Graeme Nicholls Architects Lighthouse Exhibition - Student Project Booklet by Kieran Dick-Doyle

LIGHTHOUSE EXHIBITION Graeme Nicholls Architects

Origins, Narratives & Architecture

Barbara Vecchione, Jonita Karablikova, Kieran DickDoyle, Lau Wei Ann, Liew Zu Vun, Lee Chao Qun International Workshop 2017

INTERNATIONAL WORKSHOP BOOKLET LIGHTHOUSE EXHIBITION Graeme Nicholls Architects

INTERNATIONAL WORKSHOP 2016/2017 Module Registrar Ulrike Enslein / Mike Angus Barbara Vecchione Jonita Karablikova Kieran Dick-Doyle Lau Wei Ann Liew Zu Vun Lee Chao Qun Edited by Barbara Vecchione University of Strathclyde Department of Architecture Year 5 PG Dip/ MArch Advanced Architectural Design (AAD) PG Dip/ MArch Architectural Design (International) (MADI)

CONTENTS INTRODUCTION 7 MANIFESTO 11 PROJECTS 17 THE LIGHTHOUSE 33 WORKSHOP 37 WORK IN PROGRESS 43 WORK PRODUCED 65 EXHIBITION 73 PERSONAL REFLECTION 79

introduction

Introduction

This booklet wants to be the final step to collect all the work we did as a group during the International Workshop class. The project consisted in the collaboration with Graeme Nicholls in the design, the organisation and the development of the Graeme Nicholls Architects exhibition in the Lighthouse in Glasgow. As a group we worked during the second semester sharing our ideas with Graeme and deciding the layout of the exhibition space. As an additional task, we also realised the models and the axonometric drawings to show in the exhibition. The booklet is divided in different chapters, explaining all the different steps we went through to reach the final goal of the final exhibition. Each chapter includes the pictures taken during the whole process. This report wants to show our constant collaboration with Graeme, the passion we put in the realisation of the exhibition and the final results of our work.

manifesto

Toward a Narrative Architecture A Manifesto/Decalogue Graeme Nicholls, 2017

Architecture should be Metaphorical. Architecture should be Logical. Architecture should be Tropal. Architecture should be Proportional. Architecture should be Visual. Architecture should be Material. Architecture should be Formal. Architecture should be Psychological. Architecture should be Transfunctional. Architecture should be Equivocal.

ORIGINS, NARRATIVES, & ARCHITECTURE A Proposed Exhibition at the Review Gallery at the Lighthouse Graeme Nicholls Architects September 2016

Statement of Intent & Description of your work: Graeme Nicholls Architects is an emerging architectural studio formed in August 2016 by Graeme Nicholls, an award winning architect, educator, and critic based in Glasgow, Scotland. Graeme trained at the University of Strathclyde in Glasgow, and at North Carolina State University in the United States. Since qualifying as an architect in 2005, Graeme has worked with some of the top design-led practices in both Scotland and Australia. He also delivers teaching at the University of Strathclyde in design studio, allowing for a strong link between practice and research. Our projects are design-led and are characterised by our interest in proportion, innovative use of materials, and a rich layering of cultural references in order to create a unique ‘narrative’ for each job. This design process challenges the client’s brief, the site, and the scope of the project and ensures that the best possible architectural solution is achieved. We aim eventually to build a leading, international design-led studio.

Exhibition Content & Layout :

This exhibition is primarily intended as an ‘announcement of arrival’ for our practice. The proposed exhibition will contain a combination of physical architectural models mounted on plinths, and wall-based visuals. The models and visuals will describe around a dozen of our early projects in the UK and abroad including an architecture school, arts installations, an art gallery, a sunken garden space, and a temporary pavilion. In addition to these projects a ‘manifesto’ will be presented both on the wall and as part of an A5 booklet, which will collate the content of the exhibition.

Benefit for work/ practice :

The exhibition will provide an important early opportunity to promote the work of our emerging practice to a wider audience at local, national, and international levels. Additionally, the exhibition will offer the chance to develop and refine our practice ‘ethos/manifesto’ and to meet with potential clients and collaborators at the collateral event.

Collateral Event:

We propose a collateral event which will include a talk by Graeme Nicholls, covering the background, development and emergence of the firm. It will also present key influences in architecture and other creative fields which have inspired our work. It is proposed that the talk will coincide with the launch of the A5 booklet, serving as a key reference point for our work to date and our planned future directions. The talk and manifesto launch will be an important networking event which we hope will be attended by a wide variety of stakeholders including arch itects, students, potential clients, members of the media, and also the public.

projects

New Architecture School, Aarhus

In 2016, the The Danish Building & Property Agency and Aarhus School of Architecture launched an open, international design competition for a new school of architecture at Godsbanearealerne in Aarhus, Denmark. As its starting point, our design uses the language of (post)industrial architecture railway yards, sheds and factories. Many examples of this are located in and around the site. Our building expresses this aesthetic in its form. The North elevation of the building features 14 projecting studio bays topped with large triangular north-facing roof-lights. The clients’ desire for a ‘raw structure in which we can develop, experiment, test, cooperate’ is reflected in the pallete of materials being proposed, which has also been informed by those existing buildings on the site. Our proposal is arranged around a central core which contains meeting rooms, teaching spaces, labs, and circulation. Columns next to the core define the passageways. Studio bays are located in the cantilevered section to the North, while staff offices are located on the South. Ground floor social spaces- civic kitchen, library, book store, and common space act as meeting places for students, staff, and public; each of these sits directly below a lightwell.

