Academic Portfolio - Kevin Li

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AC AD EMIC P O R T F OLI O II

MASTER OF ARCHITECTURE

KEVIN LI E DINBU RGH SCHOOL OF ARCHITECTURE & L AN DSCAPE ARCHI TEC TU R E

E S AL A

SCAT

STUDIO A

AMPL

STUDIO H

DR

Studio C

Architectural Technology Research

Studio D

Studies in Contemporary Architectural Theory

Studio A

Architectural Management, Practice & Law

Studio H

Design Report

PARA-situation [Ahmedabad]: Past, Present and Possible

Generic and Contextual Studies

PARA-situation [Ahmedabad]: Past, Present and Possible

The Virtual City - Space, Place, Technology

PARA -situation [Ahmedabad]: Past, Present and Possible

Regulatory Drawings, Contract Simulation Exercise, Coursework

PARA-situation [Ahmedabad]: Past, Present and Possible

Dye & Dustscapes: Madder than Ever

M.Arch Yr 1 | Sem 1 2019

M.Arch Yr 1 | Sem 2 2020

M.Arch Yr 1 | Sem 2 2020

M.Arch Yr 2 | Sem 4 2021

M.Arch Yr 2 | Sem 4 2021

06

16

24

42

M.Arch Yr 2 | Sem 3 2020

STUDIO D

M.Arch Yr 2 | Sem 3 2020

ATR

M.ARCH YR 2

STUDIO C

M.Arch Yr 1 | Sem 1 2019

M.ARCH YR 1

C O N TE N TS

48

64

72

94

Kalupur Darwaja, Ahmedabad. January 2020 Kevin Li

C O U R S E / MO D U L E : TI T L E Student’s Name Student’s Name

COURSE

Course name Course/module title

Student name (and collaborator’s name)

Title: subtitle Course brief

Summary of project brief, course aims, and objectives.

Appropriate course highlighted

MArch Yr 1

Architectural Design Studio C - Sem 1

STUDIO C

Architectural Technology Research - Sem 1 Architectural Design Studio D - Sem 2 Studies in Contemporary Architectural Theory - Sem 2

ATR STUDIO D SCAT

MArch Yr 2 Architectural Design Studio A - Sem 3 Tutor’s Name Tutor’s Name

Architectural Management, Practice & Law - Sem 3

Course leader(s) & associated tutor(s)

Architectural Design Studio H - Sem 4 Design Report - Sem 4 Course learning outcomes

L0. 1 Learning outcome 1 L0. 2 Learning outcome 2 L0. 3 Learning outcome 3

YEAR AND SEMESTER

L0. 4 Learning outcome 4

Course time frame

STUDIO A AMPL STUDIO H DR

COURSE TITLE PAGE CAPTION

Course time frame

Course title & subtitle

COURSE

YEAR SEMESTER

ARB [PART II] GENERAL CRITERIA GC1: Ability to create architectural designs that satisfy both aesthetic and technical requirements.

1.1 - prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief 1.2 - understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project 1.3 - develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user GC2: Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

2.1 - the cultural, social and intellectual histories, theories and technologies that influence the design of buildings 2.2 - the influence of history and theory on the spatial, social, and technological aspects of architecture 2.3 - the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach GC3: Knowledge of the fine arts as an influence on the quality of architectural design.

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.

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.

5.1 - the needs and aspirations of building users 5.2 - the impact of buildings on the environment, and the precepts of sustainable design 5.3 - the way in which buildings fit in to their local context

9.1 - principles associated with designing optimum visual, thermal and acoustic environments 9.2 - systems for environmental comfort realised within relevant precepts of sustainable design 9.3 - strategies for building services, and ability to integrate these in a design project

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.

6.1 - the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society 6.2 - the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment 6.3 - the potential impact of building projects on existing and proposed communities GC7: Understanding of the methods of investigation and preparation of the brief for a design project.

3.1 - how the theories, practices and technologies of the arts influence architectural design 3.2 - the creative application of the fine arts and their relevance and impact on architecture 3.3 - the creative application of such work to studio design projects, in terms of their conceptualisation and representation

7.1 - the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals 7.2 - the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context 7.3 - the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation

GC4: Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC8: Understanding of the structural design, constructional and engineering problems associated with building design.

4.1 - theories of urban design and the planning of communities 4.2 - the influence of the design and development of cities, past and present on the contemporary built environment 4.3 - current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development

8.1 - the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design 8.2 - strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques 8.3 - the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices

10.1 - critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design 10.2 - understand the cost control mechanisms which operate during the development of a project 10.3 - prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements GC11: Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

11.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation 11.2 - the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures 11.3 - the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry

Collaborations occurred in majority of the modules; with Jack Parmar [JP] in Studio C,D,A,H and Design Report, James Gillis [JG] in ATR, Gioia Puddu [GP] in fieldwork during Studio C, and George Pop [GMP] in AMPL

GC 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

GC10: The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

Appropriate ARB [Part II] General Criteria met highlighted

COLLABORATORS JP JG GP GMP

ARB [PART II] GRADUATE ATTRIBUTES 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; 2.1 - 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 2.2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals 2.3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals 2.4 - Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design 2.5 - Understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

2.6 - Problem solving skills, professional judgement, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances

MArch Yr 2

2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect

AMPL

STUDIO A

STUDIO H DR

Appropriate ARB [Part II] Graduate attributes met highlighted

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

5

STUDIO C PAR A- S I TUAT IO N [ A HM EDABAD]: PAS T, PR ESENT & P OSSI BLE Kevin Li Jack Parmar Architectural Design Studio C: Wall-Wells and Well Walls, the Index Museum “We will begin the session by working the “ground” of our research into Ahmedabad, Inside Out as a situation of Wetness. That is, we will seek to draw the ground from the priority of Wetness, from an opening provided by understanding of the “Celestial Ganga” and “Ganga’s descent” as well as a critical review of the priorities focussed through “Alexander’s eye”. We wish you to use your own creativity to develop both your own situation of Wetness Inside Out and, eventually, your own series of enzymatic territories within your own Ocean of Wetness. For this semester we will focus on two situations of Wetness but with a view to developing a first representation of Ahmedabad as an Ocean of Wetness.

Find two situations, one from along the line of the old city walls and one from along the line of the new retaining walls of the Sabarmati Riverfront Project. Develop each situation as belonging to the same project, entitled Wall – Wells and Well Walls. Design small scale interventions that begin the rethinking of territory and architecture as reciprocally enzymatic. Collect different sites and put the enzymatic territories in series across the greater Metropolitan scale (S2 to be the occasion to further and better following visit to Ahmedabad).”

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A

Dorian Wiszniewski Kevin Adams

AMPL STUDIO H DR

L0. 1 The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on critical analysis of relevant issues.

L0. 2 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 conceptional and contextual concerns.

M.ARCH 1 SEM 1

L0. 3 A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

PARA-SITUATION [AHMEDABAD] AHMEDABAD

A. Mill Owners’ Building, The New Walled City.

B. Kalupur Darwaja, The Old City.

C. Rani No Hajiro, The Old City.

MArch Yr 1 STUDIO C ATR STUDIO D

Ahmedabad Ahmedabad, in the state of Gujarat, was a key part of India’s booming textile industry dating back to the 19th Century.

The textile trade flourished during the First World War, and benefited from the influence of Gandhi’s Swadeshi movement, promoting the purchase of Indian-made goods and the use of traditional techniques. Together, this earned Ahmedabad the nickname, ‘Manchester of the East.

STUDIO C

M.Arch Yr 1 Sem 1

SCAT Sabarmati Riverfront, The New Walled City, Ahmedabad.

MArch Yr 2 STUDIO A AMPL

Ahmedabad withholds two contrasting cities since the Sabarmati riverfront project started construction in 2005 and later with sections opening in 2012 creating the “New Walled City”.

STUDIO H DR

The development has led to the river being dammed and sluiced, with new concrete walls resulting in an empty expanse of dusty ground, awaiting the arrival of commercial real estate development.

Contrary to the New Walled City, “the Old City” is full of atmosphere due to its liveliness, noise and activities. The Old City was once contained by a 6m tall defensive wall which has since been partially demolished and removed as the city has developed and grown. Fragments of the wall and its gates remain, marking the invisible boundary of what Ahmedabad used to be.

N

Kalupur Darwaja, The Old City, Ahmedabad.

Ahmedabad, City scale.

Originally drawn at 1:20000

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

7

PARA-SITUATION [AHMEDABAD] MADDER

STUDIO C

M.Arch Yr 1 Sem 1

Madder As India goes through its industrial revolution, the automation of cloth manufacture and synthetic dyes have driven out traditional techniques that made Ahmedabad the key hub of India’s textile industry. Many of the cotton mills that flanked the Sabarmati River and the Old City are now empty or have long since been demolished, and large-scale fragmentation has seen much of the factories and mills move out of the city.

Until the late 1960s, the process of dyeing clothes and textiles utilised natural products and dyestuffs. Indigo, turmeric and madder were some of the natural sources of dyes.

MArch Yr 1

Synthetic dyes cause damage to the local ecosystem. Issues arise at almost every stage of the process - the ubiquitous genetically modified seeds that strain farmers’ budgets, the pesticides used in cotton fields, the harsh chemicals used in dyes, the toxic waste that pollutes rivers, and the chemically treated clothing that ends up in landfills.

Madder is a prevalent plant grown in the Gujarat state. The sandy loam soil lends itself to the madder plant’s growing conditions. A minimum of three years is required before the plant’s root can be harvested for the dye. Typically harvested by hand - it is best to harvest the plant during Winter with the Monsoon season impractical for harvesting. The madder is generally cut up and dried before being ground to a powder and used to dye fabrics.

STUDIO C ATR STUDIO D SCAT

MArch Yr 2 Dyed yarn hung to dry, India.

STUDIO A AMPL STUDIO H DR

GC 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

Rubia tinctorum, madder plant.

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] STAINED TERRITORIES

STUDIO C

M.Arch Yr 1 Sem 1

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

Reconstructing the City as Vessels, Plan.

MArch Yr 2

Stained Territories

STUDIO A

We perceived each situation as a tray and the spaces around the buildings as negative space within which the architecture is placed. We used water coloured with a red madder dye to define these trays, documenting where the water flows when unrestricted, and how the physical landscape affects the edges.

AMPL STUDIO H DR

We found that the water was contained by the buildings which form hard impermeable walls, and by the extent to which the water flows across the ground. The dye created patterns on the paper when it had dried, allowing us to see areas of intensity and bleed.

From taking fragments of the negative space surrounding Mill Owners’ Building ,Rani no Hajiro, and Kalupur Darwaja, we understood these fragments as pieces of space, which can be taken out of their context and observed as vessels.

Through reconstructing the fragments, new vessels and spaces are created.

Reconstructing the City as Vessels, Elevation.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

9

PARA-SITUATION [AHMEDABAD] SHAKEN GESTURES

STUDIO C

M.Arch Yr 1 Sem 1

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Shaken Gestures Sketching gestures of the patterns created forms of thickness and thinness within our collages. Blurring and bleeding these by shaking creates leaves traces of the gestures within the Madder patterns, creating new forms and volumes.

Shaken Gestures of Kalupur Darwaja.

Shaken Gestures of Mill Owners’ Building.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] TESTING AT MILL OWNERS’ BUILDING

STUDIO C

M.Arch Yr 1 Sem 1

MArch Yr 1 STUDIO C ATR

Stained Territories of Mill Owners’ Building.

Elevation, originally drawn at 1:200

STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Stained Territories of Mill Owners’ Building.

Plan, originally drawn at 1:200

N

GC 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

COLLABORATORS JP JG GP GMP

Stained Assemblage, Isometric GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] STATE OF MADDER

STUDIO C

M.Arch Yr 1 Sem 1

State of Madder Gujarat is located in the North-West region of India. It is one of the places where Madder is native, and the sandy loam soil makes it the ideal environment for growing Madder. We surround Ahmedabad with fields of Madder, encouraging reinvestment in the Textile Industry in Ahmedabad and across Gujarat.

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H

N

DR

Plan, originally drawn at 1:500000 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] THE MADDER CITY

STUDIO C

M.Arch Yr 1 Sem 1

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR The Madder City

N

Identifying the undeveloped ground on the banks of the Sabarmati Riverfront Project, we propose a temporary reclamation of the land as an area to grow Madder and other dye plants, such as Indigo and Turmeric.

Plan, originally drawn at 1:20000 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] MARIGOLD SELLERS’ GARDEN

STUDIO C

M.Arch Yr 1 Sem 1

Marigold Sellers’ Garden The Marigold Sellers’ Garden is an intervention situated in the old wall of Kalupur Darwaja. Nestling under the gate, the small shop provides a space for folk to sell marigold garlands, handing them to passers-by as they ride up to the window on mopeds. The space within the wall becomes a lush garden, a space to relax where marigold flowers and madder plants are growing. A spiral staircase embedded within the bastion surrounds a mango tree and takes the visitor up to the roof, where a canopy provides relief from the heat.

[4]

[1] A

[3] [1] [6]

A

[2]

MArch Yr 1 STUDIO C

A

ATR

A

STUDIO D [2] [7] [5]

SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Programme

Programme

1. Entrance 2. Tombs 3. Mango Tree 4. Dye Garden 5. Marigold Shop 6. Stairs

7. Dye Garden

N

GC 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

N

Marigold Sellers’ Garden Ground Floor Plan.

Plan, originally drawn at 1:100 @ A1

Marigold Sellers’ Garden First Floor Plan.

Plan, originally drawn at 1:100 @ A1 COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] MARIGOLD SELLERS’ GARDEN

STUDIO C

M.Arch Yr 1 Sem 1

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Marigold Sellers’ Garden Front Elevation.

Elevation, originally drawn at 1:100 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ATR AR C H I TE C T U RA L T E CHNOLOGY R E S E AR CH Kevin Li James Gillis Architectural Technology Research: Generic and Contextual Studies “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.

MArch Yr 1

Methods of building are continually changing. New materials; new processes; and new design tools create an environment where traditional paradigms may have less validity. Architectural programmes take place in a particular location, creating a new context. This sets up complex relationships situated in the links between methods of building, both contemporary and vernacular; materials; topography; climate; transportation; and industry.

STUDIO D

This course is intended to accumulate various sets of information that are both contextual and responsive to contemporary technological issues. Students will be involved in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.”

MArch Yr 2

Kate Carter Mark Bingham L0. 1 An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design.

L0. 2 An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

L0. 3 An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

M.ARCH 1 SEM 1

L0. 4 An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

STUDIO C ATR

SCAT

STUDIO A AMPL STUDIO H DR

ARCHITECTURAL TECHNOLOGY RESEARCH GENERIC STUDY

ATR

M.Arch Yr 1 Sem 1

GENERIC STUDY

MArch Yr 1

Carbon Capturing Methods

STUDIO C ATR

Which carbon capturing method is more effective in an existing urban context; living walls or algae façades?

STUDIO D

Introduction

SCAT

Why is there a need to capture carbon in our buildings?

Carbon dioxide is one of the largest contributing factors to global warming. Human activity has accelerated the release of carbon dioxide into the atmosphere through the burning of fossil fuels, industrialised agriculture and the degradation of natural habitats. There is scientific consensus that if carbon emissions continue at current rates, a tipping point will occur when average global temperatures exceed 2°C hence the introduction of the Paris Agreement in 2016.

MArch Yr 2 STUDIO A

Incumbent policies and attitudes to tackling climate change are insufficient to preventing this tipping point and innovative solutions have been devised to mitigate climate change. In the construction and architectural field, one solution involves the capture of carbon in buildings – a form of negative emissions. To be truly effective at reducing CO2 levels these solutions should not only be implemented into new buildings but also in the vast amount of buildings already constructed.

AMPL STUDIO H DR

With these issues in mind, this paper aims to investigate the current methods of carbon capture and how they can be applied in an existing context to combat the climate emergency. The report will firstly outline the range of methods available or in development; contextualising the field of carbon capture.The research presented will focus on the comparative analysis between algae façades and living walls. These two methods have been identified as the most suitable for application in an existing context. The comparative analysis will be based on several quantitative criteria focused on the climatic impact of the methods. Alongside this, other factors, benefits and limitations will also be analysed.

Custom designed algae culture solution.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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ARCHITECTURAL TECHNOLOGY RESEARCH GENERIC STUDY

ATR

M.Arch Yr 1 Sem 1

3.CASE STUDIES PHOTO.SYNTHETICA Photo.synthetica is the name of the system used in the algae façades. It consists of 3 components known as the hardware, wetware and software.

