed in the city, “buildings are used as a popular stage.”X The theatrical, the ruinous and the labyrinthine themselves, coexistent, porous conditions of Naples.

point View

* Scala

lois ter s

ry ra

figure(s) 12 & 13.

T H I N K A B O U T A T E M P O R A L A N D T R AN S I TO RY A R C H I T E C T U R E I S A L S O A N I N V I TAT I O N TO R E CO N S I D E R H OW O N E M I G H T I N H A B I T U R BA N S PAC E ” . X

A focus on the doors as thresholds intrinsic to the ‘bassi’ became a key focus for the fieldwork undertaken in Naples and drove a move to work with sites and interventions that become discovered through disorientation. By getting lost in the labyrinth; the dense meshwork of the Quarters; an often unexplored heart of the city; simultaneously a place “of intoxication and inhumanity” and; a “paradox that animates and pervades” its streets.29

“ TO

contemporary street writing(s) / cyop & kaf

page

Ga rde ns

(un)doing thresholds / thesis abstract

n a pl e s i s “ t h e p e r p e t ua l r u i n, t h e h ome o f t h e n o t h i n g n e w ” wh e r e “ t h e c u lt ur a l me r ge s i n to t h e n at ur a l l a n d s c a p e, b e c om i n g i n d i st i n g u i s h a bl e. ”

(Un)doing

T H R E S H O L D S

chapter title / page title

X. Victoria Fiore, Interview by Ruth Faj (Vice) in “Understanding the ‘Fire Games of Napoli’.

napoli / situational porosity

“ t h e r i c h e st pa r t o f n a pl e s i s on t h e h i l l , n o t f or f r om s pa n i s h qua r t e r s . t h e y ’r e r i g h t n e x t to e ach o t h e r bu t wor l d s a pa r t . ” . x

X. Ruth. Faj, “Understanding the ‘Fire Games of Napoli’”, Vice, January 2, 2018, https://www.vice.com/en_uk/article/ paqa5z/understanding-the-fire-games-of-napoli.

Manifests in the composition of strategies and fabrication of architectures that are held at the centre of a reading of the city (un)done by the thesis.They employ the tectonic language established by the overarching enquiry to produce architectures with the material, functional, formal and technological complexities of the porous. As such,Tectonic assemblages present a conception of porosity and articulate the specificities of this conception (be they ruinous, labyrinthine or theatrical) by means of architectural proposition.

vii

chapter title / page title

figure X.

In Naples the tradition has evolved: kids from various inner-city neighbourhoods spend months stealing and stashing Christmas trees in the lead up to the event so they can build the largest fire possible, a sign of their patch’s superiority.x The celebrations, now commonly known as ‘Il Cippo’ take place across the city in various guises, the thesis however, concentrates on those in the Spanish Quarters that have been well documented in the films “Il Segreto” (2013) and “Fire Games of Napoli” (2018) by Italian street artists Cyop & Kaf and Neapolitan film maker Victoria Fiore respectively.

T E C TO N I C A SS E M B L AG E ;

A ‘field’ of fragment(s)

Longer page sub-title for this page to be entered into.

Each year, on the 17th January, teenagers in Naples come together to light a bonfire to mark San Antonio day. The celebration dates back hundreds of years and evokes a collective sense of renewal for the year ahead. Recently however, the celebrations have have come to be controversial with many locals arguing that it has become out of hand, a rite of passage that schools young people in criminality.

Napoli; the place, its porosity, and a thesis

napoli / situational porosity

As a situational opening into Naples, and an ongoing contextual frame of reference for the project, ‘Il Cippo di Sant’Antonio’ is introduced as a contemporary condition of the city through the lens of ‘porosity’ as so far described by the ongoing thesis. It serves as an initial frame of reference through which the thesis begins to unpack Gilloch’s terminology and places a focus on the Quarteri Spagnoli as pertinent grounds for further speculation.

Is seen as a way of holding speculations of porosity on and in the city and are articulated as explorations of an architecture emerging from the thesis.They are moments at/in which the gestures of ruin, labyrinth and theatre (porous conditions of the thesis) are (un)done and re-framed as spatial, material and architectural thetic devices. In this way Performative Constructions operate (perform) to reveal (construct) a tectonic language inherent of the thesis and of the city.