West Kowloon Art Gallery

The ‘DARK STAR’ Pavilion was designed as Graeme Nicholls’ entry for the international design competition to design a new arts pavilion for the exciting West Kowloon Cultural District in Hong Kong. The building is intended as a unique smaller gallery which should have a distinct character from, and act as a counterpoint to the larger M+ Gallery by Herzog De Meuron. The cranked form of the building is determined by the parameters of the site, and to take advantage of key views over the Harbour. The building is clad in a black anodized profiled aluminium, which gives the building the monolithic sense of a sculpted object. The material has been selected for its unique visual appearance, and to build on the cultural meaning of the colour black.

Glasnevin Cemetery Chapel

Our proposal for the new Glasnevin Cemetery Chapel uses, as its conceptual basis, two key reference points: the work of poet William Butler Yeats (1865-1939); and the proportional ordering system of the Dutch architect and monk Dom Hans van der Laan (1904-1991). Yeatsâ&#x20AC;&#x2122; work explores the themes of change and permanence. In our proposal these themes are also explored through materiality and form, specifically by the inclusion of materials that weather and age in particular ways, and the way light enters the building. The key themes we explore within our proposal are therefore Change, Permanence (and the poetic relationship to life and death), and Proportion. All materials are selected for their quality and durability. These include copper, oak board paneling, board shuttered concrete, smooth concrete, and terrazzo floors. The oak boards on the interior, and board shuttered concrete externally, form a continuous â&#x20AC;&#x2DC;plinthâ&#x20AC;&#x2122; which has a consistent architectonic quality. Our Chapel should feel solid, permanent and robust.

Tribeca Infobox

“Tell me and I forget. Show me and I remember. Involve me and I understand.” - Chinese proverb

Renowned developer Urban Splash teamed up with the Architects Journal in 2008 to organise a competition giving young architects the chance to design a £500,000 building in their Tribeca (Triangle Below Cathedral) development in Liverpool. The proposal creates an easily recognizable marker for visitors, while allowing people to watch their homes being built, and better understand the processed involved. The form is a literal play on the name ‘Triangle Below Cathedral’, using a triangular cross section to convey an identity that is immediate and easily understood. A series of optical devices within the building; digital periscope, camera obscura, and observation chamber, are used as interactive instruments to allow future residents to engage with the development both within the building and remotely via the internet. This scheme was shortlisted along with five other proposals, and was named runner-up. This project was produced in collaboration with Mark Hamilton.

BBC Listening Pod

In 2013 the BBC, in association with the British Library, commissioned a series of mobile recording pods for Radio 4’s “The Listening Project”. The proposal is realised as an abstract monolithic black structure- clad in neoprene demountable panels, which evokes the idea of a universal object for communication, rather than clichéd ideas associated with story telling. A series of these enigmatic objects will appear around the UK forming a distinctive communication network. Each monolith can house 2 people and an observer during story telling sessions which are then recorded for the BBC archive.

A Room for London

“Ruins must be a fantasy, veiled by the minds dark imagining... softened by nature and time.” - Rose Macaulay, Pleasure of Ruins.

In 2011 Living Architecture and Artangel in association with the Southbank Centre and the London 2012 Festival launched a competition seeking designs for “A Room for London”. The room was to sit on top of the Queen Elizabeth Hall roof at the Southbank Centre in London and allow up to two guests at a time a chance to spend a unique night overlooking the City. Inspired by natural forms and systems, the building is imagined perched on the halls as an urban epiphyte, using its host only for structural support and extracting its energy and water needs from the sun and rain. The room is made from layers of surface; a natural structure of stem, vein, skin and leaf. Each is deliberately articulated to lighten a delicacy of construction, in direct contrast to the monumentalism of aggregated walls that form the Southbank. The articulation of folds will be prefabricated in panels which are craned onto to the rooftop, fitted together and anchored to their site. Fixed furniture and service elements will be installed as prefabricated pods to enable simple connections and speedy erection.

Ashtree Road Glasgow

Graeme Nicholls Architects were appointed in 2016 to design a scheme for 24 flats on the site on Ashtree Road which formerly housed the Pollokshaws Swimming Baths. Our design is realised as two blocks, which synthesise the prevalent typologies found on each street- a ‘Tenement’ block to the north on Ashtree Road, and a ‘Villa’ block to the southern edge of the site on Christian Street. Our two flexible flat layouts can accommodate a variety of living arrangements by the inclusion of unique architectural devices which encourage user customisation. Conceptually, our project seeks to develop a narrative which relates to the history of Pollokshaws. The neighbourhood flourished as a centre of textile production in the industrial era, which resulted in an influx of skilled Flemish weavers to help meet the workforce demands. Using human scale and proportions as a starting point, we have included a series of motifs related to both weaving and Flemish architecture throughout the design, including a woven pattern created across the façade in the careful placement of windows, the use of Flemish bond and textures in the black brick cladding, and more.

lighthouse

THE LIGHTHOUSE - The Review Gallery

workshop

THE WORKSHOP The International Workshop included a two days intensive workshop with the aim to develop ideas for the Lighthouse exhibition. During the workshop all the students participating in the optional class had the opportunity to meet Graeme Nicholls and discuss with him the main themes to develop for the exhibition. Each students developed ideas and concept models following Graemeâ&#x20AC;&#x2122; manifesto.

work in progress

TASKS AND MEETINGS The group formed by Barbara Vecchione, Jonita Karablikova, Kieran Dick-Doyle, Lau Wei Ann, Liew Zu Vun, Lee Chao Qun, had different tasks to complete. Each task was supervised by Graeme during the weekly meeting that we had in the studio. The Tasks: - develop a design for the exhibition space in the Review Gallery in the Lighthouse. In order to complete this task, a model of the exhibition space 1:25 has been made by the students. Using this model as a setting, the group was able to develop a design proposal, discussed during the meeting with Graeme. - build the models of the project to show during the exhibition. The models are mostly hand-made and some of them are made using the laser cut. - axonometric drawings of the project to show during the exhibition on the big wall in the Review Gallery Space. - print the A2 drawings to show during the exhibition.