3.1 ALGAE FACADE CASE STUDY Printworks Building at Dublin Castle

The hardware is the ETFE modules that the studio states to have been digitally design to optimise aesthetic qualities,

This project was conceived by ecoLogicStudio, alongside

environmental performances and customisation to specific

Urban Morphogenesis Lab and Synthetic Landscapes Lab.

urban and architectural conditions.(‘Algae Curtain’ 2019) One

The system works by allowing atmospheric air to enter

issue with the system is its intricate geometry. This does

the bottom of the modules. The pollutants such as CO2 in

not allow for the required movement of algae solution to

the air is then removed by the algae, through the process

optimise algae growth. (Özturk Kerestecloglu & Turan Pekmezcl, 2019)

of photosynthesis. This then produces oxygen which is released into the atmosphere. (Algae Curtain. 2018)

The wetware is the solution in which the algae grows and

The algae system has been applied as a curtain-like cladding

this is a form of gel that is pumped into the ETFE modules.

using bioplastic (70% recyclable) sheets to contain the algae

The studio also selects specific algae species to ensure

(“Could these plastic ‘trees’ help save the planet?”, 2019). The project

resilience, low maintenance and environmental benefits.

used 16 modules of 2 x 7 metres in size, each one functioning

(‘Algae Curtain’ 2018)

as a photobioreactor. It was however only installed as a prototype project and was not in operation for an extended

The software element of this system is a digital management

amount of time. (Algae Curtain. 2018)

system that measures the algae growth, CO2 intake, micro-

MArch Yr 1

climate and human interaction. The software and the digital Fig. 9 Top - Front elevation of the algae facade at the Printworks Building Fig. 10 Left bottom - Internal view of the algae facade Fig 11 Right bottom - The algae culture is pump into the air pockets within the plastic modules

manufacture of the system allows it to be customised to suit each individual building and site conditions. (‘Algae Curtain’ 2018)

STUDIO C

Fig. 12 Top - Drawing of the algae cladding system geometry Fig. 13 Bottom left - Diagram highlighting the amount of CO2 the system absorbs Fig 14 Bottom right - Diagram showing the process of CO2 capture

8 CAR BON CA PTURI NG M E THODS

C ARBO N C AP TU RI NG METH O DS

ATR

9

STUDIO D

CASE STUDIES

SCAT BIOWALL Waterproof Backing

At Edgware Road, it was deemed that using a modular system would be the most appropriate means to allow

3.2 GREEN WALL CASE STUDY Edgware Road

for vegetation growth on the wall. The system can cover a

MArch Yr 2

Support System

Aluminium Rail and Dripline

larger vegetated surface in a shorter time period and can

STUDIO A

accommodate more plant species when compared to the The 200sqm living wall in Edgware Road was installed in

trellis system or planting climbing plants directly onto the

2011 funded by the London Clean Air Fund. Featuring 15

façade. (London.gov.uk, 2012)

AMPL

Rear Drainage Area

different types of plants, the greenery was specified for their capturing and trapping pollutant abilities. The plants

The modular system used in this intervention is known as

falls in the category of evergreen and perennial plants. This

Biowall. This consists of panels that are fixed to cladding

includes munsted lavender, geraniums, lamb’s ears, heuchera

rails with recycled waterproof backing board sandwiched

and veronica. (Transport for London, 2011)

between them. The planting panels are grown beforehand,

STUDIO H DR

off-site in Sussex, in regenerated plastic case which holds Scientists studied the wall following the installation for a 5

the horticultural rockwool substrate. Using a hydroponic

month period and reported the below:

system, the plants are grown through the rockwool substrate, which has achieved the European Ecolabel for

“The team collected leaf samples from the green wall for

sustainability. (Biotecture, 2019)

five months (after) its installation in order to evaluate their ability to trap airborne particulate matter. An initial analysis

An irrigation system, using drippers, is present to feed the

showed that all 15 varieties of plants have been able to trap

plants with nutrients and to provide regular water supply;

pollutants, although some have been more effective than

critical for the plants survival. The system is set up so that

others.” (Marble Arch London, 2017)

the appropriate amount is provided during the different seasons of the year. The supplier monitors the system remotely through sensors and are alerted if there are

Fig. 18 Top - Elevation of Edgware Road Tube Station Fig. 19 Bottom - Close up of vegetations

Fig. 20 - Exploded view of components of the Biowall system

disruption or anomalies to the supply. (London.gov.uk, 2012)

12 CAR B ON CAPTUR IN G METHOD S

C ARBO N C A PT U R I N G M E T HO D S

13

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

18

ARCHITECTURAL TECHNOLOGY RESEARCH GENERIC STUDY

ATR

M.Arch Yr 1 Sem 1

4.COMPARATIVE ANALYSIS CO2

CO2

4.1 CARBON CAPTURE

4.2 ABSORPTION OF OTHER POLLUTANTS

4.3 EMBODIED ENERGY

4.4 EMBODIED CARBON

4.5 URBAN HEAT

4.6 NOISE REDUCTION

96% NOx

1036.9 MJ/m2

67.57 Kg CO2/m2

N/A

N/A

ALGAE FACADE

11 Kg C m2/ year

According to EcoLogicStudio the algae curtain at Dublin

A number of studies have looked at removing nitrogen

The data on the embodied energy of this system has been

The data on the embodied carbon of this system has been

In terms of the algae façades ability to cool the

Again the noise reduction data is extrapolated from

Castle could capture CO2 at an estimated rate of 1kg per

oxides (NOx) from flue gas with microalgae. One such

extrapolated from data on the primary material ETFE. A

extrapolated from data on the primary material ETFE.

temperature of an urban setting, there has been no data

the information collected on ETFE. This material at low

day which is equivalent to 20 large trees (“Algae Curtain”,

study focused on the microalgae Dunaliella tertiolecta, in

study on the embodied energy of ETFE cushions, which is a

Studies have been undertaken looking at the embodied

produced. One of the main factor that contributes to the

frequency is 100% acoustically transparent. At middle

2019) or in other terms 11 kg of CO2 per m2/ year. In

which they found it could absorb up 50.6 mg/L per day

similar system to the Algae curtain, the embodied energy is

carbon of ETFE as roof covering system. In these studies

cooling effect of greenery is the production water vapour

frequency, it absorbs 30% of the sound and reflects the

addition to this the studio have also tested this system in a

with 96% efficiency. (Yen, Ho, Chen & Chang, 2015). However

1036.9 MJ / m². (Hu, Chen, Zhao & Yang, 2017).

the ETFE systems embodied carbon has been valued at

through the plants stomata. Microalgae do not produce

rest. Studies have shown that ETFE as a cladding system

canopy configuration and shown it can capture CO2 at rate

algae growth is restricted by excessive levels of NOx so

67.57 kg of CO2 per square metre. (Monticelli, Carol 2010)

water vapour and therefore are assumed not to have a

is ineffective in mitigating sound ingress from external

of 4kg per day (“Urban Algae Canopy”, 2019).

large amounts cannot be absorbed.

significant cooling effect.

sources. (Llorens, 2015)

40% NO2, 60% PM

LIVING WALL

0.82-0.99 Kg C m2/ year

9930.54 MJ/m2

907.42 kg CO2/m2

MArch Yr 1

5-10 dB

5°C Reduction

The data for the amount of carbon sequestered is

Other air pollutants that the Edgware Road living wall are

The embodied energy data gathered are from a similar type

The embodied carbon data gathered are from a similar

Thermal reduction occurs in the living wall through shading

Living walls are reported to absorb up to 41% more sound

extrapolated from readings taken from other living walls

reported to capture includes PM and NO2. Herbaceous

of living wall where the material, transportation, recurrent

type of living wall where the material, transportation,

and cooling effect. The plants absorbs heat from the

when comparing to traditional façade, however the noise

with perennial and herbaceous plants. It is assumed

plant with high hair density showed that they captured

energy, construction energy and operation energy are

recurrent carbon, construction carbon and operation

sun known as shading effect, and cooling effect happens

reduction in an urban context is known to be relatively

that perennial plants will perform twice as well as in

the most PM10 with orientation having no effect on the

criteria for calculating the total life cycle energy. A felt layer

carbon are criteria for calculating the total life carbon

through water transpiring and evaporating. Data for

small. Vegetation, depending on the types of species and

comparison to flowering plants as demonstrated in green

capturing ability. In 3 months, 515g of PM10 was captured.

living wall was deemed to be the most similar to the Biowall

energy. A felt layer living wall was deemed to be the most

the thermal reduction is assumed to be comparable to

the surface covered, are reported to reduce noise from 5

roofs. Herbaceous plants features in the living wall and

Studies also demonstrates that in an urban street level,

system used at Edgware road. The felt layer living wall has

similar to the Biowall system used at Edgware road. The

experiments from similar living wall and climatic conditions

to 10dB. (Azkorra Z 2015)

can capturer 0.99 Kg C m2/ year. The substrate is assumed

up to 40% of NO2 and up to 60% of PM can be reduced.

a life cycle energy of 9930.54 MJ/m2 and for comparison, a

felt layer living wall has a life cycle energy of 907.42 CO2/

to London. 5oC reduction was concluded in an experiment

to be similar to roof systems with depth of 6cm. (C S Yiemwattana 2016)

(London.gov.uk, 2012)

bare wall has a life cycle energy of 788.26 MJ/m2 (Pérez G, 2014)

m2 and for comparison, a bare wall has a life cycle energy of

located in Netherlands with evergreen plants and vertical

STUDIO C ATR STUDIO D SCAT

panel set up (C S Yiemwattana 2016)

16 CARBON CAPTURING METHODS

MArch Yr 2 C AR B O N C AP TU R I N G M E THO D S

17

STUDIO A Conclusion A definitive conclusion cannot be reached due to the lack of examples, data and research into the algae facade system from independent sources. However, based on the available data, the results of the comparative analysis are very clear in terms of carbon dioxide capturing ability. The algae facade can absorb significantly more CO2 than living walls - the difference is more than 10 times. In addition to this, the algae bioreactors have the potential to produce both food and biofuel which could be utilised within the building or as additional revenue.

Regarding other climatic factors such as absorption of other pollutants, the reduction of urban temperature and noise reduction, living walls are far more effective. Furthermore, livings walls are more prevalent in the market at the moment with a range of systems. This offers adaptability to different situations and climates.

AMPL In terms of being applied to existing buildings, both methods have the potential to improve and adapt those building. It is worthwhile to note that algae façades require less structural support and space on the façades, on the other hand living walls, are capable of enhancing the architecture aesthetically and the quality of life of the inhabitants.

STUDIO H DR

Overall living walls are the most feasible and effective adaptation to an existing building that is available. In terms of benefits, both methods offer different but equally valuable attributes to a building. However, for the sole purpose of capturing carbon, the algae facade easily surpasses living walls. Through design development and further research, algae façades could become a more efficacious and effective method of adapting existing building to combat climate emergency.

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

19

ARCHITECTURAL TECHNOLOGY RESEARCH CONTEXTUAL STUDY

ATR

M.Arch Yr 1 Sem 1

CONTEXTUAL STUDY Integrating Algae What are the principles and benefits of integrating algae growth in a building facade system?

Introduction

MArch Yr 1

The generic study research that was previously conducted entailed looking at different methodologies to capture carbon effectively in a building, to mitigate climate change.

STUDIO C ATR

To gauge what the most effective carbon capturing method is, we performed a comparative analysis between the two most suitable methods for application in an existing context, alongside analysing case studies. The study compared algae façade and living walls and resulted in algae façade systems surpassing living wall systems in their carbon capturing abilities.

Although the algae façade demonstrated a superior and greater potential for carbon capturing, it was evident that algae had not been integrated proficiently into a building façade system yet.

STUDIO D SCAT

In this report, we will look at integrating algae into a conventional façade system to provide an efficacious method of capturing carbon applicable to new and existing buildings. This can be established through understanding the main principles and parameters required for optimal algae growth in a conventional façade system.

MArch Yr 2 STUDIO A AMPL

Methodology We will explore an integrated algae façade system through the avenue of parametric modelling. Using this methodology, changes to the design can be done accordingly to the parameters and simultaneously – creating efficiency and improving accuracy. Several factors that effects the optimum algae growth/ CO2 capture rate will be input into the parametric model to generate the optimum façade.

STUDIO H

The environmental analysis tool used in this study is Ladybug; a plugin within Grasshopper and Rhino. Ladybug offers access to data available on validated simulated engines that has the capabilities to effectively calculate environmental factors.

DR

In addition to the model we will use environmental analysis tools, these are a desired aid for architects to support their design process. Visual data produced from these tools assists architects and designers in producing responsive designs with the context, enhancing the design environmentally.

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

20

ARCHITECTURAL TECHNOLOGY RESEARCH CONTEXTUAL STUDY

3.3 ALGAE FACADE SYSTEM Types of algae Bioreactors

This section will explore the existing methods of creating algae facade panels. In order for the algae to grow and be

Bubble column

Airlift

Flat panel

Horizontal tubular

Helical type

Stirred tank

4.1 POSITIONING In this section we will explore what the optimum conditions are for algae growth in a facade system. Firstly the

Fig. 16- Author’s own

sustained within an algae façade system, several examples of

ATR

M.Arch Yr 1 Sem 1

positioning of the algae panels on each facade of the

Types of algae photobioreactors

building will be determined by a number of factors.

permanent systems use algae photobioreactor, meaning that the algae are not exposed to the atmosphere. (Duan and Shi, 2016)

- Solar radiation levels

This system has a variety of types shown in fig. 16.

Solar Radiation

- Temperature of the algae panels

The type that will be focused on this report will be a flat panel system, which consists of a hollow transparent panel

As shown in the graphs on the next page the algae cultures

that contains the algae culture and is serviced by a growing

has an optimum range for solar radiation and temperature so

apparatus that provides CO2 to the algae and removes

therefore there will be more algae panels in areas where the

oxygen and excess biomass. This type of system is operated

temperature and solar radiation is optimum.

via a mechanical system. (Kim, n.d.)

Site specific factors:

The materials used for the casing of the panel would need

- Overshadowing

to meet the relevant building façade requirements for fire

- Climate

safety and structural integrity. The material would also need to be transparent to allow the algae culture to receive

These two factors will obviously effect the two parameters

the required solar radiation. The transparent material is generally standard glass or ETFE as an alternative.

Fig. 23 Author’s own

Fig. 24 Author’s own

MArch Yr 1

above, while this affect will vary as well as the design of the panel positions in different contexts.

Fig. 17 - http://www.arcc-arch.org/wp-content/uploads/2015/10/BioFacades_KKim.pdf - edited by author Diagram showing the construction of a typical algae bioreactor panel including growing apparatus

STUDIO C ATR

I N T EG RAT I N G ALGAE 15

INTEGRATING ALGAE 11

STUDIO D 4.2 OPTIMUM ORIENTATION

5.CONTEXT

Maximum Growth Rate (1/Day)

1.4

Several studies have exhibited that the optimum horizontal orientation for algae growth rate in algae façade design are the east and west façades for locations over 35 degrees north. (Xu et al., 2009)

5.1 GEOGRAPHY 0.7

city of London, this is due the high pollution levels and mild

above 25 °C and 4.2 days above 30 °C. Temperatures rarely 0.0 0

20

10

30

for healthy algae growth.

Fig. 20 Author’s own

optimise algae growth are the east and west façades as

691

30

(Mehlitz, 2009)

Using the data from both of the graphs shown we can assume the optimum solar radiation levels for algae growth (CO2 capture rate) is between 500 - 700 KWh/m2. (Mehlitz, 2009)

576

Temperature (°C)

25

461

20 346 15 230

10

5.2 CO2 HOTSPOTS

115

5

0

100

Solar radiation

200

300

Time (hours)

Temperature

Xu, L., Weathers, P., Xiong, X. and Liu, C. (2009). Microalgal bioreactors: Challenges and opportunities. Engineering in Life Sciences, 9(3), pp.178-189.

Mehlitz, T. (2019). Temperature Influence and Heat Management Requirements of Microalgae Cultivation in Photobioreactors. Faculty of California Polytechnic State University, San Luis Obispo, pp.25 & 102.

400

500

DR

London is located over 35 degrees north. (Xu et al., 2009)

Fig. 21 https://digitalcommons.calpoly.edu/cgi/, edited by author

30

Both temperature and solar radiation has a significant affect

STUDIO H

In addition to this for London, the orientations that will

Solar radiation (KWH/m2)

4.3 TEMPERATURE & SOLAR RADIATION

AMPL

drops below 5 °C and has never reached 40 °C making London a suitable location for algae growth. (Met office, 2019)

Chorella vulgaris Synechocystis minima Straurastrum pingue Fragilaria crotonensis

ensure the correct amount of solar radiation hits the panels

growth (CO2 capture rate) is between 24 - 33oc degrees.

40

Temperature (C°)

Fig. 16

receives. The panels will be tilted upwards or downwards to

correlation is that the optimum temperature for algae

STUDIO A

climate. On average, every year London experiences 31 days

these will vary depending on the solar radiation each panel

varied depending on the species of micro-algae. The overall

MArch Yr 2

The context in which the algae facade will be explored is the

For the optimum vertical orientation of the modular panels

on the rate of algae growth. It is however different and

SCAT

600

0

Fig. 22 https://digitalcommons.calpoly.edu/cgi/, edited by author

INT EGRAT ING ALGAE 16

London, much like many other cities around the world, is heavily polluted with a large number of areas having pollution levels above the EU’s limit. (Evening Standard, 2018) One of the CO2 hotspots in London is the area around Edgware road and Westway. This area has a large amount of road traffic and congestion leading to high emission levels. For this reason, the area was selected for the application of our algae facade to potentially mitigate the high CO2 levels.

Fig. 4 https://www.independent.co.uk/environment/air-pollution-london-children-lung-growth-low-emission-zones-health-sadiq-khan-a8634146.html

Xu, L., Weathers, P., Xiong, X. and Liu, C. (2009). Microalgal bioreactors: Challenges and opportunities. Engineering in Life Sciences, 9(3), pp.178-189.

Met Office. (2019). UK climate averages - Met Office. [online] Available at: https://www.metoffice.gov.uk/research/climate/maps-and-data/uk-climate-averages [Accessed 20 Nov. 2019].

IN TEGRATING ALGAE 17

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

21

ARCHITECTURAL TECHNOLOGY RESEARCH CONTEXTUAL STUDY

ATR

M.Arch Yr 1 Sem 1

MArch Yr 1 STUDIO C ATR STUDIO D Findings and principles identified:

SCAT

Due to the distribution of solar radiation and the overshadowing on the site, a larger number of algae panels are located towards the upper floors of the building. The radiation analysis shows the top floors receive an excessive amount of solar radiation, which is detrimental to algae growth, this affecting the angle of the panels.

MArch Yr 2 STUDIO A AMPL

On the north and south facade, the algae panels are split down the centre with half orientated towards the west and the other half towards the east.

STUDIO H DR

The lower rows of panels on all the facade required to be angled significantly upwards to maximise the amount of radiation the panel receives. This was a result of the overshadowing condition of the site.

Once these factors were input, we used a formula in grasshopper to control the orientation, angle and position of the panels to attempt to achieve the optimum configuration for algae growth, using the optimum conditions (solar radiation etc.) highlighted previously.