The following document is organised to present a comprehensive understanding of the process(es) and conditions which lead to the work(s) produced under the thesis (Un)Doing Thresholds. It describes various architectural proposals and interventions across a variety of scales and and reflects upon the methodologies and modes of practice employed in the development of the thesis.

page

‘ T H E F I R E GA M E S O F NA P O L I ’

P E R F O R M AT I V E CO N ST RU C T I O N ;

(un)doing thresholds / methodological practice(s)

“The language of gestures goes further here than anywhere else in Italy.The conversation is impenetrable to anyone from outside.” 33

animate drawing(s) / gestural language

We are introduced to the city’s history by Serenella Iovino as “spatiotemporally porous: a city upon other

Napoli on film; contextual city photograph(s)

AN I M AT E D R AW I N G ;

M E T H O D O LO G I CA L P R AC T I C E ( S )

9. French and Mitsoula, City Fragments: Neapolitan Porosities, Brief One, p. 7.

(un)doing thresholds / methodological practice(s)

8. Serenella Iovino, “Bodies of Naples: Stories, Matter, and the Landscapes of Porosity” in Material Ecocriticism edited by Serenella Iovino and Serpil Oppermann, 97-113. Bloomington IN: Indiana University Press, 2014, p. 100.

page

Thresholds, protagonists and their practice

T R AC E S O F A ‘ L AY E R E D’ C I T Y.

fig. 6.

Napoli; the place, its porosity, and a thesis

corners one can scarcely discern where building is still in progress and where dilapidation has already set in. For nothing is concluded.” 11

animate drawing(s)

g e st ur a l l a n g uag e

napoli / the ‘layered’ city

This provides the thesis with an opening reading of how the city might be understood as porous. One that engenders a spatio-temporal porosity introduced by interpenetrative material conditions of the city’s history; for “in such

Collaborators

KSa

RB 101

Ye a r 2 | S e m e s t e r 2

Aca d emic Por tf olio

Learning Outcomes

Brief

LO1 - The ability to produce a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities through coherent projects; and that synthesizes and presents work produced in diverse media (sketch books, written work, drawings and models, etc).

This course, taken in the final semester of the programme, requires students to curate the outcomes of academic work undertaken during the programme and present it in the form of an integrated academic portfolio that demonstrates compliance with the ARB Part 2 criteria. Various forms of presentation (drawings, installations, printed books /reports, models, photographs, films, digital material, etc.) and any other evidence of work, which has been assessed as part of the programme leading to an award of Part 2, will be represented in the portfolio.

LO2 - An understanding of the relation of the ARB Part 2 criteria and Graduate Attributes to the student’s own work, as demonstrated through a referencing system, covering the totality of the criteria, in the portfolio.

Course Aims 1.

Curate all work already assessed and re-present it comprehensively and thoughtfully within a portfolio format.

Improve work that was, in the context of the course in which it was produced, assessed to be weak, or below pass standard either by being incomplete or having failed to address key module objectives. (Such improvement is deemed to be new work and is assessed within the Academic Portfolio 2 course, and does not imply a retroactive reassessment of any other, already completed course.)

LO3 - The acquisition and development of transferable skills to present work for scrutiny by peers, potential employers, and other public groups through structuring and communicating ideas effectively using diverse media.

General Criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

Graduate Attributes 2.1

2.2

2.3

2.4

2.5

2.6

2.7

10.1 10.2 10.3

11.1 11.2 11.3

Course Objectives 1.

Review all work assessed for the MArch degree.

Understand the inter-relationship between the diverse knowledge and skills gained over the course of the degree in relation to various output media – for example, drawings, models, photographs, and texts.

Demonstrate student achievement to ARB/RIBA Part 2 level in the degree as a whole, in each year of the degree, and in all courses and units undertaken in each year.

Y 2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

AP [Academic Portfolio]

Academic Por tfolio

Courses Completed:

Reflection

Year 1 Semester 1

General Criteria:

Graduate Attributes:

GC1 1.1 1.2 1.3

AD:G AD:B AD:G

AD:B AP AD:B

AD:C

AD:D

AD:C

AD:D

GC2 2.1 2.2 2.3

SCAT SCAT AD:G

DR DR AD:B

AP AP AD:C

AD:D

GC3 3.1 3.2 3.3

AD:G AD:G AD:G

SCAT SCAT AD:B

AD:C AD:C AD:C

AD:D AD:D AD:D

AP DR DR

AP AP

GC4 4.1 4.2 4.3

SCAT AD:B AMPL

AP AP AP

GC5 5.1 5.2 5.3

AD:G ATR AD:G

ATR AD:B ATR

AD:B AP AD:B

AD:C

AD:D

AD:C

AD:D

It is clear through this document that collaboration has played an important role throughout my time on this course, with the majority of modules contributed to by one or more collaborators. Learning how to work productively and efficiently in teams of two, three and four with design, research and writing work has provided me with a strong foundation for moving forward from the Part II course into a professional environment.