MEETING IN THE LIGHTHOUSE

Initial Questions & Informative Meeting

Date of Meeting: 01.02.17 The Lighthouse, 11 Mitchell Lane, Glasgow Attendees: Barbara Vecchione

•

Graeme Nicholls (GN)

•

Jonita Karablikova

•

Kieran Dick-Doyle

•

Lau Wei Ann

•

Lee Chao Qun

•

Liew Zu-Vun

•

Raymond Strachan (RS)

White wooden panels on the tall wall can be replaced with brushed metal ones in-

stead. Not sure on the condition of these alternate panels but may provide a more seamless

These metal panels may have the capability to let work be magnetically attached to

them for a cleaner look? -

Scissor lift available and installation would be carried out by the LH.

Plinths -

Available in different sizes: tall & narrow / low & wide (800 x 800mm dimensions?).

Possibility of building them up to suit the sizes of the exhibition – in accordance with

the modular idea for the exhibition.

GN started the discussion by explaining the brief ideas behind the exhibition and the

the wall space were presented to give an insight into what is being proposed. A large 1:25 scale model of the exhibition contents and space area was used as aides during this process. First Comments GN initially looking to implement a 3-part exhibition process consisting of a Retro-

spective Presentation / Company Launch / Manifesto Approach. -

title on the fin wall at entrance to the exhibition. RS suggested this is a good idea and has ease

to the white board option as is current.

concept designs for its layout. Options for the fin wall, floor arrangement and how best to use

GN asked on the use of vinyl applied to Concrete as a means to show manifesto and

look to the wall and make irregularities / bumps / differences in each panel subtler compared

Introduction -

in the lighthouse.

of removal after use.

Location:

•

(RS) The Gallery Space to be used for the Exhibition has the highest footfall of spaces

RS suggested there are many small plinths and boxes available for use that previously

have been used for other exhibitions. These are in storage and may not be in pristine condition but Lighthouse (LH) are happy to touch up if required. Notice should be given to allow time for touch up.

Possibility of incorporating low & wide size as a seat?

Previous exhibitions have used low plinths for model displays and other exposed piec-

es. Visitors to the gallery have been respectful and would not touch them – this include children understanding not to touch/lift the models. Install / Access -

LH will assign a member of staff to assist with the install. They will be available all day

to help however they can. -

The install process can take a week, though 3 to 3.5no. clear days are given between

start of install and opening of exhibition generally. -

Typically install Monday previous to opening exhibition with a press event / private

function on the Thursday afternoon. Following this this the exhibition is open to the public.

The LH press team can provide help to facilitate press release / advertisement / target-

the problem of organizing people into the space or at different key points of the opening. GN

ed marketing for opening of the exhibition.

agreed in the issue of moving large volumes of people from an opening presentation to another

The next exhibition opens on the 8th May after the culmination of GN’s exhibition.

location.

1no. days de-installation. More time can be given to this if required.

Notice of installation and de-installation requirements need to be provided to the LH by

ifesto to explain his approach, then possibly an invited panel to discuss the ideas / topics

GN suggests he is thinking of a 10no. words / 10no. slides presentation of his man-

approx. the start of March to allow time for staff requirements / specialist help to be organized

raised?

/ material sourcing / construction etc.

Invitations

LH have used James Bros (Based on Duke Street) for vinyl application before – either

LH happy to provide marketing resource / space / equipment.

can self-install or they can provide professional install.

Facebook / Twitter etc. LH can also target specific companies / organisations if required?

GN will contact with view to arrange a professional install?

AV -

GN keen to stay away from small power / AV requirements to avoid complicating the

LH to provide targeted advertisement if required as well as social media exposure via

LH on site catering must be used in the event and this can cater to 100no. persons.

RS suggested previous exhibitions have had opening events of almost 200no. per-

exhibition.

sons which was deemed too many to safely occupy the space and for a presentation / opening

Public Liability

event to properly function.

LH will provide a contract to GN to cover the duration of the exhibition.

LH will cover the installation and de-installation process

outs / cancellations.

Insurance doesn’t cover lost property / exhibition pieces? (discussion had on a miss-

Budget

RS suggested aim to invite 130no. persons with the expectation that there will be drop

ing item from a current exhibition, LH unsure on where it stands) LH will get back to GN to

clarify this?

stated budget.

Opening Event

allow drawdown of funds. Alternatively, LH have accepted a collection of transaction receipts

GN stresses that the opening event should not be too formal but equally does not want

GN has been in contact with LH regarding budget. Understands costs may exceed LH are happy to accept invoices at time of purchases for exhibition requirements to

it to devolve into a “drinks party”.

from previous exhibitors at the end of their exhibitions and reimbursed them.

AYOB

Success of previous events was raised by GN. Which formats were better suited to the

space? -

- RS mentioned that a ‘pecha-cucha’ style of presenting with audience interaction /

Question raised regarding the condition of screws etc. attaching current boards to the

wall of the exhibition space? RS suggested this has come from wear and tear of continually

participation has been a successful method in the past.

being knocked about during install and de-stall over the years.

RS offered the idea of a 3-part event? “OPEN……BLOG……EVENT” to counteract

RS open to the possibility of replacing screws / bolts to better tighten boards to sup-

port structure to lessen the existence of uneven panels. -

Inspection of metal panels reveal significant marks / scratches to their surface. Com-

parison of A3 sized work exhibited against them conclude that perhaps the white boards that are currently on the walls are best for the work that will be on show? -

Search for low plinths and boxes in the LH store areas indicate there are several avail-

able for use that are in various levels of appearance. Some touching up will be required. -

500 x 500mm boxes are identified as having potential for use in the exhibition. Adap-

tion of proportion of exhibition concept may be required to allow their use. -

A series of trestles that could be used for displaying boxes and subsequent work on

top of was discovered. These were taken out into the space and arranged variously to get a feeling of their proportion in the space Leaving Comments -

GN and RS agree to contact each other regarding points raised.