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

22

ARCHITECTURAL TECHNOLOGY RESEARCH CONTEXTUAL STUDY

CO2

Maximum annual CO2 intake

23.76 tonnes

Annual CO2 Intake post facade simulation

17.52 tonnes

CO2 captured by 80 5000kg trees

Maximum annual O2 produced

18.14 tonnes

13.38 tonnes is enough oxygen to keep 5 people alive for a year.

Equivalent to 44 large urban trees

Annual O2 production post facade simulation

Conclusion

ATR

M.Arch Yr 1 Sem 1

13.38 tonnes

The report has been able to highlight the main design principles for an integrated algae facade system and identified the optimum conditions for extensive algae growth. This was achieved through research into the field of algae façades.

17.52 tonnes is the same amount of

MArch Yr 1 STUDIO C ATR

In addition to this, the report has then utilised this data to attempt to create a possible example of an algae facade in a specific context (Edgware road). The facade experiment or simulation used a parametric design tool to create a facade that is responsive to the environmental conditions using a formula that controls the orientation and angle of algae panels. The simulation was successful to an extent, however, due to technical issues and the restrictions placed by the computational equipment, the formula and simulations was only successful on some of the façades. Using the principles gained from the successful façades, the other façades were altered manually.

STUDIO D

Maximum annual biomass produced Annual O2 production post facade simulation

Another drawback of the simulation was that we were unable to deal with the complication of the panels overshadowing one another and therefore undermining each other ability to grow algae effectively. This was due to the lack of advanced technical knowledge of the program.

7.86 tonnes 5.8 tonnes

5.8 tonnes is enough to feed 93 people every day for a year.

SCAT

MArch Yr 2 STUDIO A AMPL

Overall this report was successful in exploring what the guiding principles are for designing an algae facade, as well as dealing with the specific contextual conditions that would affect the facade. Furthermore, it has put forward a possible configuration of what an algae facade could look like in a suitable context, as well as exploration of a design process using parametric design that could be used extensively in the design of conventional building envelopes.

STUDIO H

Maximum annual bio-oil produced

The facade experiment undertaken in this report is an initial study. For this to be an effective and reliable design process, further technical support would be required in terms of programming and coding.

Finally, this report has highlighted the potential benefits of integrating algae into façades in terms of CO2 captured and O2 produced etc. . This has shown a possible way the built environment in the future could become an active tool to mitigate the climate crisis and rising pollution levels.

Annual O2 production post facade simulation

DR

125.28MWh 92.39 MWh

92.39 MWh is enough to light 151 homes for a year.

*Note calculation of the maximum metrics of each benefit was done as if the algae panels were all in the ideal conditions for comparison purposes. All calculation is based on information from the designer of the algae curtain system, Photo.synthetica.

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

23

STUDIO D PAR A- S I TUAT IO N [ A HM EDABAD]: PAS T, PR ESENT & P OSSI BLE Kevin Li Jack Parmar Architectural Design Studio D: Wall-Wells and Well Walls in Series of Agency “We have now experienced something of the environmental conditions in which the city and river operate. This ranges between an understanding of the ‘dust’ of Ahmedabad, which arises from its intrinsically dry condition, and the ‘wetness’ of Ahmedabad which seems to be contained by four fluctuating systems: 1. Plant life and other ecologies of wetness/dryness; 2. Public water supply and drainage systems, which seem to be highly regulated but irregular in supply but reasonably wellconsidered as a drainage network; 3. Privately owned commercial water supply (but no drainage system), which also seems to be highly regulated but can be made regular if it is economically affordable by those in need; and 4. Individually/community gathered water, which is completely reliant on historic systems, particularly in the old city, but also as they are now compromised or supported by availability to public and private-commercial systems of supply and drainage.

The project of the next semester is to take the small projects of the wall-wells and well walls and scale them up to the bigger concerns of the city by placing them in series: series or networks made up between different projects/agencies by the same students or even different projects/agencies by different students. Therefore, it is important to move from smaller buildings to bigger buildings, bigger series of buildings and the spaces between them. This semester should give agency to architecture and architecture to agency at all scales: body, building, series of buildings (SET) and TLML.” Dorian Wiszniewski Kevin Adams L0. 1 The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

L0. 2 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.

L0. 3 The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

M.ARCH 1 SEM 2

L0. 4 A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), to explain a design project.

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Sabarmati Riverfront, Ahmedabad. January 2020 Kevin Li

PARA-SITUATION [AHMEDABAD] DYE & DUSTSCAPES THESIS

STUDIO D

M.Arch Yr 1 Sem 2

Dye & Dustscapes Thesis We view Ahmedabad as a cloud of dust, particles intrinsically belonging to their origin, exacerbated by both the crumbling walls of the Old City and the dry landscape of the New Walls.

When viewed from a certain perspective, we are able to see the reality within which Ahmedabad exists. There are an infinite number of possibilities created by changing the perspective, and thus we can imagine different universes coexisting within the city.

A city regarded as one of India’s industrial and economic hubs is at risk of submitting to the abysmal edge of its New Walled City. The Riverfront project has created a void in the terra, overwriting the temporal flows and fluctuations of the Sabarmati River during the three main seasons, of Summer (March to June), Monsoon (July to September) and Winter (November to February), to a static condition of wet-dry opposition.

Dust is the presence of absence, created by the crumbling of that which no longer is. It is harnessed by a rhythmic redistribution of wetness, with patterns of adherences formed by fragments of the Old Walls, kite strings and stained ground. The cloud of dust is swept across the city, landing upon what is the arid desert of the Sabarmati Riverfront Development, a fissure cutting through Ahmedabad, transforming it into a Dustscape.

Nicknamed ‘The Manchester of the East’, we understand the significance of the traditional processes used in the manufacture of textiles, and the natural dye processes which have been lost with the introduction of automation and synthetic dyes. We use Madder, a plant dye native to Gujarat, as an apparatus to realise a new enzymatic urbanism that reinvests in the textile industry and the historical rhythms of the now overly regulated Sabarmati.

The Dustscape obscures what is beneath, making soft what is hard. It settles on the concrete walls of the riverfront, bringing architectural notations which descend on the earth as if visitors from the parallel universe of the Old City.

Spaceships land on the dusty ground, they have the ability to extend legs into the softness, deep into the substrata. Where there is hardness, they sit on the surface, cantilevered, and delicately balanced on the New Walls of the Sabarmati River.

Through the process of tooling and wetting the dust, the Dustscape becomes a sublime, moist, fecund and yet productive landscape.

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

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COLLABORATORS JP JG GP GMP

Dyeing of Kite Strings in the Old City, Ahmedabad. January 2020 Kevin Li GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7 26

PARA-SITUATION [AHMEDABAD] MEASURED INTENSITIES

STUDIO D

M.Arch Yr 1 Sem 2

Measured Intensities Situated on the East side of the Old City, Kalupur Darwaja was often used as a gateway to bring goods into the city due to its proximity to the railway and nearby textile mills.

Intensely measuring the gate enabled a deeper understanding of the situation with which we could align ourselves with, and from this, we were able to form the beginnings of our thesis. Stepping into the space surrounding the bastion, we found ourselves in an urban oasis. The chaos of the junction outside fell away, and the small garden with several tombs nestled inside emitted a phenomenal aura that provided us with much inspiration.

MArch Yr 1 STUDIO C Photo collage Kalupur Darwaja to Prem Darwaja.

ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Empirical Measured Intensity from Kalupur Darwaja to Prem Darwaja.

Elevation, originally drawn at 1:100

GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

27

PARA-SITUATION [AHMEDABAD] MEASURED INTENSITIES

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT Our measurements were not only empirical but also phenomenological, recording the emotional and ephemeral aspects of the situation. Dust manifests itself everywhere, our path from Rani No Hajiro to Kalupur Darwaja can be measured in the dust we created, moved, and left behind.

MArch Yr 2 STUDIO A AMPL STUDIO H DR

N

Kalupur Darwaja plan.

Plan, originally drawn at 1:100 @ A2

N

Rani no Hajiro to Kalupur Darwaja.

Plan, originally drawn at 1:2500 @ A1 GC

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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

28

PARA-SITUATION [AHMEDABAD] MEASURED INTENSITIES

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 Kalupur Darwaja Front Elevation.

Elevation, originally drawn at 1:100 @ A2

STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Kalupur Darwaja Rear Elevation.

Elevation, originally drawn at 1:100 @ A2 GC 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

Kalupur Darwaja Sections.

Section, originally drawn at 1:100 @ A2 COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

29

PARA-SITUATION [AHMEDABAD] DUST SUSPENSION SERIES

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Dust Suspension Series.

Suspension of dust and architectonic pieces

The dust suspension series captures dust particles suspended whilst withholding architectonic pieces gathered from the Old City walls. The dust particles begin to coalesce and form a new language of architecture for manifesting on the riverfront.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

30

PARA-SITUATION [AHMEDABAD] THE DUSTSCAPE EDGE

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR The Sabarmati is a temporal river whose flows are dominated by the monsoon rainfall, with little or no flow outside of the rainy season. The Sabarmati Riverfront Project has dammed and sluiced the river, creating a permanent basin, intending to create 11.25km of real estate potential along the riverbanks. The hard edge created by the concrete walls slices through the city, creating an uninhabited void of nothingness, and an abyss through which the life of the river has fallen. The fluvial patterns formed by the river are overwritten, paved over and covered with dust.

N

GC 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

COLLABORATORS JP JG GP GMP

The Dustscape Edge.

Plan, originally drawn at 1:5000 @ A1

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

31

PARA-SITUATION [AHMEDABAD] BRUSHING DUSTSCAPES

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H

Brushing Dustscapes Film, click to play.

Click to pause prior to moving onto next page

DR

Through brushing dustscapes, agencies reserving architectonic elements were revealed along the Sabarmati riverfront. The dust begins to unravel new landscape, ground and walls.

Madder and indigo dust studies.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

32

Clothing Market

STUDIO D

PARA-SITUATION [AHMEDABAD] EMERGING AGENCIES

Dyer Tombs

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D

Pigment & Dye Research Laboratory

MArch Yr 2 STUDIO A AMPL STUDIO H DR

N

Emerging Agencies.

Plan, originally drawn at 1:2500

Dye Institute

School of Weaving

SCAT

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

33

PARA-SITUATION [AHMEDABAD] MAPPING OF AHMEDABAD

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Mapping of Ahmedabad We understand the relationship of Ahmedabad and the Sabarmati through the presence of three things, the temporality of the river, the territories of the Textile Industry, and the aura of ancient Ahmedabad manifested through the mosques and tombs hidden inside, and outside, of the Old City.

N

GC 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

Dynamics of the Temporal Sabarmati.

Plan, originally drawn at 1:25000 @ A1

Territories of the Textile Industry.

Plan, originally drawn at 1:25000 @ A1 COLLABORATORS JP JG GP GMP

The Aura of Ancient Ahmedabad.

Plan, originally drawn at 1:25000 @ A1 GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

34

PARA-SITUATION [AHMEDABAD] ANCIENT ARCHITECTURE, VACANT SPACES & STAINED TERRITORIES

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H

N

DR

Ancient Architecture, Vacant Spaces & Stained Territories.

Plan, originally drawn at 1:25000 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

35

PARA-SITUATION [AHMEDABAD] DYE INSTITUTE

STUDIO D

M.Arch Yr 1 Sem 2

Dye Institute

Museum of Knowledge

Dye Factory

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Dye Institute Exploded Isometric.

Isometric, originally drawn at 1:200 Dye Institute.

Elevation, originally drawn at 1:200

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

36

PARA-SITUATION [AHMEDABAD] DYE INSTITUTE

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Dye Institute Elevation.

Elevation, originally drawn at 1:200

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

37

PARA-SITUATION [AHMEDABAD] DYE INSTITUTE

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

N

Dye Institute Emerging Agency Plan.

Plan, originally drawn at 1:200

Dye Institute Ground Floor Plan.

Plan, originally drawn at 1:200

Dye Institute Exploded Isometric.

Isometric, originally drawn at 1:200

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

38

PARA-SITUATION [AHMEDABAD] DYE INSTITUTE

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Dye Institute Isometric Render.

Isometric

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

39

PARA-SITUATION [AHMEDABAD] EXHIBITION

STUDIO D

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Exhibition set-up.

Pre covid lockdown, March 2020 GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

40

Dyeing of Kite Strings in the Old City, Ahmedabad. January 2020 Kevin Li

SCAT S TU D I E S IN C O NT E MPORARY AR C H I TE C T U RA L T HEORY Kevin Li Studies in Contemporary Architectural Theory: The Virtual City - Space, Place, Technology “Why should an architect care about virtual reality? Can video game designers learn from urban theory?

How do our smartphones shape our understanding of the space around us?

This seminar series will explore the relationship between the physical space we inhabit and the virtual space created by the technologies we surround ourselves with. We will encounter a number of texts related to the historical development of the city, and explore an emerging critical interest in virtual reality, playfulness and ludic spaces. As computation and digital technologies are becoming an increasingly ubiquitous part of our everyday lives, the virtual city is emerging as a contemporary arena in which the inherent contradictions between design and chance can be explored. New, augmented spaces are also appearing that superimpose the virtual and the physical, posing new questions regarding the design and meaning of our environment and our place within it.

Throughout the course, students will encounter classic texts within the field of critical and architectural theory, as well as more contemporary arguments and analyses discussing ideas relating to the production of physical and virtual space (Sherry Turkle, Jean Baudrillard), the use and meaning of cities (Iain Borden, Walter Benjamin), and they will debate the role of embodiment and the relation of the senses to space and movement (Henri Lefebvre, Maurice Merleau-­Ponty). Critical texts will be complemented by a number of case studies in the form of videos, games, urban artworks, online materials and virtual worlds.

Hanna Cannon Ella Chmielewska L0. 1 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.

L0. 2 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.

M.ARCH 1 SEM 2

L0. 3 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.

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

[Journal 1]

Key Readings Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren.

Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 216 - 226.

In the New Atlantis (fig.1), Bacon’s Utopia reverted to orthodoxy and the imperative component of this society is a selective group known as the “fathers” of the Solomon’s House4. Bacon envisaged an elite body of scientist or “fathers” that would solely be at the helm of technologies and be responsible for the “enlarging of the bounds of human empire to the effecting of all things possible” 5. The technological elite of the current time has now evolved whereby the “fathers” such as the Zuckerburg, Musk are as prefigured in Bacon’s Utopia, but a second and third typology of the cadre have emerged. Businessmen and the people that build the algorithm has a huge influence on what we distinguish in our search engines and social media, therefore, are a recognised force. The internet era shift from the “father’s” creation benefiting of humanity to individualistic gain is apparent. Bacon ignorantly viewed technology as a morally neutral tool whereby financial reward is now at the forefront of the criteria of technological innovation and humanitarian terms are second as recognised by Wertheim6.

Chayka, Kyle. “Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World.” The Verge, August 3, 2016.

Margaret Wertheim presents themes of Utopia conceived by philosophers from different eras and draws analogous to the paradigm shifts of the internet, whilst the piece by Kyle Chayka reveals a new typology of design known as “AirSpace” where data collected from technology and digital platform informs the aesthetics of the physical space.

“Utopia’s citizens are self-reliant… Each community produces its own food, giving any excess freely to neighbouring communities” 1.

More’s Utopia fundamental paradigms include that the dwellers are self-sustaining, and everyone collectively actively works for each other concurrently demographic characteristics are discarded2.To draw a comparison to the technological era, this is visible within the online community whereby online forums, media shared on video platforms, and websites are easily accessible by all. Community members cooperate and actively share their resource and allot information as required without cost. In More’s Utopia, the principles are still active in the internet age however the flaws of this Utopian mindset in modernity are apparent as highlighted by Wertheim when she stated that “Most of us today would not want to live in his Utopia” 3. The concept of services and goods provided for free without any monetary transaction or value is naïve and infeasible by human nature. Video-sharing platforms such as YouTube demonstrates this when watching videos on their platform is perceived to be free, the reality is the algorithm flood the interface with tailored advertisements demanding users to part way with their finance. Inevitably, a top-down technological system occurs as apparent in Francis Bacon’s parallel of the cyberage.

Fig. 1- Francis Bacon’s Utopia, New Atlantis 1. Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren. Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 218 2. More, Thomas. “Utopia”, Penguin Books, 1965, pp. 75 3. Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren. Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 218

4. Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren. Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 223 5. Bacon, Francis. “New Atlatnis”, Kessinger Publishing Company, 1992, pp.27 6. Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren. Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 225

4

5

SCAT SPACE PERCEPTION

The Virtual City - Space, Place and Technology

TECHNOLOGICAL INFLUENCES

JOURNAL 02

THE VIRTUAL CITY JOURNAL ENTRIES

The Virtual City - Space, Place and Technology

JOURNAL 01

M.Arch Yr 1 Sem 2

[Journal 2]

Key Readings Lefebvre, Henri. “The Production of Space (extracts)”, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory. London: Routledge, 1997, pp. 138 - 146.

Merleau-Ponty, Maurice. “Exploring the World of Perception: Space”, in The World of Perception. London ; New York: Routledge, 2004, pp. 47 - 56.

Merleau-Ponty, a philosopher of body and human experiences, proposes two core theses in “Exploring the World of Perception: Space” – modern arts abilities to represent the lived experience and human’s perception of distance objects stemming from the body and the understanding of its surrounding. The text presented is a transcript of a lecture series aired on radio translated from French hence the language used can be considered to be easier to comprehend.