GC6 6.1 6.2 6.3

AMPL AMPL AD:B

AP AP AP

GC7 7.1 7.2 7.3

ATR ATR AD:B

AD:B AD:B AP

AP AP

A wide range of media has also been employed through the course. Analogue and digital techniques operate in dialogue through design work, including environmental models, gestural drawings, and digital film and photography, grounding the learning through this Part II course with a materially and digitally varied final output.

GC8 8.1 8.2 8.3

AD:G AD:G ATR

ATR ATR AD:B

AD:B AD:B DR

AD:D AD:D AP

DR DR

AP AP

GC9 9.1 9.2 9.3

ATR ATR AD:B

AD:B AD:B DR

AP AP AP

GC10 10.1 AMPL 10.2 AMPL 10.3 AD:B

AP AP AMPL

GC11 11.1 AMPL 11.2 AMPL 11.3 AMPL

AP AP AP

AD:G Architectural Design: Studio G

Producing the Academic Portfolio has provided a chance to curate, appraise and reflect upon the work produced during the ESALA Master of Architecture programme.

ATR

Architectural Technology Research

Year 1 Semester 2

Across two years, the course has provided a structure through which a wide range of techniques and tools have been used to meet the necessary Attributes and Criteria. The Portfolio has highlighted the development of key skills which compliment those stated in the criteria, particularly skills in collaboration, workshop techniques and research, through reading and, in particular, fieldwork.

AD:B

Architectural Design: Studio B

SCAT

Studies in Contemporary Architectural Theory

Year 2 Semester 1 AD:C

Architectural Design: Studio C

AMPL Architectural Management, Practice and Law

What becomes evident through the Academic Portfolio is a design practice grounded in explorative, active and performative methodologies; though notably different in their output, both first year work from Iceland and Bath, and second year work in Naples have developed final proposals founded by a design methodology which animately questions and challenges conditions intrinsic to the urban fabric of the places they explore.

Year 2 Semester 2 AD:D Architectural Design: Studio D DR

Design Report

Academic Portfolio

General Criteria

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Skill Development 2.4

2.5

2.6

2.7

AD:G AD:G AD:G SCAT AD:B AD:B AMPL

AD:B ATR ATR DR AMPL DR DR

AD:C AD:C AD:B AP

AD:D AD:D AD:D

AMPL AP

DR DR DR

AP AP

Collaborators

KSa

RB 103

Y 2 | S2

A D:G

ATR

AD:B

S C AT

AD:C

AMPL

AD:D

AP [Academic Portfolio]

Academic Por tfolio

GENERAL CRITERIA

Part II Course Matrix

This matrix maps out the relationship of the modules undertaken during the part II course, highlighting commonalities and differences in their meeting of the General Criteria and Graduate Attributes.

AD:G AD:B

2.1

2.2

AD:B

2 .3

AD:G

AD:B

AD:C

AD:D DR AP

AD:D AP

AD:G

AD:B

AD:C

DR AP

AD:D DR AP

AD:D

AD:D DR AP

AD:D

AD:D DR AP

AD:G

AD:G ATR

AD:C

DR AP

AD:D DR AP

AD:D

AD:D DR AP

AD:D

AD:D DR AP

AD:G

AD:B

AD:D DR AP

AD:D AP

DR AP

AD:B

AP AD:G ATR AD:B

AD:B

AD:C

DR AP

7 .3

8 .3

AD:G

ATR

AD:G ATR

ATR AD:B

AD:G ATR AD:B

AD:B

AP AD:B

AD:B

AD:D DR AP

DR AP

ATR

AD:G ATR

ATR

AD:D DR AP

DR AP

AD:B

AD:G ATR AD:B

ATR AD:B

AD:B

AD:D DR

AD:G

AD:C

AD:B

AD:C

AD:B

AD:C

AD:G

AD:C

AD:G

AD:C

AD:B

ATR AD:B

AD:B

AP AD:B

AMPL

AD:B

GRADUATE ATTRIBUTES

2.3 AD:D DR

AD:D

2.4 DR AP

AD:B

SCAT

DR AP

AD:D DR

DR AP

AD:D

AD:D DR

SCAT

DR AP

AD:B

AD:D DR

AD:D

SCAT

DR AP

AD:B

2.5

AD:B

AMPL

AD:B

2.6 AP

DR AP

AD:B

2.7

AD:B

General Criteria

DR AP

Graduate Attributes

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

2.1

2.2

2.3

DR AP

AD:B

AMPL

AD:B

AMPL DR AP

AMPL

AMPL DR AP

AMPL

AD:B

DR AP

Skill Development 2.4

2.5

2.6

2.7

AD:B

DR AP

AD:B

AMPL

AD:B

DR AP

AD:B AMPL

AMPL

AD:B AMPL

AMPL

Collaborators

KSa

RB 104