The Int Workshop group will progress concept to a more rigorous proposal stage for

the next meeting on Wednesday 8th February.

work produced

exhibition

personal reflection

Wei Ann During semester two of year five, I’m glad that I have been offered a chance to participate in organizing Graeme Nicholls Architects Exhibition at The Lighthouse, Glasgow. In the first class of International Workshop, our client and the founder of the firm, Graeme Nicholls had made an introduction of himself, his studio and what the exhibition content is mainly about. This exhibition is primarily intended as an ‘announcement of arrival’ for the firm. The proposed exhibition will contain a combination of physical architectural models mounted on plinths, and wall-based visuals. The models and visuals will describe around a dozen of the firm’s early projects in the UK and abroad including an architecture school, arts installations, an art gallery, a sunken garden space, and a temporary pavilion. In the first class, we have been told to present our ideas of setting up the exhibition with physical models. During Graeme’s review on the ideas, I have noticed that he has a lot of interest with the ideas of the set up which creates interesting visual, while at the same time be able to exhibit his works. Our professor and the coordinator of the elective subject, Ulrike Enslein also pointed out the some important consideration of the set up, such as, the ease of install and dismantle, transportation matter, and reusing the installation for future use. During our first meeting with Graeme on 1 of February 2017, we have been acknowledged with the schedule and phases of the works. There are a total of 6 stages of works has to be done in order to make the exhibition to come to a success. Theses phases include: international workshop student tasks (to produce 2 models for featured projects per week, 2 axonometric drawings for featured projects per week, A2 exhibition poster, exhibition poster printing), concept design, developed design (design development of exhibition), technical design (fabrication drawings for exhibition), construction (material orders, cost checking, etc, off site fabrication & on site installation), and the last stage, which is handover and close-out (exhibition opening on 3rd of April, launch event on 6th of April, and demount & making good). After seeing the schedule, I have realize that setting up an exhibition is not as easy as how I thought earlier, it required a precise planning on time management, amount of works, practicality, material, budget, medium, advertising etc. We have then been asked to further develop the fins and boxes design of the exhibition installation, which the designs has gained the most interest by Graeme. Me and Kieran have been asked to further develop the fins design, Zu and Chao are assigned to further develop boxes, while Jonita and Barbara will be start making the site model of the exhibition space. Before we have start developing the design of the fins, we have studied the size of the space, because we believe the size of the space is the key factor of defining the layout of the fins. Also we have

studied the relationship between human dimension and the display of art work, because we believe eye level, viewing distance is the key element of enhancing a good interaction between the viewer and the artworks. When I was working with Kieran, we both came out with some very interesting ideas for the fins. We have then made a decision of the best design of our own, and integrate them. I think that’s a win-win solution of doing this group work because at the end of the design, we can come to a mutual agreement of the design because our final design consist of the ideas of we both. In this study, we have visited Kieran’s previous dissertation tutor, professor Ashraf M. Salama, to study and learn how the setting up could manipulate the circulation flow of visitor. Even though our design have not been chosen as the medium to display Graeme’s works, but I’m happy that throughout the collaboration work with Kieran, I have learned to be more conscious with the proportion of the design, learn more material options for the projects, standard dimension of the material, and how to bring design to the reality. What I have learn from the design of Zu and Chao is that, their design are much more focused on being a supporting medium of displaying the content of the exhibition, and their design are much easier to dismantle and install with a better budget. After Graeme has come to the decision of the set up, we then started to do models and drawings for the exhibition. Me, Barbara, Kieran, Zu, Jonita, and Chao has agreed to work with the models and drawings at Garden Studio every weekend. Me, Barbara, Kieran, Zu and Chao will be doing the model together, while Jonita will be working on the drawings. I’m really impressed with the ability of Jonita of doing so many drawings alone within such a short period of time. While working with the models, I have realize the model has to be done precisely because these works are representing Graeme and the works will be exhibiting to a wide range of audience. I have been working on the model of NAA – New Architecture School Aarhus and BBC Listening Pod. While doing these models, I have learn how a practiced architect has designed a building, his architecture style and language with the design. After hard work of weeks, we have finished the works within the given time. On the launching night, the exhibition has been attended by around 60 people, and Graeme has received lots of good feedback with his works. The models and drawings are all came together really well, which strongly attached to his manifesto. I believe the exhibition has come to a great success, and I’m happy that everyone’s effort has finally being paid off. Throughout this project, I have learned to better managing my time, to be more mature and practical on doing works, learned how to bring design to reality, better way of doing work with others, and learn how to communicate with the teammates.