According to Merleau-Ponty, portraying traditional art perspective principles8 diminishes the engagement with the audience as “this is not how the world appears when we encounter it in perception” 9. Classical art is effectively compromised due to portraying objects in conventional sizes and shapes. Merleau-Ponty argues that the Picasso art (fig.3) offers an immersive experience as it endeavours to capture the many angles we see through movement around the situated space. The representation as described in modern art is not an alienating effect and is now discernible in different methods, for example in cinematography, virtual reality, or gaming. Often in cinematography or gaming representations, we witness an attempt to convey embodied presence in the space showcasing a different perspective whilst disembodied. Through these means, this alludes to a more immersive experience despite creating technical tension as one is situated in space but disembodied. With virtual reality, this becomes more interesting and raises further evocation since the technology attempts to cover more of our senses. When sight, sound and spatial surrounding is replicated, our senses are aligned creating an immersive experience. However, the manipulation and altering of senses need to be careful as sensory discrepancy can lead to disagreement. I recall experiencing motion sickness when operating a virtual reality device as my body lack of movement had not aligned with my visual movement.

In architecture, these representation methods need to be tailored for the specific audience.

An immersive representation may be suitable for architecture schooling as it displays phenomenological qualities, however, would not be suitable for contractors and clients that look for clarity and precision. An understanding of when to implement the correct representation methods is therefore crucial within architecture.

Fig. 3 - Weeping Woman, 1937, Picasso

MArch Yr 1

8. Merleau-Ponty, Maurice. “Exploring the World of Perception: Space”, in The World of Perception. London; New York: Routledge, 2004, pp. 52 9. Ibid., pp. 53

8

9

STUDIO C ATR

Technological Influences

Space Perception

[Selected Excerpts] Margaret Wertheim presents themes of Utopia conceived by philosophers from different eras and draws analogous to the paradigm shifts of the internet, whilst the piece by Kyle Chayka reveals a new typology of design known as “AirSpace” where data collected from technology and digital platform informs the aesthetics of the physical space.

[Selected Excerpts] According to Merleau-Ponty, portraying traditional art perspective principles8 diminishes the engagement with the audience as “this is not how the world appears when we encounter it in perception” 9. Classical art is effectively compromised due to portraying objects in conventional sizes and shapes. Merleau-Ponty argues that the Picasso art offers an immersive experience as it endeavours to capture the many angles we see through movement around the situated space. The representation as described in modern art is not an alienating effect and is now discernible in different methods, for example in cinematography, virtual reality, or gaming. Often in cinematography or gaming representations, we witness an attempt to convey embodied presence in the space showcasing a different perspective whilst disembodied. Through these means, this alludes to a more immersive experience despite creating technical tension as one is situated in space but disembodied. With virtual reality, this becomes more interesting and raises further evocation since the technology attempts to cover more of our senses. When sight, sound and spatial surrounding is replicated, our senses are aligned creating an immersive experience.

However, the manipulation and altering of senses need to be careful as sensory discrepancy can lead to disagreement. I recall experiencing motion sickness when operating a virtual reality device as my body lack of movement had not aligned with my visual movement.

Social media and search engines have a huge influence on society due to their ubiquitous nature. People are exploited as the written algorithm pushes adverts and content towards material believed to be what one likes through the data gathered, subsequently to drive financial gains. One could ponder whether the things we like is authentic as we are exposed to material dictated by timing, culture and trends we are exposed to partly controlled by someone else.

The second text AirSpace touches further on how influential social media and digital platforms as it starts to shape design in reality. Interior and architectural spaces now have become homogenised7 where places like coffee shops look similar across the globe. Often the criticism of AirSpace is they lack authenticity or identity of where they are located in. This can be perceived to be the globalisation of taste in which technology has spread trends faster and intensified the process.

Connectivity with the world is a positive matter, however, becomes problematic if algorithms dictate and narrow everyone’s field of scope. Architectural design can be furthered if it takes inspiration from others yet withholds the identity in placesomething that AirSpace does not do.

These readings start to explore and elucidate the technological era impact on a social, cultural and urban level whilst drawing a similarity to the Utopia of the past. The texts also raise questions regarding the topic of human and technology culture shifting from making to consumerism.

Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren. Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 216 - 226.

Chayka, Kyle. “Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World.” The Verge, August 3, 2016.

STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

In architecture, these representation methods need to be tailored for a specific audience. An immersive representation may be suitable for architecture schooling as it displays phenomenological qualities, however, would not be suitable for contractors and clients that look for clarity and precision. An understanding of when to implement the correct representation methods is therefore crucial within architecture.

Lefebvre, Henri. “The Production of Space (extracts)”, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory.

London: Routledge, 1997, pp. 138 - 146.

Merleau-Ponty, Maurice. “Exploring the World of Perception: Space”, in The World of Perception. London; New York: Routledge, 2004, pp. 47 - 56.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

43

[Journal 4]

Sennet, Richard. “Tocqueville in Technopolis”, in Building and Dwelling. Penguin Books (2018), pp. 144 – 167.

Söderström, Ola, Till Paasche & Francisco Klauser (2014) Smart cities as corporate storytelling, City, 18:3, 307-320.

A key narrative posed in Tocqueville in Technopolis is that smart cities have two different typologies; one where technology advocate how humans operate within the space and one where technology coordinate people’s engagement with the city. Sennett describes the “prescriptive smart city” as closed, and the “coordinative smart city” as open16 .His writing sometimes can be perceived to be a stream of thoughts as he showcases his erudition by jumping from various ideas and philosophers.

Sennett elucidates that the prescriptive smart city is detrimental to the citizens’ intelligence17as familiarity and user-friendliness results in complacency and comfort. Within this typology of smart city, standardisation occurs, therefore citizen will have to deal with less unaccustomed experiences thus fewer challenges transpires. Sennett highlighted two terminologies “individualism” and “equality of condition” 18 coined by Tocqueville that resonates with technology. These terminologies were used long before technology was ubiquitous hence, we can acknowledge that individualism and equality of condition were always desired by humans. Technologies such as mobile phones have merely acted upon these desires and despite the author painting familiarity as a negative connotation, studies have been performed were it displayed psychologically, people crave for familiarity. Individualism from time to time should be expected.

Other criticisms of a prescriptive smart city are embodied in the Googleplex office building; described to be a “Tocquevillian environment” 19. The Googleplex has an inward-looking ethos and it offers a lack of meeting of resistance. Workers are encouraged to reside within the complex through the provision of facilities, therefore, dissuading occupants from exploring the city outside or leaving the gated community. Dewey, rightly, points out that to gain fulfilment, people need to overcome hindrances and through addressing these difficulties stimulates intelligence 20.The advancement of technologies has resulted in user-friendliness at the forefront with risks and difficulties now averted. Previously when learning new phrases in another language is required, i.e. to order a taxi in a foreign country, is now deemed redundant with the usage of Uber.

Songdo (fig. 6), a smart city in South Korea, conveys the risk averted and user-friendly qualities of the prescriptive smart city. What became apparent to Sennett’s researchers is that Songdo created a sense of uneasiness due to its “homogeneous” and “heavily monitored” 21 nature. The algorithm used in this city dictated how people live the urban life and in return reduced the intelligence of the citizen. By leaving decisions making to the hands of technology, this effectively removes everyday decisions critical to the engagement of urban living whereby it can be conceived to be both a challenge and satisfying.

Fig. 6- Songdo, South Korea

Sennett cautioned “By using machines, people would stop learning. They would become stupefied.

The prescriptive smart city is a site for this stupefication.” 22 Societies as of now have already become accustomed and over-reliant on technology, especially within the developed countries. The impact of existing and technologies to emerge will result in current and future generation lacking in fundamental skills such as map reading replaced by Google maps and GPS. Certainly, within global cities like London, where time and efficiency is king, fewer activities associated with the flaneur will be conducted and people will instead take on prescribed routes by Google maps.

16. Sennet, Richard. “Toqueville in Technopolis”, in Building and Dwelling.

Penguin Books (2018), pp. 144 17. Ibid.

18. Ibid., pp. 146 19. Ibid., pp. 149 20. Ibid., pp. 151

21. Sennet, Richard. “Toqueville in Technopolis”, in Building and Dwelling.

Penguin Books (2018), pp. 161 22. Ibid., pp. 163

14

15

SCAT DIGITAL SURVEILLANCE

The Virtual City - Space, Place and Technology

SMART CITIES Key Readings

JOURNAL 05

THE VIRTUAL CITY JOURNAL ENTRIES

The Virtual City - Space, Place and Technology

JOURNAL 04

M.Arch Yr 1 Sem 2

[Journal 5]

Key Readings Turkle, Sherry. “The Public Square”, in Reclaiming Conversation: The Power of Talk in a Digital Age. Penguin Books, 2016, pp. 293 - 316.

Zuboff, Shoshana. “Introduction: Home or Exile in the Digital Future”, in The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. London: Profile Books (2019).

In “The Public Space” and “Home or Exile in the Digital Future” similar themes are explored with a focus on digital doubles, and the impact of digital surveillance; a key component of the digital world. Turkle also deliberates on the topic of how the virtual world eradicates our engagement with subjects, and often engagement online leads to no further actions.

A repercussion of communicating online is the privacy surrendered when using these devices and tools. Turkle and Zuboff both highlights that by using online services, we sacrifice information and data about ourselves to use the services for the sake of convenience. Our digital double that wanders the net is tracked and leaves a trace enabling the service providers to analyze our behaviour and sell us products. This is not limited to the digital realm and the physical realm is of concern too. The mobile phones we carry around uses GPS and certain applications can track our physical movements. Having downloaded a running application recently called Strava (fig. 7), I discovered it displayed my running routes openly on my profile for everyone to view – problematic because it subsequently showcased where I live to anyone. Digital surveillance is a predicament because although the general public is aware and it alludes to a sense of uneasiness, it has now become normalised and usually put in the background of our minds. Despite the sense of privacy lost, and full willingly knowing that the data is used by companies (or even seen by the government), acceptance is given despite the bother. Privacy and data protection law need to do more and make the public more aware especially in non-European countries.

Turkle uses an example of the Kony movement where awareness was raised through an online video leading towards petitions signed and money raised. Signs with Kony’s face were distributed with the intention of them being displayed in the physical world to raise further awareness, however, this did not materialise23. Turkle points out that online movements create a sense of belonging and generates conversations however does not translate to engagement in the real world. In Hern’s piece24, this raises questions with the introduction of augmented reality where the engagement with digital overlaps with the real world. Applications can increase footfall through dictating users to real-world location causing real-world implications.

Society hold benefits from the exposure of these social media phenomenon, rather than not.

During the global pandemic caused by Covid-19, various social media trends surfaced such as the Run for Heroes campaign where participants are asked to run 5km, donate £5 and nominate 5 people. As of writing, the campaign has raised over 3 million pounds for the NHS demonstrating the power of conversing online. A further example of the influence of conversing digitally during the pandemic includes the backlash from fans online when football clubs furloughed staffs and opted to utilise the government retention scheme, resulting in several clubs reversing the decision. Digital communication is powerful.

23. Turkle, Sherry. “The Public Square”, in Reclaiming Conversation: The Power of Talk in a Digital Age. Penguin Books, 2016, pp. 295 24. Hern, Alex. “Pokémon Go: Who Owns the Virtual Space around Your Home?” The Guardian, July 13, 2016, sec. Technology. (accessed 14.4.20) https://www.theguardian.com/technology/2016/jul/13/pokemon-virtualspace-home.

Fig. 7- Strava, Running Application

This type of digital surveillance is noted as a form of “surveillance capitalism” 25 as coined

by Zuboff. Surveillance capitalism, however, is not technology but a creation from the technological elite, driven by economics, in control of platforms such as Google and Facebook26. As this business model progresses, inevitably the scale will shift from focusing on individual users to the metropolis scale. The financial reward through operating a larger scale could result in population predictions for the future market. Can this prove to be problematic for urban design as it leads towards a homogeneous environment?

25. Zuboff, Shoshana. “Introduction: Home or Exile in the Digital Future”, in The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. London: Profile Books 2019, pp. 8 26. Ibid., pp. 15

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MArch Yr 1 STUDIO C ATR

Smart Cities

Digital Surveillance

[Selected Excerpts] A key narrative posed in Tocqueville in Technopolis is that smart cities have two different typologies; one where technology advocate how humans operate within the space and one where technology coordinate people’s engagement with the city.

Sennett describes the “prescriptive smart city” as closed, and the “coordinative smart city” as open 16 .His writing sometimes can be perceived to be a stream of thoughts as he showcases his erudition by jumping from various ideas and philosophers.

[Selected Excerpts] A repercussion of communicating online is the privacy surrendered when using these devices and tools. Turkle and Zuboff both highlights that by using online services, we sacrifice information and data about ourselves to use the services for the sake of convenience. Our digital double that wanders the net is tracked and leaves a trace enabling the service providers to analyse our behaviour and sell us products. This is not limited to the digital realm and the physical realm is of concern too. The mobile phones we carry around uses GPS and certain applications can track our physical movements. Having downloaded a running application recently called Strava (fig. 7), I discovered it displayed my running routes openly on my profile for everyone to view – problematic because it subsequently showcased where I live to anyone. Digital surveillance is a predicament because although the general public is aware and it alludes to a sense of uneasiness, it has now become normalised and usually put in the background of our minds. Despite the sense of privacy lost, and full willingly knowing that the data is used by companies (or even seen by the government), acceptance is given despite the bother. Privacy and data protection law need to do more and make the public more aware especially in non-European countries.

Songdo, a smart city in South Korea, conveys the risk averted and user-friendly qualities of the prescriptive smart city.

What became apparent to Sennett’s researchers is that Songdo created a sense of uneasiness due to its “homogeneous” and “heavily monitored” 21 nature. The algorithm used in this city dictated how people live urban life and in return reduced the intelligence of the citizen. By leaving decisions making to the hands of technology, this effectively removes everyday decisions critical to the engagement of urban living whereby it can be conceived to be both a challenge and satisfying.

Sennett cautioned “By using machines, people would stop learning. They would become stupefied. The prescriptive smart city is a site for this stupefication.” 22 Societies as of now have already become accustomed and over-reliant on technology, especially within the developed countries. The impact of existing and technologies to emerge will result in current and future generation lacking in fundamental skills such as map reading replaced by Google maps and GPS. Certainly, within global cities like London, where time and efficiency is king, fewer activities associated with the flaneur will be conducted and people will instead take on prescribed routes by Google maps.

Sennet, Richard. “Tocqueville in Technopolis”, in Building and Dwelling. Penguin Books (2018), pp. 144 – 167.

Söderström, Ola, Till Paasche & Francisco Klauser (2014) Smart cities as corporate storytelling, City, 18:3, 307-320.

STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H

This type of digital surveillance is noted as a form of “surveillance capitalism” 25 as coined by Zuboff. Surveillance capitalism, however, is not technology but a creation from the technological elite, driven by economics, in control of platforms such as Google and Facebook26. As this business model progresses, inevitably the scale will shift from focusing on individual users to the metropolis scale. The financial reward through operating on a larger scale could result in population predictions for the future market. Can this prove to be problematic for urban design as it leads towards a homogeneous environment?

DR

Turkle, Sherry. “The Public Square”, in Reclaiming Conversation: The Power of Talk in a Digital Age. Penguin Books, 2016, pp.

293 - 316.

Zuboff, Shoshana. “Introduction: Home or Exile in the Digital Future”, in The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. London: Profile Books (2019).

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COLLABORATORS JP JG GP GMP

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THE VIRTUAL CITY ESSAY

SCAT

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

ESSAY

MArch Yr 2

The Influence of Virtual Space On the Physical Environment [Selected Excerpts]

STUDIO A

Introduction

AMPL

Previously the notion of cyberspace can be perceived to be a separate or an alien world, but today, the digital world is ubiquitous and is intermixed with the physical world. In a piece by Graham written in the late 1990s, we see how the virtual world was portrayed formerly and described as a “parallel universe” and a “new kind of space, invisible to our direct senses, a space which might become more important than physical space itself” 1. The prediction of virtual space becoming more important than physical space can be argued may very well be true now, however, the virtual space being invisible to our direct senses is not the case anymore- virtual space has very much developed a physical presence. By which previously the general concept was extending our physical self into the digital realm, the digital world can extend and affect the real world now.

STUDIO H DR

Smart phones manipulating users interaction with environment.

Technology has continuously developed and appears to be prevalent for the foreseeable future, therefore, understanding the impact of the digital realm and what role it plays on the physical world is crucial. Virtual spaces are now ubiquitous in today’s society and digital technology is emerging to hold influence on the way we design and interact with physical space.

It becomes pertinent to question the consequences of the impact of the digital realm on the physical environment, as the boundaries between virtual and physical space begin to overlap.

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COLLABORATORS JP JG GP GMP

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An example of technology influenced physical space is known as AirSpace, defined by Kyle Chayka. In “Welcome to AirSpace” he describes AirSpace as a generic style that embodies a homogeneous aesthetic from a result of technology and social media platforms – “The realm of coffee shops, bars, startup offices, and co-live / work spaces that share the same hallmarks everywhere you go: a profusion of symbols of comfort and quality, at least to a certain connoisseurial mindset.”4 Undoubtedly, this phenomenon is increasingly easy to discover if one observes around our physical environment before acknowledging that the digital has crept into places perceived to be of a different world.

Moreover, the growth of virtual space by the advancement of technology started to dictate how people move and operate. Nowadays, many social media platforms and mobile phone application share information to a wide audience that in return influence their behaviours.

People are constantly interacting and linked within the same virtual realm, directing towards a spread of seeing, and desiring of the same things. The style or trend may certainly have spread within time in the past, but the internet has ensured that the spread has been sped up and intensified. This can be identified as standardisation or globalisation of taste6 influenced by platforms such as Pinterest, Instagram, and Facebook, where millions of users upload their design taste. What is required to be noted is that this is not a criticism of how social media provides a platform for all these different voices. What needs to be raised as problematic is the algorithm built into these virtual media which streamline the content we see and consume within our feeds. The technological elite that writes the algorithm or controls the platforms has become the “fathers” as prefigured in Bacon’s Utopia in which they enlarge “the bounds of human empire to be effecting of all things possible” 7. People are dictated to constantly see these same images and subconsciously learn to desire the same things – similar techniques that are adopted within advertisements.