Barbara During the second semester I attended the International Workshop as an optional class to complete my degree. The workshop was divided in three different classes: the Lighthouse exhibition, the Scenic Route Project and Elements of Architecture. The classes has been thoroughly explained during the first meeting by Ulrike Eslein, giving the opportunity to everyone to pick up the favourite option. I have decided to work in the Lighthouse Exhibition, having the opportunity to organise and design the exhibition of Graeme Nicholls in the Lighthouse in Glasgow. The decision to participate in this workshop was made for one main reason: last year I had the opportunity to work in the same exhibition space during the Project Through Collaboration class, therefore I found interesting and challenging to work again in a location that I knew. The space itself, the Review Gallery, is a very challenging location because it could be difficult to design as a neat space. Besides, after Graeme explained to us his manifesto and his goals for the exhibition, I found his approach very interesting and I was very stimulated to work with him. The exhibition aim was to show Graeme Nicholls Architects work, as an ‘announcement of arrival’ for the practice. It was clear from the beginning that the effort to put in this project needed to be maximise, because the exhibition represented a very important step in the definition of the practice’s manifesto. The exhibition was intended to be a tool to show Graeme Nicholl’ work, manifesto, approach to architecture, as a starting point to affirm his practice. As an initial approach, we attended a two days intensive workshop in which every student had to design different proposals for the exhibition space. I found the workshop very interesting and stimulating. If at first everyone was kind of shy in developing a strong and creative proposal, after the possibility to talk with Graeme everyone developed more hazardous proposal. I found the workshop very stimulating, because both Graeme and Uli were pushing our creativity, without thinking at the feasibility of it. I found was a necessary approach to use to stimulate our passion and our mind. This is the second reason why I decided to attend the opportunity to work in the Lighthouse Exhibition. Once the group was defined by six students, we had the first meeting with Graeme in which he assigned us our tasks. During the first meeting we immediately understood that we had a big responsibility. Indeed, the tasks assigned were regarding both the design of the exhibition space both the realisation of models and drawings to exhibit. At first it was scary to realise how many responsibilities we had, but as a second thought it was actually challenging to have someone that trusted us and that was open to communication and to our ideas. Graeme alwasy listened to us, asking for our opinion and sharing with us every information regarding the exhibition. Personally I found it very inspiring; I have never worked in a practice before, because

I moved from Italy to Glasgow without doing my Part 1, therefore I have never totally realised how much important is everyone’s work in a practice. Working in the organisation of the exhibition in collaboration with an architect and five colleagues I understood the difficulties that we will probably have also in the real life when we’ll hopefully find a job in a firm. First of all I understood that someone has to organise the work; if that role was Graeme’, then we also needed someone to organise the work between us. Overall I can say that everyone worked with enthusiasm, aiming to reach the top. As a first task I realised the site model with Jonita. After this, Graeme asked me if I could organise the laser cut for the models, so I was in touch with the different laser cut studios in Glasgow and then I started using FabLab when needed. As a second task I participated in the making of the models, preparing the files to send to laser cut and also making hand-models when possible. At first it was quite stressing to have so much responsibility because I understood that the models needed to be perfect because they would have be shown during the exhibition. Indeed it happened that some of the models needed to be realised with more attention. I have worked with Zu on the Ashtree Road Pollokshaws model. Besides that, I have worked on the Westkoon Art Pavillion model and on the Tribeca Infobox one, and helped Kieran in the realisation of the BBC Listening Pod model. Overall I think I contributed with my skills in organising the work and the group meeting, in developing the models, and also in giving my opinion to the other colleagues task. I found that meeting Graeme weekly gave us the right rhythm to carry on working throughout all the process. Overall I learnt from this experience how to improve my modelling skills as a practical skill, but I think the most important aspect I learnt is to how to deal with group working. It can sometimes be stressful to have to organise meeting and to share ideas and opinions, but I think that the group was very collaborative. We all understood that we needed to work as much as possible on the realisation of the materials, because we all wanted to reach the perfection and to not disappoint Graeme. The final exhibition was a success. The exhibition space was very well designed, because we thought about the space in detail for a lot of time, trying to take the best of it. I am very proud we decided to use the vertical wall creating the patchwork with the axonometric drawings that Jonita and Graeme did. The overall aspect of the exhibition was very professional, and it was very stimulating to see our ideas and our materials shown in order to help Graeme in the making of the exhibition. Even though sometimes it was quite stressful, I think this was a great experience that taught me how to be more responsible and how to organise my time in a better way.

Zu Vun Our task was to design the exhibition space located in the Lighthouse for an emerging architectural studio, Graeme Nicholls Architects. The exhibition is mainly to introduce the firm to others (visitors of the Lighthouse), as it is a relatively new firm. Besides designing the exhibition space, we are also helping with the models and visuals that would be presented for the exhibition.

assembled the â&#x20AC;&#x2DC;A Room for Londonâ&#x20AC;&#x2122; model. Overall, I felt I have contributed fairly sufficient, with producing models as well as giving opinions and thoughts throughout the whole process of the module. Overall, I have worked on four of the seven models that is to be exhibited. We are glad that Graeme is very understanding when it comes to time management, as he has taken into account of other deadlines and modules.

From the beginning of the project, we were given the opportunity to design the exhibition space individually, to portray what we think is important and how each projects are shown. I came up with the idea of having modular boxes that can be placed on top of one another and moved around easily. This is to provide the exhibition more versatility as it runs through the time frame of one month - to suit different occasions and different number of people entering the exhibition space. Graeme Nicholls took a liking into the concept for itâ&#x20AC;&#x2122;s versatility, uncomplicated installment and also with the use of boxes or plinths, it would reduce wastage as it could be used again in the future (after the exhibition). Further to that, Graeme instructed us to further develop two ideas - modular boxes and fins, and see how it progresses further. I then proposed the idea of having boxes with surfaces that could be removed easily - this is so he is given the choice to place models in the boxes or to have project descriptions on the surface of the box. The box could also work as seats for viewers. Through discussion within the group and Graeme, it has been decided that the use of plain plinths to exhibit models and the use of the high wall to display the drawings and visuals would be ideal, as there is limited space in the Lighthouse, therefore keeping the exhibition simple and easily accessible.

Through this module, I have learnt to manage my time efficiently, as model-making consumes a fair amount of time. Besides that, communication with colleagues as well as clients (Graeme Nicholls) is also very important. This is to cause less confusion from one person to the other. For example, due to the lack of communication, a colleague and I have produced the same models, and this could be avoided if we have advised one another regularly. Other than that, we have exchanged opinions within the group and also to our client, in terms of ideas and suggestions - on what materials we should use for each models, along with struggles we were going through with the workload we were experiencing. Other than that, my model-making skills have improved through the practice of producing multiple models for the exhibition and it has also exposed me to the use of different materials. In addition to that, I have learnt to be more open on the opinion of others and to implement ideas and suggestions into my design or ideas; and also not to be afraid of giving opinions, as we are all learning together. Furthermore, to also look into detail within every aspect of a project, such as supplies we can get or use that is already available (in order to avoid wasting time and effort to produce unnecessarily).

Graeme Nicholls had initially decided to exhibit nine projects, this includes an architecture school, arts installations, an art gallery, a sunken garden space, and a temporary pavilion. However, due to lack of space in the area of the exhibition, it has been cut down to seven projects. We were to produce a model and an axonometric drawing for each projects. We were given information on each projects (SketchUp models or AutoCAD drawings) as well as instructions and specific details to work on the models and drawings. The group has decided that five of us would work on the models and one would work on the axonometric drawings. As a group, we have agreed to meet every Sunday to work on the models as we would meet Graeme every Wednesday to discuss and keep each other up to date with the progress.

Upon doing the models and understanding each projects, it has also broaden my knowledge in design skills. It is interesting to see how a professional architect come up with certain designs and what it was influenced or inspired from. Although all the projects are of different scales, it is clear that Graeme has a definite way of processing his ideas into buildings - which is exactly what he has depicted in his manifesto. The launch of the exhibition was a big success with around 60 people over the course of the night, and Graeme had received a lot of nice feedback. I am grateful to work with such friendly and hardworking colleagues, it has taught me to always be understanding and considerate to one another as we are all in this together.

I have worked with Barbara on the Ashtree Road Pollokshaws model, producing the AutoCAD files for laser cut and also assembling the models together. Besides that, I have worked on the Glasnevin Cemetry Dublin project, producing the laser cut files and assembling the model, with the help of Chao Qun on the roof of the model. Other than that, I have also worked on the model for the Tribeca Infobox Liverpool project with the aid of Chao Qun and Barbara. Lastly, I have

Kieran

The International Workshop elective class appeared to be a good opportunity to engage in a creative design project that could hopefully give me some new learning curves that the regular rigours of a studio project maybe hadn’t provided in the past. Given the restricted amount of time available for us to spend on live projects while in University and the unique exposure to the pressures and deadlines that go with them, I felt really motivated to get involved in this class. The course, as it was explained from the outset, would be split into three individually running live projects and we had the option to work on whichever we preferred. Following a 2 day intensive workshop run by Ulrike Enslein (Uli), during which presentations were made outlining each project, I opted to help design an public exhibition that would exhibit a collection of work by the newly established practice Graeme Nicholls Architects, that was to form the ‘Announcement of Arrival’ of his firm. During his presentation, Graeme discussed the factors that influence his approach to architecture, touching on cultural references in film and the arts and the importance of materiality, palette and proportion. His style seemed different to my own logical and analytical approach to architecture so I was interested to work with him to see what I could learn. As he is an emerging architect in Glasgow and given that he graduated from strathclyde, I was also intrigued to learn a bit about his career progression and ambition for the future. Graeme then talked further about his ‘Manifesto’ which has evolved through the projects he has worked on to the point where now he can claim to have his own set of ‘Ten Commandments’ that his practice tries to abide by. These rules would form the basic theme for the exhibition to follow. The projects included in the line-up would be represented by physical models and graphic images, and were to include an architecture school, an art gallery, a new-build residential project and temporary pavilions among others. The first meeting with Graeme took the form of a brain storming session to generate ideas for how the exhibition could look, where each person in the class designed an exhibition concept they thought was suitable to display his work. During his review of our ideas, it became clear that Graeme had an appreciation for form and order as well as in clarity of expression and the underlying idea of a design concept. Uli also suggested the importance of cost, ease of set up and recycling of materials. I enjoyed this informal review format as it gave me an insight into the contrasts between my ideas and those of Graeme’s and the other students. I learned that sometimes the simplest ideas are the more effective. This was reflected when he chose two concepts for us to explore in more detail; a series of simple standardised boxes which could be laid out on the floor as seats or stacked as plinths, and an arrangement of thin vertical fins. Wei-Ann and myself elected to take the ‘fin’ option forward, while Zu and Chao Qun developed the ‘box’ option. Barbara and Jonita would make a large scale model of the exhibition space. In order to efficiently coordinate the design and set up of the exhibition, Graeme set up a program of works that outlined the tasks required by each party.The program followed the RIBA Plan of Work 2013, including the key stages of ‘concept’ (RIBA Stage 02), ‘developed’ (RIBA Stage 03) and ‘technical’ design (RIBA Stage 04), through to ‘construction’ (RIBA Stage 05) and ‘hand over’ (RIBA Stage 06). Our collective input fell outside and around the key stages, so that we could remain flexible with regards to our Thesis projects, however I nevertheless appreciated this set up as it is rare that a university project can be run to the strict framework that a professional project would be. This provided us with the experience of considering time management, budgetary and material choices restriction as well designing with an idea of how it will be constructed in mind. The evolution of the ‘fin’ concept that Wei-Ann and I looked into gave us the opportunity to survey and analyse the exhibition space at 1:1 scale during a ‘site visit’ and then to work at 1:5 and 1:10 scales to refine the concept. During our concept investigation we worked with Corbusian theories on proportion to understand how best to effectively display certain types of work at different heights. The large scale also gave us more control over material choice than we typically achieve in studio projects. We analysed and manipulated how can move people through a space and started to understand techniques to ‘hide and reveal’ certain elements of the work on show as a user experienced the space. 86