So why did this style emerge? Firstly, this is due to the development and technological advancement of transport and infrastructure. As the democratisation of aviation occurred, this allowed people to travel around the world with ease and more frequently due to the lower fares. With the increase in mobility, this permitted people to display and influence their aesthetic styles and choices at a wider spectrum.

Fig. 2- Garage, Silicon Valley

The impact of technology on the physical space can be alluded to “aesthetic gentrification” 10 and leads towards two separate classes according to Chayka. This can be described as isolationism of styles and you either fall into the category of trendy or not11. Within this AirSpace class, the people within it tend to be more privileged and tech users. When travelling around the world, they sought after an authentic experience but in reality, seek familiarity and comfort.

The interchangeability, seamless, and frictionless movement between spaces, creates a sense of comfort everywhere in the world12. As we entered the digital era, which has created a more globalised world, this has ensured globalisation of taste that impoverishes uniqueness.

The spreading of design style worldwide is not necessarily a negative phenomenon, however, proves to be problematic if identity is not withheld. If the identity of a place is retained within the design whilst extrapolating features from AirSpace, then this can create a diverse design.

Mixing of culture is what created many of the world’s cultures at present and should not be seen as a negative.

6. Chayka, Kyle. “Same Old, Same Old. How The Hipster Aesthetic Is Taking Over The World”. The Guardian. August 7, 2016 (accessed 12.4.20) https:// www.theguardian.com/commentisfree/2016/aug/06/hipster-aesthetictaking-over-world 7. Bacon, Francis. “New Atlatnis”, Kessinger Publishing Company, 1992, pp.27

4. Chayka, Kyle. “Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World.” The Verge, August 3, 2016. (accessed 25.1.20) http://www.theverge.com/2016/8/3/12325104/airbnb-aesthetic-globalminimalism-startup-gentrification.

5. Ibid.

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The Influence of Virtual Space on the Physical Environment

6

DIGITAL MAPPING

Smartphones are devices that have increasingly fuelled a globalised world whilst affecting our perception and interaction with the physical environment. With the internet and telecommunication connected to the devices continuously, this allows for technology to intervene in our daily activities. The new smartphones and applications that are constantly being released have created a mode where an extensive audience access the virtual realm prior to engagement with the physical, whether this is to check a review of a restaurant or check the fasted route prescribed by Google. Augmented spaces have also emerged through using the camera on smartphones in which they start to create immersion and blurring of the urban spatial environment. The virtual spaces begin to superimpose the real space or acts as an addition or representation. In this essay, we will concentrate on the strand of augmented reality game that derived from smartphones - Pokémon Go. In “Who owns the virtual space around your home?” Hern raises issues that follow when virtual and physical space blur. Back in 2016, when Pokémon Go was introduced to the market, the impact the game had on society quickly became apparent. The game operated as a digital mapping application in which it guided participating players to hunt for digital creatures in real-world locations. The locations are prescribed and tagged using data gathered from their servers and Google’s database. Issues arose when footfall dramatically increased (fig. 4) in certain areas and especially private properties. Reports said that “The place is in complete chaos with crowds of well over 1,000 per night. There is a massive level of noise after midnight, uncontrollable traffic, excessive rubbish, smokers, drunk people, people who are ‘camping’ in the site, and even people peddling mobile phone chargers” 13. Although interest in the game had died down in recent years, this has still created a dialogue on what future augmented reality or location-based system can potentially result in.

Due to this phenomenon, aesthetics is replicated worldwide leading towards similar designs globally. Chayka elucidates this “these small pockets of geography grow to resemble one another, as Schwarzmann discovered: the coffee roaster Four Barrel in San Francisco looks like the Australian Toby’s Estate in Brooklyn looks like The Coffee Collective in Copenhagen looks like Bear Pond Espresso in Tokyo.” 8 What is clear is that physical spaces such as, coffee shops, office space, or apartments have implemented a homogeneous aesthetic informed by the virtual space. The physical spaces are designed and influenced by digital platforms that produce “a harmonization of taste across the world” 9. A simple quick search of “coffee shop” on Pinterest supports this position as numerous images are displayed that possesses the same detectable symbols- exposed brickwork, reclaimed timber, industrial lighting (fig. 3). These spaces are designed to withhold the qualities that are recognised to be cool or trendy - something that has become standardised as the trend has spread around the web. However, in return, this has diluted and removed identity and authenticity. As more and more of these physical spaces start to mimic the style, this instigates more photographs and imagery of the physical space being taken and uploaded to social media networks. The digital platform can be seen to be a machine that enables places to start designing themselves with aesthetic homogeneity the output.

13. Hern, Alex. “Pokémon Go: Who Owns the Virtual Space around Your Home?” The Guardian, July 13, 2016, sec. Technology. (accessed 14.4.20) https://www.theguardian.com/technology/2016/jul/13/pokemon-virtualspace-home.

11

10

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DIGITAL MAPPING

What occurred from this global phenomenon led to increased engagement with our physical surroundings as the game guided players to locations. The increase of footfall resulted in commercial and financial benefits for some parties14. As more people gathered and flocked to the tagged locations, some businesses took advantage and financially gained by introducing monetary measures to allow players to use their space. Not even the introduction of products as loss leaders are required, and the game automatically attracts more potential customers by just the tagging. Inevitably, technology constructed spaces will be monetised if it dictates society to congregate towards certain areas where financial gains can occur. Although the game is tremendous in encouraging active movement outside, this phantasm dimension can cause players to be distracted and become erratic in movement, therefore, placing them in dangerous positions. This can be from wandering into traffic-heavy location or loss of concentration and impacting the people they are in proximity to.

Privacy and security are other concerns when using location-based data applications (fig 5).

Whilst operating the smartphones with the game in play, data can be gathered on the players’ movement, routine, and whether you are in proximity with other users. This is not limited to Pokémon Go as many other applications or devices, such as fitness, operate in this manner and are a form of digital surveillance as raised by Turkle. Although deemed to be a pervasive act by the companies, it is usually ignored or dismissed when asked to read the terms of conditions for the sake of convenience. Turkle noted that “We feed databases, as we shop, chat, watch movies and make travel plans. Tracking one’s fitness, keeping in touch with friends on social media, using a smartphone – all of these make surveillance and social participation seem like the same thing.” 17. By sacrificing our data, this feeds back into the system that determines typology like AirSpace, in which it will narrow and shape our exposure. One can imagine that in the near future where every product, car, and dwelling is attached with systems that collect data and feed the database.

The game can become problematic through its ability to direct players to wrongly prescribed locations, which incurs privacy issues and unappreciated effect on properties. For example, the game can list a mosque and prearrange it to become a battleground in the eyes of the game and players. No longer is it a place of worship, but a place to battle. Despite augmented space possibility of adding layers and value to landmarks, applied on the wrong location can cause negative results on individuals that may not have consented to their inclusion in these applications. Hern highlights an example in which a resident that lives in a converted church was chosen to be a designated site in the game. This resulted in people “loitering outside his house, leaving him concerned” 15. While the virtual space impingement on physical space starts to impact people negatively, we start to enter legal territories. Suddenly these trivia games become a lot more real when legality may need to be involved. As more augmented reality spaces are expected to appear, virtual location rights need to be considered. Solutions will have to look at traditional legal frameworks of buildings, intellectual property and beyond16.

Regulations proposed will need to consider the increase in noise, traffic, and pollution, that affects individuals and on an urban scale. Other incentives could include exemption from the database, financial payments, or plans for the affected individuals, similar to how you would rent out a physical property. With these considerations, this could precede towards a responsible approach to augmented reality.

Fig.4- Footfall increase from geolocation application, 2016

Fig.3- Pinterest coffee shop search

8. Chayka, Kyle. “Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World.” The Verge, August 3, 2016. (accessed 25.1.20) http://www.theverge.com/2016/8/3/12325104/airbnb-aesthetic-globalminimalism-startup-gentrification.

9. Ibid.

10. Ibid.

11. Ibid.

12. Ibid.

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The Influence of Virtual Space on the Physical Environment

AirSpace was born from and rooted in Silicon Valley 5, where emerging technology, innovation, and social media platforms usually originate from. AirSpace does not only emerge from this region but also shares many aesthetics qualities that can be associated with start-up companies.

The garage (fig.2), where many start-ups begin from, share the same industrial finish, strippedback feel that AirSpace encompasses however, this is where the similarities end. Whereby the garage aesthetics and inhabiting the space derived from constraints, AirSpace is created for the privileged, where familiarity and comfort of aesthetics are of choice.

AIRSPACE

The Influence of Virtual Space on the Physical Environment

AIRSPACE

SCAT

THE VIRTUAL CITY ESSAY The Influence of Virtual Space on the Physical Environment

M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2

Fig. 5- Location-based application 14. Hern, Alex. “Pokémon Go: Who Owns the Virtual Space around Your Home?” The Guardian, July 13, 2016, sec. Technology. (accessed 14.4.20) https://www.theguardian.com/technology/2016/jul/13/pokemon-virtualspace-home.

15. Ibid.

16. Judge, Elizabeth, and Tenille Brown. “A Right Not To Be Mapped?

Augmented Reality, Real Property, And Zoning”. Laws 7 (2), 2018, (accessed 12.4.20) 23. doi:10.3390/laws7020023.

STUDIO A

17. Turkle, Sherry. “The Public Square”, in Reclaiming Conversation: The Power of Talk in a Digital Age. Penguin Books, 2016, pp. 306

13

PRESCRIPTIVE SMART CITY

At an urban scale, the virtual space dialogue with physical can create an addition to information and relationship exchange which are prevalent in city space. In “Tactics for a playful City”, Borden notes that these “conditions can be intensified by bringing nonphysical spaces into your cities.” 18. Now that information is exchanged relentlessly through our smartphones and laptops, this has caused a transformation in our perception of architecture and city. Virtual spaces seem to be encouraged in cities as many provide free Wi-Fi hotspots and QR codes that provide digital information or augmented reality experiences. Due to this, people inhabit within two realities – physical and technology-mediated reality. The way we experience and navigate around cities is now entangled up with virtual space and has become normalised.

What happens when technology is unsuccessfully integrated with architecture and urban design? At Songdo (fig. 6), we see this paradigm whereby Sennet describes it as a prescriptive smart city. Songdo is known to be a purpose-built city designed to raise the quality of life through efficiency, familiarity and convenience. It operates using a top-down formula whereby the district withholds a homogeneous design with infrastructure that contains monitors and sensors regulating material such as traffic. The district proved to be problematic for some residents as the efficient wide roads and large scale spread human activities apart. The prescriptive smart city has an inward-looking ethos that lacks human connection, in which citizens has described they felt a “lack of human warmth from neighbourhood interaction.”19.

Furthermore, an over-reliance on technology initiates complacency leading towards “stupefying effect on those who live in them.” 20. The prescriptive smart city pitfall lies in the way it eliminates unpredictability. Without experimentation and queries, fundamental to people, no accommodation is made for changes and the what-ifs. This can lead to a simplifying of citizens as elucidated when Sennet state “Problem-solving and problem-finding are linked – so long as you are curious. But the prescriptive model deadens curiosity; in this sort of smart city, you don’t have to be.” 21

CONCLUSION

The virtual space influence on the physical environment sustains many strands as demonstrated going through the various medium. By operating these technological mechanisms, society exchange of information and communication has a global reach. Through the usage of digital platforms, society feeds a database whereby the algorithms eventually generate homogeneous imagery. Many people in society ingest this and construct these imageries in the real world without context in mind, losing identity and authenticity, as illustrated in AirSpace. To stop the spread of homogeneous aesthetics, society must remember to withhold identity.

Virtual space can also impact the physical world through its ability to dictate and capture peoples’ movement and engagement. Whether through augmented reality or prescribed routes by applications, this can cause effects such as pollution, traffic or loitering. As highlighted by Hern and Turkle, privacy issues occurred, and future legality of virtual spaces will need to be considered. The monetisation of virtual space would also inevitably become normalised if financial gain can be demonstrated. When legality or financial implications transpire, virtual space becomes a lot more real.

Ultimately, technological mechanisms are here to stay, therefore we must learn to work with the evolving virtual space and be aware of the consequences of a prescriptive smart city as elucidated by Sennet. Without being overly reliant on technology, and dismissing familiarity from time to time, society will not become unintelligent. Through retaining the knowledge that data is dumb without smart application and human input, virtual space will influence the physical environment positively. What ought to be preserved is that virtual space is an addition to information and relationship exchange prevalent in city space and not a replacement.

STUDIO H DR

Fig. 7- Vision of augmented-reality future?

Fig. 6- Songdo, South Korea

18. Borden, Ian. “Tactics for a Playful City”, in Borries, Friedrich von, Steffen P. Walz, and Matthias Böttger. Space Time Play: Computer Games, Architecture and Urbanism: The Next Level. Springer Science & Business Media, 2007, pp. 332 19. Poon, Linda. “Songdo, South Korea’s Smartest City, Is Lonely - Citylab”.

Citylab.Com, 2018 (accessed 20.4.20) https://www.citylab.com/ life/2018/06/sleepy-in-songdo-koreas-smartest-city/561374/.

20. Sennet, Richard. “Toqueville in Technopolis”, in Building and Dwelling.

Penguin Books (2018), pp. 162 21. Ibid., pp. 163

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The Influence of Virtual Space on the Physical Environment

The Influence of Virtual Space on the Physical Environment

AMPL

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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THE VIRTUAL CITY ESSAY

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M.Arch Yr 1 Sem 2

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 Conclusion The virtual space influence on the physical environment sustains many strands as demonstrated by going through the various medium. By operating these technological mechanisms, society exchange of information and communication has a global reach. Through the usage of digital platforms, society feeds a database whereby the algorithms eventually generate homogeneous imagery. Many people in society ingest this and construct these imageries in the real world without context in mind, losing identity and authenticity, as illustrated in AirSpace. To stop the spread of homogeneous aesthetics, society must remember to withhold identity.

Virtual space can also impact the physical world through its ability to dictate and capture peoples’ movement and engagement. Whether through augmented reality or prescribed routes by applications, this can cause effects such as pollution, traffic or loitering. As highlighted by Hern and Turkle, privacy issues occurred, and the future legality of virtual spaces will need to be considered. The monetisation of virtual space would also inevitably become normalised if financial gain can be demonstrated. When legality or financial implications transpire, virtual space becomes a lot more real.

Ultimately, technological mechanisms are here to stay, therefore we must learn to work with the evolving virtual space and be aware of the consequences of a prescriptive smart city as elucidated by Sennet. Without being overly reliant on technology, and dismissing familiarity from time to time, society will not become unintelligent. Through retaining the knowledge that data is dumb without smart application and human input, virtual space will influence the physical environment positively. What ought to be preserved is that virtual space is an addition to information and relationship exchange prevalent in city space and not a replacement.

Selected Bibliography

Vision of augmented-reality future?

Borden, Ian. “Tactics for a Playful City”, in Borries, Friedrich von, Steffen P. Walz, and Matthias Böttger. Space Time Play: Computer Games, Architecture and Urbanism: The Next Level. Springer Science & Business Media, 2007, pp. 332 - 334.

STUDIO A AMPL STUDIO H

Chayka, Kyle. “Airspace - How Silicon Valley Helps Spread the Same Sterile Aesthetic across the World.” The Verge, August 3, 2016. (accessed 25.1.20) http://www.theverge. com/2016/8/3/12325104/airbnb-aesthetic-global-minimalism-startup-gentrification..

DR

Hern, Alex. “Pokémon Go: Who Owns the Virtual Space around Your Home?” The Guardian, July 13, 2016, sec. Technology. (accessed 14.4.20) https://www.theguardian.com/ technology/2016/jul/13/pokemon-virtual-space-home.

Sassen, Saskia. “The Impact of the New Technologies and Globalization on Cities”, in LeGates, R and Stout, F; The City Reader, Sixth Edition. Routledge 2016, pp. 650 - 658.

Sennet, Richard. “Toqueville in Technopolis”, in Building and Dwelling. Penguin Books 2018, pp. 144 – 167.

Turkle, Sherry. “The Public Square”, in Reclaiming Conversation: The Power of Talk in a Digital Age. Penguin Books, 2016, pp. 293 - 316.

Wertheim, Margaret. “Internet Dreaming: A Utopia for All Seasons”, in Tofts, Darren. Prefiguring Cyberculture: An Intellectual History. New Ed edition. Cambridge, Mass.; Sydney: MIT Press, 2004, pp. 216 - 226.

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COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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STUDIO A PAR A- S I TUAT IO N [ A HM EDABAD]: PAS T, PR ESENT & P OSSI BLE Kevin Li Jack Parmar Architectural Design Studio A: The Space of Appearing - in Detail “The work of S3 is to elaborate and present the specific designs for PARA-situation[Ahmedabad] by being explicit about the environmental and technological aspects of the design. This does not mean ignoring all other aspects of the theses. It simply means that by the end of the S3 we should be able to present the theses by prioritizing the explication of technology through the design of at least one significantly sized building.

MArch Yr 1

Oceans of Wetness are simultaneously “works of the projective imagination” and scientific calibrations of water/wetness measures. They are as much philosophical and socio-political treatises as architectural, urban, technological and environmental projects. We will be making buildings to house the agencies of PARA-situation [Ahmedabad]. The agencies will act as the first material indicators of The Ecosophic Object. What we call building is to be considered an Ecosophic Object. To recap, the Ecosophic Object challenges our reading of an “object”. By prefixing what we call “object” with its adjectival qualification suggests that what we may conventionally call “object” must be understood in Ecosophic terms.

This would mean that we see the “object” already as that which holds relationships between human subjectivity, human relations and the environment (Guattari, The Three Ecologies). It would be very difficult then to see the conventional object operating as an “object” at all – the building would already be situated; it will have flows between, interruptions within and attachments to both localized and broader contexts.”

STUDIO D

Dorian Wiszniewski Kevin Adams

M.ARCH 2 SEM 3

L0. 1 A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (eg. the built, social, historical, technological, urban and environmental contexts).