The process involved at this stage proved to be extremely valuable, giving us an insight into detailed designing for actual human use of a space, as opposed to the more generic plan and section approach that can sometimes be prevalent in larger building design in studio. Wei-Ann and I worked effectively together and generated some interesting ideas, amalgamating them into what we thought was an effective end product. Our ideas on proportion, colour and materials I hope to translate into my Thesis project. Unfortunately however, Graeme rated the ‘box’ concept higher when we met again for our second review, and this ultimately ended up as the choice medium of exhibiting his work. This concept allowed greater order of layout and more efficient circulation of people around the exhibition. It also was cheaper and easier to build, dismantle and transport and could ultimately be used by Graeme in another capacity in the future. Over the subsequent 5 weeks, our new task was to compile the exhibition content. There was some confusion on our part at this point, as it was not expected that we would be required to provide the models and drawings that were to be presented at the exhibition. However the process allowed us to become full collaborators in creating a public exhibition, the result of which would hopefully do as much for our confidence as it would for our Portfolios. Another sticking point proved to be a disconnection between what Graeme suggested was a reasonable workload for us to do and what we suggested we could reasonably do. However, I coordinated correspondence between the students and Graeme as well as gaining advice from Uli to allow us to resolve the situation as best as possible. Ultimately we decided to would work through the models and drawings independently without regular check ins from Graeme towards a provisional ‘red pen’ day deadline. Wei-Ann and myself again worked on models together, combining to produce the NAA Architecture School (1:200 model) and the BBC Listening Pod (1:50 model). I produced CAD drawings for 2 other models and laser cut materials for each of these prior to other members of the group assembling them. The other models were shared between Barbara, Zu and Chao Qun, while Jonita impressively created graphic axonometric drawings for each project independently. In building these models I learned the intricacies of construction required in a temporary pavilion and the spatial arrangements of a large education establishment. These are both areas of design that I have so far not been able to work on during my time at Uni so I appreciated the opportunity. I also benefitted from the pressure of making sure each model was as perfect as possible to meet Graeme’s expected standards and also the standards of a professional exhibition. While I appreciate that each member of the group had their own studio project to contend with during the International Workshop class, at this stage it regularly fell to myself and only a select few others in the group to arrange dates and times for everyone to meet to build the models and to pay for material costs. In hindsight, a better structured layout of responsibilities between the group members at the beginning of the task would have improved the way the group functioned to efficiently produce the exhibition pieces. Following the culmination of creating the models and drawings, the opening night of the exhibition opened successfully and on time, attracting around 60 people. Complimentary to the models and graphics, Graeme gave a short presentation explaining the idea behind his exhibition and his practice’s ‘Manifesto’ to the assembled guests, which drew lots of good feedback. This will surely grow over the month that the exhibition is open for. Over the course of this project, I have gained experience in many ways that have positively informed my thesis project and my general approach to design and working. Time management became a prominent feature during the model making process of the class, while an understanding of proportion and spatial layout has benefited me in my design of my final exhibition spaces. Also, my initial role as point of contact between Graeme (the architect) and the students (the project team) provided me with insight into the stresses of managing a project to a RIBA structure program. Better communication between all parties, courage to voice opinions and fairer task sharing though may have aided in resolving misunderstandings quicker and prevented frayed tempers to an extent. On the whole, the group produced good work of which we can be proud and that can be a visible testament to our skills as architecture students. 87

Jonita The fifth year in the university of the architecture student is quite difficult, but also it is one of the last opportunity to be able to work with your peers. Elective subject range is very well thought of and houses a lot of different opportunities for everyone needs. The idea of international workshop definitely catches an eye. The second semester of the fifth year students had an opportunity to participate in the international workshop that was organised by the year director Ulrike Enslein. The workshop class is run for the half a year during the second semester. The most intriguing part of this class that there was a quite few options of the work that students including me where able to hear about and be a part of. Proposed options where quite different and practical. Each students focus and skills that we usually do not explore could be applied and enhanced during the rest of the year. Thus we where able to hear all the options, had time to asses all of them and pick one that suited our individual views the best. The work started with the two day workshop. It involved a quick start of brainstorming the layouts of one of the possible choices. A workshop included session of preparing a space model that was dedicated to the exhibition of Graeme Nicholls. This was an exploration of the option of Graeme Nicholls Architects first personal Exhibition at The Lighthouse, Glasgow. We where given the projects that architect thought of putting on display in the exhibition.The next two days was spent investigating a space as well as interrogating possible layouts of the exhibition that would include drawings and models. During two days we got to better knowing all the members that participated in the optional class as well we had an opportunity to meet and hear the opinion from Graeme. That enabled us to feel more comfortable round each other and more open about our ideas and creative propositions. Due to all that is stated above I was very intrigued in this option and wanted to continue with this choice for the rest of the semester. The intent of this exhibition was an announcement of the establishment of a new architecture practice. It was a long standing dream of the architect to establish his own firm, so there was an immediate understanding of the importance of the representation. The space that was given for the exhibition was quite tight and had few restrictions, non the less the options that all students proposed was well taken by Graeme. After few more explorations of the spaces the decision was made to go with the option that involved visual drawings located on the wall and the models that supposed to be exhibited on the plinths. The main focus of the exhibition was nine key projects and competitions. It was a very good to keep our focus and make decisions when we new what exactly we need to look at.