L0. 2 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.

L0. 3 An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies.

L0. 4 A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

STUDIO C ATR

SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Sangath, Ahmedabad. January 2020 Kevin Li

PARA-SITUATION [AHMEDABAD] SUMMER PROJECT

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Summer Project The summer project aimed to set up the semester through a detailed realm of exploration through setting up a pamphlet similar to Doshi’s Sangath. The pamphlet contains drawings that evoke ecologies that Dye & Dustscapes holds, as well as beginning to test the technical and environmental aspect of the thesis.

N

GC 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

Aquascape.

Plan, originally drawn at 1:500 @ A1

Dryscape.

Plan, originally drawn at 1:500 @ A1 COLLABORATORS JP JG GP GMP

Dye Institute Ecotone.

Plan, originally drawn at 1:500 @ A1 GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

50

PARA-SITUATION [AHMEDABAD] SUMMER PROJECT

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

51

PARA-SITUATION [AHMEDABAD] DYE TERRITORIES

STUDIO A

M.Arch Yr 2 Sem 3

Library of Textiles

Dye Factory Dye Gardens

Dye Gardens Pavilion

Pigment Research Laboratories

MArch Yr 1 STUDIO C

Gujarat Dye Institute

ATR

Pavilion School of Dye Technologies

STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

N

Dye Territories.

Plan, originally drawn at 1:1000

We have taken the opportunities this semester has presented us with to broaden the Dye & Dustscapes thesis through environmentally and technologically considered explorations.

Creating an architecture that penetrates hard edges and excavates the landscape, making it ready for the coming of new development. The dustscape will change throughout the year, becoming saturated with embodied wetness in the form of lush gardens. As the monsoon season ends and wetness drains away, small pockets will emerge where water is held and oases nestle within the desert dryscape.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

52

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

Programme

STUDIO A

M.Arch Yr 2 Sem 3

A

1. Pool 2. Entrance 3. Reception 4. Lift 5. Circulation 6. Cafe 7. Exhibition Room 8. Exhibition Hall 9. Toilets 10. Plant Room 11. Dye Garden Access

[5] [3]

[8] [4]

[2]

MArch Yr 1 STUDIO C

[1]

[10] [6]

[7]

[7]

[7]

[9]

STUDIO D SCAT

[11] [11]

The Gujarat Dye Institute seek to act as the hub in the series of building that occupies the new landscape. Mimicking attributes that the Mill Owners Building embodies, the Gujarat Dye Institute will consist of office spaces for specialist Dye experts that look to celebrate and study natural dye such as Madder and Indigo, with the dye gardens in the foreground of the building. The Institute seeks to engage with the public with dyeing equipment and textiles on display through its exhibition space.

ATR

[11]

[11]

MArch Yr 2

Gujarat Dye Institute.

Isometric

STUDIO A AMPL STUDIO H DR

A

N

Structurally, the building is anchored deep into the ground with the steel and concrete structural system whilst it reuses material from the Sabarmati River in the form of bricks. A series of revolving doors and louvres act as dust screens and solar shading devices; creating multiple layers of the building. Through the pivot doors, the internal space leads into the external area of the dye gardens creating a dialogue between the fields of madder and the dye archive on display within the building.

Gujarat Dye Institute.

Ground Floor Plan, originally drawn at 1:100 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

53

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

A

STUDIO A

M.Arch Yr 2 Sem 3

A

Programme 1. Circulation 2. Breakout Zone 3. Seminar Room 4. Lift 5. Office 6. Balcony 7. Toilets 8. Plant Room [2]

[1]

[4]

MArch Yr 1 STUDIO C

[8]

[3]

[5]

[6]

[5] [6]

[5]

ATR STUDIO D

[7]

SCAT

[6]

MArch Yr 2 STUDIO A AMPL STUDIO H A

DR

A

N

N

Gujarat Dye Institute.

First Floor Plan, originally drawn at 1:100 @ A1

Gujarat Dye Institute.

Roof Plan, originally drawn at 1:100 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

54

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Gujarat Dye Institute.

Section AA, originally drawn at 1:50 @ A1 GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

55

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Gujarat Dye Institute Exhibition Hall.

Interior visualisation GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

56

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

Beam pocket

Teak soffit 100mm Insulation

Track Pivot pin

Timber slats Anodised aluminium frame Teak operable louvre (25mm x 250mm)

Clay roof tiles 45mm x 20mm timber cross batten 40mm Timber counter batten Folded flashing 500mm deep painted steel rafter Anodised aluminium frame

100mm Insulation 500mm Concrete shear wall 25x50mm Floor spacer

Metal frame teak pivot door

Teak floorboard

Teak operable louvre (25mm x 250mm)

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Ventilation grille

Insulation membrane

One way concrete slab

Gujarat Dye Institute Office.

Office pod detail, originally drawn at 1:20 @ A1 GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

57

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

Frame [Anodised Aluminium]

Pivot Pin

Metal Framed Teak Door

MArch Yr 1 STUDIO C ATR STUDIO D Aluminium Track

Door detail.

Isometric, originally drawn at 1:10 @ A3

SCAT

MArch Yr 2 STUDIO A AMPL Frame [Anodised Aluminium]

STUDIO H DR

Timber Slats Teak Louvre

Gujarat Dye Institute.

Worm’s Eye Isometric, originally drawn at 1:200 Louvre detail.

Isometric, originally drawn at 1:10 @ A3

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

58

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C

Gujarat Dye Institute.

Front Elevation, originally drawn at 1:200 @ A2

ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Gujarat Dye Institute.

Rear Elevation, originally drawn at 1:200 @ A2 Gujarat Dye Institute Exploded Isometric.

Isometric, originally drawn at 1:200 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

59

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A Gujarat Dye Institute Environmental Strategy Section AA, originally drawn at 1:100 @ A2

AMPL STUDIO H

Skin is impermeable. It provides shelter from wetness and protection from heat. The skin is a layered membrane creating pockets of dryness within the aquascape.

DR

Screens are permeable. They are suspended between solid elements, allowing the building to breathe. Screens allow the facade to ripple and adjust to maintain comfort levels within the building.

Structure is solid. It rises from the substrata and dives deep to anchor the building. Structure holds the pockets of dryness above the aquascape, withstanding forces of wind and gravity.

Gujarat Dye Institute Skin,Screens, & Structure Package.

Section AA, originally drawn at 1:100 @ A2

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

60

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Gujarat Dye Institute.

Exterior visualisation GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

61

PARA-SITUATION [AHMEDABAD] GUJARAT DYE INSTITUTE

STUDIO A

M.Arch Yr 2 Sem 3

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Gujarat Dye Institute.

Exterior visualisation GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

62

Kite festival in the pols, Ahmedabad. January 2020 Jack Parmar

AMPL AR C H I TE C T U RA L MANAGEM ENT, P RA C T I C E & L AW Kevin Li George Pop Architectural Management Practice & Law: Regulatory Drawings, Contract Simulation Exercise, Coursework “This is a lecture and workshop based course whose aims are to develop a student’s understanding of the professional requirements of an architect in practice and being admitted to the title of ‘Architect’.

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.

The course will allow students to:

MArch Yr 1 STUDIO C ATR STUDIO D

1. Acquire understanding of the processes and delivery of design, project and practice management.

2. Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect.

3. Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project.

4. Develop an awareness and understanding of the financial matters bearing upon the creation and construction of the built environment.

5. Develop an awareness of the changing nature of the construction industry, including interrelationships between individuals and organisations involved in modern-day building procurement.

MArch Yr 2

Iain Scott Laura Harty

STUDIO H

L0. 1 An understanding of practice management and codes of professional conduct in the context of the construction industry.

L0. 2 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.

M.ARCH 2 SEM 3

L0. 3 An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

SCAT

STUDIO A AMPL

DR

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW REGULATORY DRAWINGS

AMPL

M.Arch Yr 2 Sem 3

REGULATORY DRAWINGS

MArch Yr 1

Planning: Conservation Policies - Design Drivers for Re- activating an Ancient Monument Area

STUDIO C ATR

Commissioned by English Heritage, Stanton Williams’ project for a new Visitor Centre and Museum at Whitby Abbey comprises of a new structure inserted in the shell of the 17th-century relics of a former hall known as the Banqueting House.

The project was part of a broader masterplan, the Whitby Abbey Headland Project, which had begun in 1992 intending to enhance and re-activate the potential of an extremely well conserved Ancient Monument Area site.

STUDIO D SCAT

Appointed by English Heritage to design the new visitor centre in 1998, Stanton Williams Architects proposed a lightweight steel structure that marries with the ruins of the Banqueting House. The proposal seeks to re-imagine moments from the existing structure’s original programme whilst recognising the historical and archaeological value of the relics. Steel columns present themselves in a portal frame fashion running along the east-west axis of the building. The sharpness of the C-shaped sections welded together juxtaposes the fluidity of the ruins.

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

65

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW REGULATORY DRAWINGS

AMPL

M.Arch Yr 2 Sem 3

Building Regulations: Part M - Provision of full accessibility whilst Re-activating Historic Levels Accessibility was a key requirement as English Heritage had a desire of creating safe public access and removal of traffic and clutter from the Abbey Headland. Thus, the accessible design went beyond the building and ensured that the Whitby Abbey monument was accessible through two levels (fig A.1); Abbey Plain and the ground floor entrance of the visitor centre and up the first floor where a reinstated bridge leads onto pedestrian access routes to the level of the monument. This configuration reflected the access strategy of what it was in the 17th century.

With the courtyard being the core accessible route to the visitor centre, Stanton Williams and SGS went beyond Part M (1992) clause 0.2 as it states “ if, as part of the reconstruction of a building, other than a dwelling, it is impractical to make adjustments to the level of the existing principle entrance or any other appropriate existing entrance, to permit independent access for wheelchair users, or to provide a new entrance is suitable the other requirements of Part M should still apply.”

MArch Yr 1

It is worth noting, within Part M in 1992, no specific requirements were given for historic buildings.

STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

66

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW REGULATORY DRAWINGS

RE-ANIMATING RELICS

AMPL

M.Arch Yr 2 Sem 3

WHITBY ABBEY VISITOR CENTRE EAST CLIFF, WHITBY NORTH YORKSHIRE STANTON WILLIAMS ARCHITECTS

PLANNING CONSERVATION POLICIES - DESIGN DRIVERS FOR RE-ACTIVATING AN ANCIENT MONUMENT AREA

GEORGE POP // KEVIN LI

0m

1992

m

0 Whitby Abbey Headland Project (WAHP) is formed as a result of a working collaboration between English Heritage (EH) and Scarborough Borough Council (SBC). The project proposed Abbey Lands Farm as the site for the new Visitor Centre (P).

Commissioned by English Heritage, Stanton Williams’ project for a new Visitor Centre and Museum at Whitby Abbey comprises of a new structure inserted in the shell of the 17th century relics of a former hall known as the Banqueting House. The project was part of a broader masterplan, the Whitby Abbey Headland Project, which had begun in 1992 with an aim to enhance and re-activate the potential of an extremely well conserved Ancient Monument Area site.

0m

55m

55m

Abbey Plain

50 m

LEGISLATIVE CONTEXT

H1.

Abbey Farm

1994

45m

Archaeological works on Boulby Bank showed a complex of monastic boundary features. As a result, the initial 1992 pedestrian route which would link the Visitor Centre to Whitby town centre raised archaeological concerns as it crossed through Boulby Bank.

NATIONAL

LOCAL

National Planning Policy Framework in particular NPPF7 (requiring good design) and NPPF12 (conserving and enhancing the historic environment).

Scarborough Borough Local Plan in particular DEC1 (Principles of Good Design), DEC4 (Protection of Amenity), DEC5 (The Historic and Built Environment) and DEC6 (Archaeology).

Ancient Monuments and Archaeological Areas Act 1979.

H2.

H3.

H4. pond

H5.

AȚ

P1.

H6.

1995

P2.

55m

H1.

H2.

H3.

H7.

H4.

H5.

Abbey Lands Farm

P2.

H6.

H7.

Car Park

Southern Entrance put note on

45m

40 m

P1.

Scheduled Ancient Monument Area1 Garden Walls and Gatepiers to the Abbey House - Grade I Initial proposed 1992 site designated for the Visitor Centre (extent and location of site is approximate).

Initial proposed 1992 pedestrian route designed as a thoroughfare between the Visitor Centre and town centre.

Whitby Abbey Cross - Grade I Former Youth Hostel - Grade I Whitby Abbey (Benedictine. Founded AD 1109) - Grade I 17th century court yard discovered to the north of Banqueting House in 1997 - Grade I Whitby Abbey Visitor Centre and Museum (Banqueting House) - Grade I The Abbey House - Grade I Whitby Abbey House & Gardens - Grade II

55 m

Boulby Bank

[A] A RE-LOCATION

HERITAGE LISTING KEY:

AȚ

Archaeological works showed that Abbey Lands Farm was situated in the middle of a major centre of Anglian archaeology, including a large cemetery. This meant the Visitor Centre had to be re-located. In this context, the ruins of the 17th Banqueting House (H5) became the focus of archaeological works in the hope that the Visitor Centre would be located within the relic

Whitby Conservation Area Character Appraisal and Management Proposals.

Planning (Listed Buildings and Conservation Areas) Act 1990 in particular S66 and S72.

1 Search the List - Map Search. (n.d.). Retrieved October 19, 2020, from https://historicengland.org.uk/listing/the-list/map-search?postcode=YO22+4DR

Fig. A1

Fig. A1 Heritage Listing and Identification of Key Aspects of WAHP. Site Plan, scale 1:2500.

Fig. A2 Timeline of events as a result of working with a Scheduled Ancient Monument Area site.

3.

MArch Yr 1 STUDIO C ATR

Appointed by English Heritage to design the new visitor centre in 1998, Stanton Williams Architects1 proposed a lightweight steel structure which marries with the ruins of the Banqueting House. The proposal seeks to re-imagine moments from the existing structure’s original programme whilst recognising the historical and archaeological value of the relics. Steel columns present themselves in a portal frame fashion running along the east-west axis of the building. The sharpness of the C-shaped sections welded together juxtaposes the fluidity of the ruins.

H5.

3.

Furthermore, the discovery of the court yard revealed the potential of the ruins of the Banqueting House and the new proposed location of the Visitor Centre would act as a catalyst for the surrounding areas where the new animates the old forgotten ruins of the House and the court yard.

[B] A DIALOGUE

m 50

A

The fieldwork carried out by English Heritage Centre for Archaeology was undertaken in accordance with Planning Policy Guidance 15 and 16, carefully designed so the impact of development on both standing and buried heritage to be minimal. It was during these archaeological works that the discovery of a well-preserved 17th century garden landscape adjacent to the Banqueting House happened. Hadn’t it been for the thorough conservation policies in place, this site might still be under the ground today.

STUDIO D SCAT

MArch Yr 2

1 Powell, Kenneth. “Building Study: Ancient and Modern: Stanton Williams’ Visitor Centre.” Architects’ Journal (Archive: 1929-2005), no. 213 (2002): 28–39.

STUDIO A

1995

AMPL H4.

1997

STUDIO H A

Fig. B1

Fig. B2

-re-instating the connection to the fields by proposing a bridge;

DR

5.

KEY:

1998

1.

2.

3.

Stanton Williams Architects were appointed by EH to design the new Visitor Centre located within the shell of the Banqueting House.

The proposal was submitted for planning permission and had been granted approval in October.

3.

4.

5.

4.

3.

2.

March 2002 Whitby Abbey Visitor Centre and Museum opened to public.

Fig. A2

Existing Relics of the Banqueting House Proposed Structure by Stanton Williams Architects Suspended floor Superstructure lightly touching the floor Re-opened former blocked off window openings provide views over the Headland and North Sea Floor resting lightly on relic walls Roof resting lightly on relic walls

H4.

H5.

1.

Fig. B1 Sectional diagrams of design aspects which show Stan ton Williams’ embracing the conservation policies in place.

Fig. B2 The dialogue between the old and the new. Section AA, scale 1:100.

Fig. B3

Fig. B3

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

67

AMPL

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW CONTRACT SIMULATION EXERCISE

TRADITIONAL C2

C2

C OST

C OST

Procurement Report [Selected Excerpts] Introduction

2

2 T1

Q3

3

1

IT Y AL

QU

Q2

AL

QU

STUDIO D

T2

E

T2

E

Q2

ATR TI M

IT Y

STUDIO C

TI M

SCAT

T3

Q1

Q1

The Bullgate House project through the Design and Build route would have enabled earlier involvement of the contractor and a parallel process of design and construction enables a quicker time frame (fig.14). The single point of responsibility of the contractor could be advantageous for the client however can also be detrimental in the quality of the design as the client has no control over the design from tendering, as demonstrated in the scenario examples. The lack of independent and impartial consultants that provides quality control may also hinder the quality of the construction. The cost would be known from the outset, therefore, are fairly certain however in the contract simulation exercise the client changes the design. This procurement route does not offer flexibility in design therefore traditional would have been more appropriate for the contract simulation exercise.

3

1

This report seeks to reflect upon a different form of procurement route in Design and Build and how this route would affect the delivery of the project. A comparative analysis will be conducted between the Traditional method and Design and Build in which key points and contract form of each procurement method will be outlined. Thereafter, the report will examine how Design and Build will impact principal factors such as time, cost, and quality concerning the contract simulation exercise scenarios.

Under the traditional method, the project proves to be delivered effectively concerning the quality as Group 2 worked closely with the client to ensure the design and quality is met. It is however evident from this route additional time and cost may apply due to the changes in design (fig.13).

4

4

MArch Yr 1

Within the contract simulation exercise, the office block construction, Bullgate House, was determined to be a Traditional procurement framework in alignment with SBCC Standard Building Contract with Quantities for use in Scotland 2016.

During the exercise, we became familiar with the Traditional procurement route and the Architect’s responsibilities. In this instance the client, Charles Chore Ltd., deemed cost and quality to be an important aspect of the project through the choice of Traditional procurement as highlighted in the matrix of fig. 1. Although the Traditional route of procurement is the most common and a feasible method, alternative form such as Design and Build would have been a viable alternative given the scale and budget of the project.

Three key criteria typically determine the procurement route the client takes, and they are time, quality, and cost. In the report, we looked at two procurement routes in Traditional and Design and Build, and they demonstrated different effects on the project delivery outcome.

C3

C1

C3

T1

Procurement within a construction project is the procedure that delivers the project from inception to completion (Lupton and Stellakis, 2019, 13). Determining the appropriate choice of procurement route is established by factors such as time, cost, and quality and what is deemed important and satisfies the client’s requirements. The route of procurement that is chosen fundamentally establishes the roles and relationship between client, Architects, contractor, consultants, and subcontractors.

Comparative Analysis

5

5 C1

Q3

CONTRACT SIMULATION EXERCISE

DESIGN AND BUILD

1 Cost

Time

Quality

C1

Lowest possible capital expenditure

C2

Certainty over contract price

C3

Best value for money overall

2

4

5



T1

Earliest possible start on site



T2

Certainty over contract duration



T3

Shortest possible contract period

Q1

Top quality, minimum maintenance

Q2

Sensitive design, control by employer

Q3

Detailed design critical

Fig. 13 - Radar Diagram of Traditional Procurement

3

C1

Lowest possible capital expenditure



C2

Certainty over contract price



C3

Best value for money overall

Time 

 

MArch Yr 2 1

Cost



T3

M.Arch Yr 2 Sem 3

Quality

2

3

4

5 



STUDIO A AMPL



T1

Earliest possible start on site



T2

Certainty over contract duration



T3

Shortest possible contract period

STUDIO H



Q1

Top quality, minimum maintenance



Q2

Sensitive design, control by employer



Q3

Detailed design critical



DR

Fig. 14- Radar Diagram of Design & Build

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

68

Design Manage Construct

Within the contract simulation exercise, the office block construction, Bullgate House, was determined to be Traditional procurement framework in align with SBCC Standard Building Contract with Quantities for use in Scotland 2016. During the exercise, we became familiar with the Traditional procurement route and the Architect’s responsibilities. In this instance the client, Charles Chore Ltd., deemed cost and quality to be an important aspect of the project through the choice of Traditional procurement as highlighted in the matrix of fig. 1.

Although the Traditional route of procurement is the most common and a feasible method, alternative form such as Design and Build would have been a viable alternative given the scale and budget of the project.

Prime Cost Contract

Two Stage Design and Build

Two Stage Traditional

Single Stage Traditional

This report seeks to reflect upon a different form of procurement route in Design and Build and how this route would affect the delivery of the project. A comparative analysis will be conducted between the Traditional method and Design and Build in which key points and contract form of each procurement method will be outlined. Thereafter, the report will examine how Design and Build will impact principal factors such as time, cost, and quality concerning the contract simulation exercise scenarios.

Construction Management

COST Fig. 1- Time, Cost, Quality Matrix

Contract Simulation Exercise

Appointment

CONTRACTOR Contract

D E Struct. Ltd.

Group 2

SUB CONTRACTORS Messrs R W Pipe & Son Messrs Hardwall Ltd. P I Ling Ltd. Pentland Decorators Ltd.

QUANTITY SURVEYOR Bill Page & Partners STRUCTURAL ENGINEER Bean and Coll

SUPPLIERS Messrs Brace and Bit

Design Team Fig. 2 - Traditional Procurement Contract Relationship of Bullgate House Project

In a traditional procurement framework, the contractor has no design input, and their main responsibility is to construct and carry out the works in accordance with the documentation.

The contractor is also responsible for the workmanship and materials, as well as work conducted by subcontractors and suppliers. Regarding the cost of the project, the pricing is relatively certain as the contract figure is agreed between the client and contractor from the outset and is known as a lump sum. However, a provisional sum is incorporated, for the cost to be adjusted later for items that may be subjected to change or cannot be easily quantified.

QUALITY

Contract Administrator

LEAD CONSULTANT

CONSULTANTS

To appoint the contractor, a fully worked out design is required, and full documentation is issued out by the client for tender. As the design process is independent of the construction process, this can lead to an increase in time towards the overall programme of the project.

Typically, within a single-stage tender, this occurs at the end of Stage 4 Technical Design (Lupton and Stellakis, 2019, 14) (fig.3). In the case of the contract simulation exercise, D E Struct Ltd. was appointed as they were the lowest tender.

Management Contract

Design and Build

As used in the contract simulation exercise, Traditional procurement operates in the manner whereby the project is designer led (fig. 2) and the client appoints the construction team separately (Lupton and Stellakis, 2019, 13) . Dialogue between the Architect and contractor still occurs; however, the legal relationship is with the client directly. Under SBCC Standard Building Contract with Quantities for use in Scotland 2016, the client, Charles Chore Ltd., appointed Group 2 to act the role of the Lead Consultant/Architect in which we had to carry out the design, control costs and act as contract administrator. The client can still manage the design through the Architect therefore can influence the quality. For the role of the contract administrator, this required the Architect to act independently and impartially whilst ensuring that the contract terms were accomplished.

Contract

TIME

CLIENT Charles Chore Ltd.

Contract

Procurement within a construction project is the procedure that delivers the project from inception to completion (Lupton and Stellakis, 2019, 13). Determining the appropriate choice of procurement route is established by factors such as time, cost, and quality and what is deemed important and satisfies the client’s requirements. The route of procurement that is chosen fundamentally establishes the roles and relationship between client, Architects, contractor, consultants, and subcontractors.

TRADITIONAL PROCUREMENT

Appointment

INTRODUCTION

AMPL

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW CONTRACT SIMULATION EXERCISE Contract Simulation Exercise

M.Arch Yr 2 Sem 3

SUB CONSULTANTS

CONTRACTOR

Group 2, Bill Page & Partners, Bean and Coll

D E Struct. Ltd.

CONTRACTORS Messrs R W Pipe & Son Messrs Hardwall Ltd. Pentland Decorators Ltd.

0

1

2

3

4

5

Strategic

Preparation &

Concept

Spatial

Technical

Manufacturing

Definition

Briefing

Design

Coordination

Design

& Construction

6

7

Handover

Use

Fig. 3 - Traditional Procurement RIBA Plan of Work Stages (2020) of Bullgate House Project

5

7

6

CONSULTANT Group 2

SUB CONTRACTORS

CONSULTANTS

CONTRACTOR D E Struct. Ltd.

Contract Simulation Exercise

Issued by: address:

DESIGN AND BUILD

Messrs R W Pipe & Son Messrs Hardwall Ltd.

Group 2, Bill Page & Partners, Bean and Coll

Pentland Decorators Ltd.

0

1

3

4

5

Preparation &

Concept

Spatial

Technical

Manufacturing

Definition

Briefing

Design

Coordination

Design

& Construction

6

Handover

7 Use

Fig. 4 - Design & Build RIBA Plan of Work Stages (2020) of Bullgate House Project

CLIENT

ARCHITECT Group 2

CONTRACTOR Appointment

ARCHITECT Group 2

Contract

D E Struct. Ltd.

SUB CONTRACTORS Messrs R W Pipe & Son Messrs Hardwall Ltd. P I Ling Ltd. Pentland Decorators Ltd.

CONSULTANTS STRUCTURAL ENGINEER Bean and Coll

Scenario 14 In this scenario, the client has visited the site and instructed the Foreman to create a door opening on a concrete block partition that has already been constructed, however, this does not appear on the contract drawings. Within the contract simulation exercise and under traditional procurement, Group 2 informed the client we understood the instructions, however, reminded them that instructions should go through the Architect as clause 3.1.4 suggests (fig. 6). In terms of time and cost, a discussion would have had to be held with D E Struct Ltd to understand the implication this has to the programme, and Bill Page and Partners for the additional cost of the construction of the door. Once agreed with the client, we were able to enact the changes afterwards through the issue of a formal variation in the form of an AI (fig. 7).

Instruction no: Issue Date:

3

Issued under clause no.

Scenario 14 Client would like to proceed with a new door opening in a 100mm concrete block partition. This will require a ‘Variation’ of the design for altering the design, quality of the Works

-Notify the client of understanding of instructions however, remind them of duty in which design instruction should go through architect(3.1.4) Notify client that contractor has the right to object if not within the contract drawings -All variations required by architect sanctioned in writing as stated clause 5.2.1 - Discuss requirement of planning approval or building standard - Discuss with QS of additional cost of new door - Discuss with structural engineer about opening within 100mm concrete block partition - Discuss with contractor what the time implications are to the programme - Architect to issue out Architect’s Instruction if changes are to go ahead

25/01/2021

23/08/20

As architect, we issue the following instructions:

Actions to be taken following site visit in which employer instructed door construction not shown within construction drawings:

Variation Work BHC/2/11

Sheet:

D. E. Struct Ltd. Low School Yards, Cityburgh. CB13 1FU.

Contract dated:

Predicted costs £ omit £ add

5.1 & 5.2

MArch Yr 1

350

STUDIO C Signed ……………………………………….. for Group 2 Practice.

Amount of Contract Sum Approximate value of previous Instructions Sub-total Approximate value of this Instruction Projected Contract Sum

Kind regards, Group 2 D E Struct Ltd.

Distribution

Client

QS

£ £ £ £ £

ATR

350

PD File

NOTE: Should this Architect’s Instruction involve a change or changes to the design of the project then the architect must review the health and safety implications of that design change.

STUDIO D

Fig. 7- Scenario 14, Group 2 AI

Fig. 6- Scenario 14, Group 2 Response

2

SCAT

Group 2 Practice 1 The Square Cityburgh CB1 2TY 19th March 2021

Scenario 26 In scenario 26, the Clerk of Works informs Group 2 of poor workmanship of the bituminous felt roof. Under the traditional procurement framework, Group 2 were able to inform of the contractor (fig.8) that the work was not acceptable under clause 2.3.2 therefore ensuring quality was withheld. The work is then rectified as under clause 3.18.1 through issuing out an AI to inform the contractor of the instruction (fig.9). If a Design and Build contract was used for the project, the role of Clerk of Works may not be in place thus no observation of the defective work would have been made. The client in this instance would not have control over the contractor’s performance.

SUPPLIERS Messrs Brace and Bit

Project Reference:

Charles Chore, Duchess Street, Cityburgh. CB1 1ME.

Contractor address:

Scenario 14

SBC/Q/Scot 2016

Proposed New Offices Bullgate House, Haymarket Terrace, Edinburgh.

Employer address:

From: Group 2 To: To Whom it may Concern Subject: Door Construction, Bulgate House, Cityburgh

Architect`s Instruction

Group 2 Practice 1 The Square, Cithburgh.

CB1 2TY

Works Situated at:

25th January 2021, 15.57pm

With a Design and Build contract, the client’s control over design decision is relinquished after the completion of tender, therefore, it would have been down to the decision of the Contractor whether to sanction the design changes proposed by the client. If the contractor agrees to the inclusion of the door, Charles Chore Ltd. would have had to bear the full cost of any variation and including consequential expenses that may occur to the contractor (Lupton and Stellakis, 2019, 146). The impact of time and cost through this procurement method could be more drastic in comparison to traditional as there is an absence of independent and impartial consultants who would not be able to query on the increase of time and cost that are given by the contractor.

Charles Chore Ltd. Contract

Appointment

Contract

Novation

With Design and Build, the project could be benefited from a shorter time frame as the design and construction process can be run in parallel enabling earlier on-site works dependant on the amount of design responsibility the contractor has. The project would gain the contractor’s expertise earlier in which they may be able to highlight any potential issues or faults with the development of the design. However, the quality and design of the project may be hindered as the client only has influence over design elements given in the Employers Requirements and subsequently design responsibility of detailed design lies with the contractor once the contract is signed.

Under Design and Build, the Architects Group 2 role would be massively reduced and could be appointed directly from the client to develop design concept prior to the start of the project and thereafter the contractor could continue employing Group 2 for detailed design under a novation agreement . With this procurement method, the consultant does not have a contractual relationship with the client and only with the contractor. Alternatively, the contractor may appoint their own consultants.

2

Strategic

Appointment

An alternative form of procurement method for the project would have been Design and Build. In Design and Build, the contractor, D E Struct Ltd., would have had greater responsibility in comparison to traditional and would oversee the full or partial design and construction of the project (Lupton and Stellakis, 2019, 13). The client would issue out Employers Requirements to the contractor and then appoint the contractor under SBCC Design and Build 2016 contract at an earlier stage, usually varying between stage 1 and 2 (Lupton and Stellakis, 2019, 18) (fig. 4). Under this framework, the contractor would have the main legal relationship with the client and typically act as the sole point of contact with them. The cost is favourable for the client as the contractor is obliged to complete the project based on the contract sum given from inception, providing the client does not change the design during construction. The contractor would develop a relationship with the entire supply chain (fig. 5).

IMPACT ON SCENARIOS

Contract Simulation Exercise

4

Charles Chore Ltd 12 Duchess Street Cityburgh CB1 1ME Scenario 26

MArch Yr 2

Dear Sir/ Madam, I am writing to inform you that the work is not acceptable. Under clause 2.3.2 we are not satisfied with the workmanship of the bituminous felt roofing as this is uneven and we feel is not in accordance with the contract. Please make good the defects. As under clause 3.18.1, refer to attached AI for further instructions.

Contractors Team

Kind regards,

STUDIO A

Group 2

Fig. 5 - Design & Build Contract Relationship of Bullgate House Project

10

11

Fig. 9- Scenario 26, Group 2 AI

Fig. 8- Scenario 26, Group 2 Response

9

8

Fig. 11- Scenario 31, Group 2 Response 13th October 2020, 14.54pm

Time

Fee due at the end of Stage 4 £104,143.72 VAT @ 20% £20,828.744

From: Group 2 To: To Whom it may Concern Subject: Drain Pipes, Bulgate House, Cityburgh Scenario 10

Quality

Total Amount now due £124,972.46 Cheques should be made payable to: Group 2 Partnership Or Internet banking: Account Name: Group 2 Partnership Account No: 00987654 Sort Code: 29-12-57

Fig. 10- Scenario 8, Group 2 Interim Certificate

Actions to be taken following conversation with Quantity Surveyor in regard to drain pipes, as based on Clause 3.18 stated in the contract:

IT Y AL

Q2

2 3

C1

Lowest possible capital expenditure

C2

Certainty over contract price

C3

Best value for money overall

T1

Earliest possible start on site



T2

Certainty over contract duration



T3

Shortest possible contract period

4 5 

Contract Simulation Exercise 1

Cost

 

Time

C1

Lowest possible capital expenditure

C2

Certainty over contract price

C3

Best value for money overall

T1

Earliest possible start on site

T2 

T3

Q1

Top quality, minimum maintenance



Q2

Sensitive design, control by employer



Q3

Detailed design critical

Fig. 13 - Radar Diagram of Traditional Procurement

-inspect pipes on site -Remove these pipes. (3.18.1) or -After consultation with the Employer, allow all fireclay drain pipes to remain. (3.18.2)

Q3

Q3 IT Y

AL

1 Cost

Work completed to end Stage 4. Ie 65% of full fee now due.

65% of 5.0% of £6,908,342, say £224,521.12. Plus expenses at 0.5% £1,122.61. Total fees & expenses due to date £225,645.72 Less amount already paid * £121,500

E

Group 2

1



Quality

T2

To fees for professional services rendered.

Agreed fee: 5% of final account value, excluding expenses.

Final account value assumed to be QS probable cost (£6,908,342)

DR

C3

TI M

Kind regards,

PROPOSED OFFICES: BULLGATE HOUSE, HAYMARKET TERRACE, CITYBURGH

Group 2 was also able to control cost through savings, such as in scenario 10 (fig.12), when lower quality drainpipes were installed. The cost could have been reduced if the client accepted the lower quality pipes that were installed, and the quantity surveyor would have negotiated a reduced price with the contractor.

E

Alternatively you could contact the client to request permission for approval of substitute materials. This might help to prevent further delays. Without their consent, please remove installation for unspecified ironmongery.

2

T2

The Bullgate House project through the Design and Build route would have enabled earlier involvement of the contractor and parallel process of design and construction enables a quicker time-frame (fig.14). The single point of responsibility of the contractor could be advantageous for the client however can also be detrimental in the quality of the design as the client has no control over the design from tendering, as demonstrated in the scenario examples. The lack of independent and impartial consultants that provides quality control may also hinder the quality of the construction. The cost would be known from the outset, therefore, are fairly certain however in the contract simulation exercise the client changes the design. This procurement route does not offer flexibility in design therefore traditional would have been more appropriate for the contract simulation exercise.

2

1

Q2

We first like to inform you that under Clause 3.18.1, the items provided by Suppliers for ironmongery, are not in accordance with the Contract. In reference to Clause 2.3.1, please be aware that all materials and goods utilised for Works, so far as procurable, be of the kinds and standards specified beforehand. Additionally, you (the Contractor) are not to substitute any materials or goods so described without the Architect’s consent.

3

QU

Dear Sir/ Madam,

4

3

Q1

4th October 2020 VAT No: 123 4567 89 In account with: Charles Chore Ltd 12 Duchess Street Cityburgh CB1 1ME

Under the traditional method, the project proves to be delivered effectively in relation to quality as Group 2 worked closely with the client to ensure the design and quality is met. It is however evident from this route additional time and cost may apply due to the changes in design (fig.13).

Scenario 31

5

C1

C3

4

T1

Group 2 Practice 1 The Square Cityburgh CB1 2TY

STUDIO H

C OST

5 C1

TI M

Another form of action Group 2 enforced to control cost was monitoring any risks that may increase the cost to the project. This included changes to specification and changes to the design that could impact the cost plan. In scenario 31, the contractor selected alternative ironmongery as Messer Brace & Bit items would have taken 25 weeks. Through the traditional framework, we were able to inform the contractor that under clause 2.3.1 (fig.11) that the alternative items are not in accordance with the contract. This, therefore, mitigated the cost risk through highlighting this, and any substitution of items, the cost will bear with the contractor and not the client.