Graeme at one of the first of our meetings presented the work plan and tasks that should be achieved by certain dates. That allowed us to plan our time including work that needed to be done until the opening date. The schedule included a production of the nine models and nine key axonometric drawings of a size of A2. Time line was very well planned and covered all of the issues that might appeared until the opening day. Further, the group continued looking and exploring a preferred option of layout for the exhibition as well as making a scale model of the space that was dedicated for the exhibition. At this point we already worked as a team. Equally divided tasks and responsibilities where taken by each team member. So the start was very straight forward and easy to manage by the students. The rest of the work followed as was planned in the schedule. During our creative process, from the begging to the end all work was coordinated by all of the team members. The effort and time was quite equally delegated by each team member towards achieving a common goal â&#x20AC;&#x201D; final exhibition. Collaboration and easy going, quite relaxed approached worked for all of the members. Students kept producing, meeting a coordinator Graeme on regular basis, getting feedback and reflecting on it until the last day. We got better understanding of the client and his approach to the design and architecture during this process. As there where two key tasks to be performed by the studentsâ&#x20AC;&#x201D;models to be made and drawings to be done we split the work according to our abilities and time. I personally was not so familiar with axonometric drawings, so expressed an interest in helping out with this part. Rest of the group put a lot of effort in preparing models. Models required a lot of work so we collectively decided that it would be the main focus and major work force would be put towards making them. It was good to be part of that process. Seeing models helped better understand the projects and what type of the axonometric drawings were needed. Due to an easy approach we got very close and were able to share our ideas and opinions freely and that help to produce quick and reach a decisions. This option was one of the most appealing as it had an actual client, certain time scale of work and involved an organisation of an actual exhibition. Skills form this workshop such as understating a space faster, quicker conclusions, time management and ability to adapt to a group of people will be very well applied in the future. For example, as we have to organise an exhibition for the end of the year work in May, it already gives an advantage of time management, spatial interrogation and understanding what actually architectural exhibition is.

Later all team members that were delighted to be a part of this choice and the client decided on the best suited time to meet. It was weakly meetings and discussions of the process towards the deadline of the exhibition. The exhibitions was set to be open on third of April, 2017.

Chao Qu This written will be discuss on the process for the whole International Workshop (AB957) module. This module aims to give student a hand-on experience of working on a real project and let the student learn from the process of real life design, production and communication with different parties to get the work done in the end. The workshop started with an introduction to the different choices of the Workshop available to choose from. Choices include (1) Graeme Nicholls Architect Exhibition, (2) Scenic Route Project, (3) Elements of Architecture. After attending the intensive workshop working on the brainstorming and design on the Graeme Nicholls Architect Exhibition I decide to take on this project to work on it for the rest of the semester. In the intensive workshop we expect to come out with different options of approach for the exhibition by study the design manifesto for the architect’s practice. After a few sessions of comment and critique from the client (Graeme Nicholls Architect) the direction of the exhibition was fixed by the client. The works of for this workshop project can be put into four stages, which is Ideal Brainstorming, Production, Critique, and Exhibition. We started to work on this project by brainstorming the possible ideals for the exhibition and decide how to present the architect work on the exhibition. To better understanding about the site, we have a site visit to the exhibition space, during the site visit, we have a short meeting with The Lighthouse management to find out the rules and restriction for exhibition installation on site. After the visit, we divide our members into 3 groups, first group working on developing the ideal of using the Fins and Panels to exhibit the architect works, second group working on developing the ideal of developing an ideal of using the difference boxed in different combination and the third group working on making the model of the exhibition space so we can have a better understanding of the exhibition space when developing the design for the exhibition. After a few weekly meetings with the client (Graeme Nicholls), he decided to use the simple boxed plinths to make the architect work (model) to stand out. The stage 2 for this project is to produce the exhibition content, the architect planned to exhibit seven works done by the Graeme Nicholls Architect previously, so we are expected to produce seven models and 42 A2 size Illustration artworks for the exhibition. We allocated most of the members (5 peoples) to work on the model because model making is the most time consuming jobs. In order to complete the models in time, we plan to complete at least two models every week. We archived this by distributing the works in between our group members, the work distributed into difference part, like preparing the files for laser cutting, sending to laser cutting, and model making. Everyone in the group has their own responsible for the difference part of model making process. One of our members volunteer to complete the illustration art work, she tried difference approach and printing technic to make sure the outcomes of the artwork are the best way to exhibit. Stage 3 is comment and critique, stage 3 happened every Wednesday afternoon, we had our group meeting with the Graeme Nicholls Architect in collaboration the expectation from him. We check on

the materials, workmanship, expectation and the way to present the models with the Graeme. The model that’s not up to the expectation will be modified or re-do follow the comment from the Graeme. We always convey our difficulties and problems we are facing during the model making process to the Graeme and make the judgement. Furthermore the Graeme will inform us his expectation for the next meeting, so we can produce the work follow his expectation. The exhibition is the last part of the project, we have to prepare the exhibition content, by print out the artwork and producing the models to the architect on time, so the architect has the enough time to display it on the site. The workshop gives us an opportunity to work on the real life project, it’s a very different experience comparatively to the boring academic modules that focused on the theory. Furthermore this workshop allowed us to gain some practical experience, we have to work on the tight schedule and deal with the high work load for this module, at the same time we have to take care of others subject. The high work load is the only cons of this module, we expect to produce a lot of models and art work in the tight schedule and it crashed with others higher credit hours subject. The unclear of the volume of the workload at the beginning of the workshop make us feel blur and don’t know how to plan our time efficiently. In this workshop I get the chances to involve in almost every part of the process, everyone has the opportunities to work on different phases of this project. From the brainstorming stage, I propose the ideals of using the simple monolithic block to make the combination of different function for the exhibition, and in the process of production I have the chance to learn the way to producing the laser cut drawing of the Room for London, I learned how to deal with the Sketchup 3D model and make it into the 2D drawing that ready for laser cutting. In the Glasnevin Cemetery Chapel I contribute to the making of the sharp edge roof for the building, the roof of the chapel is the significant design of the building, so l chooses to hand cut the whole roof and make sure it finely sticks together on the edges and by using 45’ degree cutting skills its allow sharp edges outcomes. I also learned how to work in a group of people on the same project and archived the target on time by distributing the work even on difference members.