C2

C2

C OST

Three key criteria typically determine the procurement route the client takes, and they are time, quality, and cost. In the report, we looked at two procurement routes in Traditional and Design and Build, and they demonstrated different effects on the project delivery outcome.

D.E Struct Ltd. Low School Yards Cityburgh CB13 1FU

DESIGN AND BUILD

T1

2

To ensure that the project was delivered within the lump-sum budget, several measures were undertaken by Group 2 in a traditional framework. Firstly, Group 2 issued out Interim Certificates to the client to ensure fees were paid as seen in scenario 8 (fig.10).

TRADITIONAL

QU

28th March 2021

INTERIM FEE ACCOUNT No. 1293.

COMPARATIVE ANALYSIS

T3

Group 2 Practice 1 The Square Cityburgh CB1 2TY

Q1

2

COST CONTROL

T3

Contract Simulation Exercise

AMPL

2

3 4

5 

  

Certainty over contract duration



Shortest possible contract period



Q1

Top quality, minimum maintenance



Q2

Sensitive design, control by employer



Q3

Detailed design critical



Fig. 14- Radar Diagram of Design & Build

Kind regards, Group 2

Fig. 12- Scenario 10, Group 2 Response

12

14

15

13

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

69

ARCHITECTURAL MANAGEMENT, PRACTICE & LAW COURSEWORK

AMPL

M.Arch Yr 2 Sem 3

COURSEWORK Question 1: Form of Business

Question 3: Getting Work

We need as a fledgling practice to consider clearly our form of business options.

Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any.

Limited Liability Partnership, Limited Company or a Co-operative.

Can you investigate the above ‘form of business’ options and provide a brief critical appraisal of their advantages and disadvantages. Should we be considering a hierarchical or flat organisational structure?

Are there any ethical issues we should consider in deciding on a form of business?

Look at key factors, such as business structure, professional liability, tax and administrative duties etc. A suggestion for an analytical framework might be Overview/ Ownership-Legal Structure/ Risk/ Tax/ Perception and Future development, feel free to add any other critical terms you might think appropriate. Conclude by making a recommendation as to which ‘form of business’ we should adopt and how this might shape the future direction of the practice.

Obviously we are delighted to have won our first commission and we look forward to working on this in the coming months. We have also been approached by a family member to design a house extension in the Borders, including some internal alterations to the existing Victorian property. All new work is welcome!

But we need to now ensure that we continue to attract more work on a regular basis and we need to devise a set of clear and carefully considered methods for getting that work in.

I wonder if you could write a short memo on the development of a ‘Getting Work’ practice-strategy. It should include both general points on good practice and any specific targets we should have.

[Selected Excerpts] A: Deciding on a legal structure is a crucial step for our practice as it is going to dramatically influence not only the business’ finance but also the public perception and future development of our company. The form of business should reflect our ethos as a practice. Alongside the three suggested business forms, two other options are common within the architectural industry: sole practitioner and partnership. However, these two business forms pose high financial risks as liability is unlimited to the extent of not only business but personal assets as well (Brookhouse, 2012). These are not feasible options for our practice as they would prevent us from taking the financial risks required to grow our business as envisioned.

[Selected Excerpts] A: As a recently formed practice, establishing our brand and creating a network is crucial for our practice to be recognised and to get work. Attracting more work would be pertinent for our architectural practice and several strategies and tactics can be deployed to achieve this. Below I have developed a “Getting Work” practice-strategy our practice should adopt as we move forward which includes some general points and specific targets.

OVERVIEW & LEGAL STRUCTURE

BRAND

A Limited Liability Partnership (LLP) is a legal structure established between two or more people, usually also owned by them, which distinguishes between a physical and legal entity. An LLP can be perceived as a “hybrid” that combines the flexibility of a partnership and the protection of a limited company (Brookhouse, 2012).

A Limited Liability Company can be public (plc) or private (Ltd). The difference between the two lies in that the former provides members of the public with the opportunity to buy or sell shares in the company. However, the latter is much more prevalent within our industry and it allows members of staff with useful expertise to become directors or shareholders subject to the availability of shares (Ostime, 2013). For the purposes of this critical appraisal, we will focus on the Private Limited Liability Company. An Ltd is a business owned by its shareholders and run by its directors. Although the two roles can coincide, it is important to distinguish between them, as shareholders can also be staff members, separate individuals, or companies (Foxell, 2015).

Various forms of practice fall under the term ‘co-operative’, also known as ‘collaborative’. It refers to businesses in which the individuals who work for the enterprise both own it and control it. Within our industry, the most common collaborative is a common ownership cooperative – a collectively owned company (Ostime, 2013).

Building and establishing our architectural firm’s brand should be at the forefront of our marketing strategy. The brand will embody our company’s ethos and should be evidential throughout our marketing collateral, therefore, over time clients will be able to associate our ethos throughout our work (Ostime, 2013). As seen in the architectural competition we recently won to design the archive and education centre, sustainability and innovative construction were a focus of the design, therefore these themes should be evidential in our brand. By focusing on sustainability and innovative construction for projects in Scotland initially, this helps the firm to be more efficiently marketable and have a better opportunity to stand out in the industry. Our practice culture is embedded with a thrive for continuous learning and an awareness of the latest trends within the industry therefore this ensures the practice is continuously evolving.

Bibliography Brookhouse, S., 2012. Professional Studies in Architecture: A Primer. 1st ed. London: RIBA Publishing, pp.27-33.

Foxell, S., 2015. Starting a Practice, A Plan of Work. 2nd ed. Newcastle Upon Tyne: RIBA Publishing, pp.39-45.

Ostime, N., 2013. RIBA Handbook of Practice and Management. 9th ed. London: RIBA Publications, pp.90-98.

“GETTING WORK” PRACTICE -STRATEGY

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL

MARKETING To be approached by clients passively, marketing must be done effectively. There are several venues we will pursue with and a strong online presence is important in today’s digital era (Foxell, 2015). Through the creation of a carefully curated website and actively using social media platforms, such as Instagram, this allows us to further improve brand reputation and engage with a potential large plethora of clients (Ostime, 2013). These platforms can connect the clients directly to our business and bring in more work. As our practice grows and we undertake more projects, the firm should aim to publicise their work within an exhibition and aim to give presentations to provide more evidence of our professional record to establish a presence (Foxell, 2015). Within these venues, we will be able to advertise and promote our practice’s story and showcase a record of the work. A general good point of practice to note is monitoring is vital to marketing. This can be done by recording marketing activity against business activity (Littlefield, 2012).

STUDIO H DR

Bibliography Foxell, S., 2015. Starting a Practice, A Plan of Work. 2nd ed. Newcastle Upon Tyne: RIBA Publishing, pp.99-106.

Littlefield, D., 2012. The Architect’s Guide to Running a Practice. Oxford: Taylor and Francis, pp.9-37.

Ostime, N., 2013. RIBA Handbook of Practice and Management. 9th ed. London: RIBA Publications, pp.112-127.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

70

Kite festival in the pols, Ahmedabad. January 2020 Kevin Li

STUDIO H PAR A- S I TUAT IO N [ A HM EDABAD]: PAS T, PR ESENT & P OSSI BLE Kevin Li Jack Parmar Architectural Design Studio H: The Spaces of Appearing as Enzymatic Territories “This, final, semester will be the closing, framing and final presentation of your thesis. Therefore, we expect you to present all scales of the research from body through to The Loving Metropolitan Landscape scales. This final semester will allow you to develop further the designs of your building/s, making sure that all ARB criteria on the technical, environmental and sustainability issues are addressed properly, but also across the urban scale to potentially include further sites of operation – extending the network of your agencies.”

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A Dorian Wiszniewski Kevin Adams L0. 1 The ability to develop a research inquiry which is clearly and logically argued, has awareness of disciplinary and interdisciplinary modes of research, draws from specifically defined subject knowledge, and is relevant to current architectural issues.

L0. 2 The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks.

M.ARCH 2 SEM 4

L0. 3 A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modeling, photography, film, computer, installation, performance and workshop techniques).

AMPL STUDIO H DR

PARA-SITUATION [AHMEDABAD] DYE & DUSTSCAPES

STUDIO H

M.Arch Yr 2 Sem 4

Dye & Dustscapes provides a methodology for the urban design of Ahmedabad, responding to the arid desert of the Gujurat climate, the new imperforate edges of the Sabarmati Riverfront Development and the desire to redistribute the water, economy, and culture according to enriched ecological relations.

MArch Yr 1

A city regarded as one of India’s industrial and economic hubs is at risk of submitting to the abysmal edge of its New Walled City. The Riverfront project has created a void in the terra, overwriting the temporal flows and fluctuations of the Sabarmati River during the three main seasons, of Summer (March to June), Monsoon (July to September) and Winter (November to February), to a static condition of wet-dry opposition.

STUDIO C ATR STUDIO D SCAT

Nicknamed ‘The Manchester of the East’, we understand the significance of the traditional processes used in the manufacture of textiles, and the natural dye processes which have been lost with the introduction of automation and synthetic dyes. We use Madder, a plant dye native to Gujarat, as an apparatus to realise a new enzymatic urbanism that reinvests in the textile industry and the historical rhythms of the now overly regulated Sabarmati.

MArch Yr 2 STUDIO A AMPL STUDIO H

We view Ahmedabad as a cloud of dust, exacerbated by both the crumbling walls of the Old City and the dry landscape of the New Walls. The dust cloud is harnessed by rhythmic redistribution of wetness, with patterns of adherences formed by fragments of the Old Walls, kite strings and stained ground. Through the process of tooling and wetting the dust, the Dustscape becomes a sublime, moist, fecund, and yet productive landscape.

DR

N

Resaturating the Temporal Sabarmati, Planting Strategy Plan, originally drawn at 1:1250 @ A0

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] TOOLING THE DUST

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR It was fundamental we revisited the Old City with the techniques we adopted, consolidating our tectonic understanding and knowledge to bring the design in line with our current understanding. We, therefore, looked at tooling and manipulated the dust at Kalupur Darwaja. The experiments set up led to different marks made by laying, brushing, scraping, feathering, and soaking. This allowed us to understand how the Dustscape interacts with a specific situation. Patterns left in the dust begin to suggest architectural notation.

Tooling the Dust at Kalupur Darwaja Series.

Tooling dust to realise architecture

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] EMERGING AGENCIES

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Emerging Agencies Series.

Emerging from the dust, architectural possibilities begin to appear. Pieces of architecture, picked up in the swirling wind are deposited within the dust. Tectonic elements, lines, screens, and roofs come together, coalescing, and attaching to the existing walls.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] MARIGOLD SELLERS’ GARDEN

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

The Marigold Seller’s Garden.

Isometric, originally drawn at 1:100 @ A3

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

76

PARA-SITUATION [AHMEDABAD] MARIGOLD SELLER’S GARDEN

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

The Marigold Seller’s Garden.

Section AA, originally drawn at 1:50 @ A3

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

77

PARA-SITUATION [AHMEDABAD] MARIGOLD SELLERS’ GARDEN

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

The Marigold Sellers’ Garden.

Worm’s Eye Isometric, originally drawn at 1:100 @ A3

The Marigold Sellers’ Garden.

Isometric Column Detail, originally drawn at 1:10 at A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] MARIGOLD SELLERS’ GARDEN

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Marigold Sellers’ Garden.

Visualisation

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] MARIGOLD SELLERS’ GARDEN

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Marigold Sellers’ Garden.

Visualisation

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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Rani no Hajiro, Ahmedabad. January 2020 Kevin Li

PARA-SITUATION [AHMEDABAD] DUSTING THE SABARMATI RIVERFRONT

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

Dusting the Sabarmati Riverfront.

Model, 1:2000

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] DUSTING THE SABARMATI RIVERFRONT

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H Dusting the Sabarmati Riverfront Film, click to play.

Click to pause prior to moving onto next page

DR

Laying dust on the concrete walls of the Sabarmati Riverfront allows us to visualise the Dustscape in a new situation. The dust softens the hard surfaces, creating a new landscape.

Dust blows against the walls, settling into cracks and piling onto the uninhabited expanses.

Dusting the Sabarmati Riverfront Series.

Model, 1:2000

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] AQUASCAPE

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Dust of the Sabarmati Riverfront.

Plan, originally drawn at 1:2000 @ A1

Inscriptions of Wetness.

Plan, originally drawn at 1:2000 @ A1

Emerging Agencies.

Plan, originally drawn at 1:2000 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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PARA-SITUATION [AHMEDABAD] AQUASCAPE

STUDIO H

M.Arch Yr 2 Sem 4

White card models realised from the Inscriptions of Wetness allow for imagined enzymatic territories, containing both architecture and attached landscape, rupturing the abysmal edge of the Sabarmati Riverfront Project, occupying the ecotone where wet and dry coexist.

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

N

Territories of the Aquascape.

Plan, originally drawn at 1:2000 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

85

PARA-SITUATION [AHMEDABAD] MODELLING TERRITORIES

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Modelling Territories Series.

Card Model, 1:500 GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

86

PARA-SITUATION [AHMEDABAD] TOOLING DUSTSCAPE

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Tooling Dustscape Series.

Madder on Card Model, 1:500

We applied the methods of tooling at the SET scale, revealing territories and landscapes on the white card models which are situated along the Sabarmati river.

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

87

PARA-SITUATION [AHMEDABAD] SABARMATI DYE PAVILIONS

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT Sabarmati Dye Pavilions.

Isometric, originally drawn at 1:100 @ A3

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Nestled within the sublime landscape of the Sabarmati Riverfront are small pavilions, providing a space for the farmers and workers to rest, and to store the plants as they are being cultivated. Timber canopies provide shade from the heat, and shelter from the monsoon, with an internal courtyard providing an oasis to retreat into.

N

Sabarmati Riverfront SET Agencies.

Plan, originally drawn at 1:200 @ A2

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

88

PARA-SITUATION [AHMEDABAD] SABARMATI DYE PAVILIONS

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C

Sabarmati Dye Pavilions.

Isometric

ATR STUDIO D

Progamme

SCAT

1. Well 2. Courtyard 3. Storage 4. Otla 5. Lounge

MArch Yr 2 STUDIO A

[5]

AMPL STUDIO H

[2]

DR

[3] [4] [4]

[1]

N

Sabarmati Dye Pavilions.

Plan, originally drawn at 1:200 @ A2

Sabarmati Riverfront SET Agencies.

Plan, originally drawn at 1:200 @ A1

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

89

PARA-SITUATION [AHMEDABAD] DYE & DUSTSCAPES

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Resaturating the Temporal Sabarmati.

Section, originally drawn at 1:200

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

90

PARA-SITUATION [AHMEDABAD] DYE & DUSTSCAPES

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Resaturating the Temporal Sabarmati.

Elevation, originally drawn at 1:200

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

91

PARA-SITUATION [AHMEDABAD] DYE & DUSTSCAPES

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

The Sabarmati riverfront, Madder than Ever.

Isometric, originally drawn at 1:1000 @ A0

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

92

PARA-SITUATION [AHMEDABAD] DYE & DUSTSCAPES

STUDIO H

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

Film can also be viewed here: https://www.youtube.com/watch?v=uQpElC5j6oY

Dye & Dustscapes Madder than Ever Film, click to play.

Click to pause prior to moving onto next page

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

93

DR D E S I G N RE P O R T

Kevin Li Jack Parmar Design Report: Dye & Dustscapes: Madder than Ever “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.

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 student’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.”

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A Dorian Wiszniewski Adrian Hawker L0. 1 To communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

L0. 2 The demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context.

M.ARCH 2 SEM 4

L0. 3 The development of transferable skills and techniques through the preparation of a sophisticated graphic document.

AMPL STUDIO H DR

DESIGN REPORT DYE & DUSTSCAPES: MADDER THAN EVER

DR

M.Arch Yr 2 Sem 4

Dye & Dustscapes: Madder than Ever The Design Report presents the thesis Dye & Dustscapes in an extensive manner illustrating processes, methodologies, and designs produced.

Dye & Dustscapes seeks to reintroduce the temporal conditions of the Sabarmati River that once occurred during the three main seasons of Summer, Monsoon, and Winter, which has since been made obsolete from the Riverfront project. The report is therefore divided into the following sections: Apparatuses of the Dye & Textile Industry Summer | The Old City

MArch Yr 1

Monsoon | The New Walled City

STUDIO C

Winter | The Madder City

ATR

Exhibition

STUDIO D SCAT

MArch Yr 2 STUDIO A

SUMMER [GRISMA] THE O LD C ITY

AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

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DESIGN REPORT DYE & DUSTSCAPES: MADDER THAN EVER

DR

M.Arch Yr 2 Sem 4

MONSOON [VARSA] THE NEW WALLED CITY

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

96

DESIGN REPORT DYE & DUSTSCAPES: MADDER THAN EVER

DR

M.Arch Yr 2 Sem 4

MArch Yr 1

WINTER [HEMANTA] THE MADDER CITY

STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

97

DESIGN REPORT DYE & DUSTSCAPES: MADDER THAN EVER

DR

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C

EXHIBITION

ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

For a walk-through of the virtual exhibition, please access the link below and follow the instructions on screen to navigate around: https://api2.enscape3d. com/v1/view/5bfb77af4da6-405f-adfbcfe6da3c9d01

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

98

DESIGN REPORT DYE & DUSTSCAPES: MADDER THAN EVER

DR

M.Arch Yr 2 Sem 4

MArch Yr 1 STUDIO C ATR STUDIO D SCAT

MArch Yr 2 STUDIO A AMPL STUDIO H DR

GC 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

COLLABORATORS JP JG GP GMP

GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7

99