Level 6 Portfolio 2016

level 6 portfolio 2015/16

a rc h i te c t u r e | u n i ve r s i t y o f d u n d e e

Level 6 Portfolio 2016 The Level 6 Portfolio is an annual pamphletStyle publication that provides a snapshot of work undertaken this year at the Architecture Department, University of Dundee. It compiles a selection of studio and written work from all years and is published for Degree Show.

Edited, composed and produced by students, this is the nine in a series.

Thanks to all those who submitted work and again to The Print Unit.

Editorial Cameron Brown Tokini Kent Remus Leung Liam Mckelvie Peter Munnoch Edward O’Neill Pavel Pavlov Nick Shepherd Ashley Turner

Year One

Year Two

Natalie Aikman Steven Anderson Euan Angus Jack Buchan Lewis Chalmers Chung King Fung (Jason) Jenna Craig John Danagher Cameron Devine Jamie Dickinson Katherine Doherty Thomas Dougan Katarzyna Dudzinska Cameron Duncan-Cox Ailsa Dutton Nick Filippou Mark Fitzpatrick Chryso Georgiou Melissa Green Mahnoor Habib Cameron Howard Jason Hu Runhui Mahi Jain Joshua Jewitt Xavier Kanchefu Jerome Kasambara Veera Kivela Laura Leithead Ellena Leslie Zihan Liu Lucretia Lucias Jeraled Jayne Mc Allister Fraser McCallum Deni McElroy Chris MacInnes Liam McKelvie Katrina McQueen Hafsa Malik Dahlia Moghrabi Elizabeth Olulode Mishell Parodi Laura Porter Ilga Ramata Calum Ramsay Waheeda Rasool Elliot Reilly Ronan Ritchie Trisha Santos Roksana Sliwka Rachael Smith Nicoline Spaans Kyle Spratt Richard Stalker Ramsay Taylor Lucy Troughton Joseph Watkins Pamela Wee Lorena Weepers Anastasia Weir Nina Wyganowska

Rasita Artemjeva Mahlon Asante-Yeboah Alistair Battles Ross Boyter Jordan Burne David Burns Eilish Camplisson Michele Chan Liam Cox Sophie Curran Graeme deacon Daniel Duncan Anastasia Efimenkova Kun Fang Grace Gordon Nikolaos Gravos Anna Grenestedt Alice Hargest Asqa Hasware Samuel Ho Maizatul Aisyah Mohd Hussain Andria Ioannidi Stephen Japp Muhammad Haziq A Kadir Natalia Kowalska Cheyenne Laviniere Mohammed Zailani Lawal Cheuk Ming Lee Miisa Lehtinen Taylor McArthur Eve McIvor Sarah McKenzie Callum McLean Gabija Narauskaite Hannah Nathan Callum O’Connor Jacqueline Owusu Mohd Nur Rasul Rahmat Leo Rani Alren Reyes Sophia Robson Amy Schofield Aidan Scott Sarah Shannon Ziwei Song Kyriaki Stathopoulou Chrissie Taggart Agnes Taye Marion Tinney Adrian Tomaszewski Lauris Virtigs Jodie Walker Yuanjun Wang Kirsty Watt Martina White Qiaoyi Wu Yicong Xu Yuantong Xu Ziyan Xu Tinwood Yu Moin Muhammad Zainal Yimeng Zhao

Montage Mixed Media

Keri Monaghan, Deborah Martin, Siobhan Dyson Y5

Observing Place, St Andrews Acrylic on Board

Y1

Measured Drawing, Cambridge AutoCAD

Jack Dempster, Edward O’Neill, Y3

Den Urban Balkong, Nobel Center Physical Model

Liam Mckelvie, Y4

Exterior Perspective Mixed Media

Grace Rome, Y5

Sectional Model 1:1250 Grey Board, Laser Cutter

macro micro, Y5

Bedroom Study Mixed Media

Ben Black, Y3

Ravenscraig Internal Mixed Media

Fergus Low, Elspeth Tayler, Robbie Miller Y5

Images - Author’s own Experiments in Material Concrete with Fabric

Jemma Mcbride, Y4

View from Church Mixed Media

Keri Monaghan, Deborah Martin, Siobhan Dyson Y5

Exhibition Development Model Model

Edward O’Neill, Y3

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Dunfermline Historical Growth AutoCAD, Photoshop

Lisa Rubythan, Y5

Primary School Corridor Mixed Media

Anna Grenestedt, Y2

Development Model Images Balsa Wood

Nick Shepherd, Jamie McCann, Y5

Undergraduate Housing Typology in Context Hand Drawing, Promarker

Maja Maliszewska, Y3

Development Model Mixed Materials

Peter Munnoch, Stephen O’Loughlin, Zhou Yi, Y5

Serial Visions, Ripon Hand Drawing

Sam Micklefield, Y5

Untitled: Analogical Ravenscraig Bronze, Aluminum, Mild Steel, Birch Ply

Fergus Low, Elspeth Tayler, Robbie Miller, Y5

Undergraduate Center Sketchup, Photoshop

Remus Leung, Y3

Exploded Axonometric Sketchup, 3DS Max

Dino Cambanos, Y3

Church Spire Concept Design Mixed Media

Hope Murphy, Iona Sorbie, Misa Elliot, Y3

School Exterior AutoCad, Photoshop

Kirsty Watt, Y2

Edinburgh Grassmarket Hand Drawing

Sarra El Wahed, Y3

Untitled Hand Drawing, Pro Marker

Y1

e Reading Room

e Reading Room

Leith Walk Public Square - Route to Pilrig Park - Library Ground Level Entry

Leith Walk Public Square - Route to Pilrig Park - Library Ground Level Entry

Leith Library Perspective Sketchup, Photoshop

Clare Gorman, Y4

Edinburgh Colonies Section Hand Drawing

Chris Berridge, Y5

Site Model Grey board, Timber

Giorgos Hadjikomnou, Y3

Structural Diagram Physical Model

Leo Rani, Y2

Dundee Jute Mill Charrette Mixed Media

Slaveya Moneva, Stelian Stefanov, Julija Iljina, Y4

Topographical Model Grey Board

David Urquhart, Y5

Measured Drawing: Delft Hand Drawing

Alistair Battles, Y2

Picturesque Perfect- Architectural Review and Post-war Picturesque By positioning the incursion of modern architecture to England against a backdrop of suspicion and a rise of nationalistic attitudes this paper investigates the role played by The Architectural Review (AR) and its editors in the formation of an English visual philosophy. By investigating the contribution of the editorial board of The AR this paper demonstrates the contemporary, historic and visual narrative of what would develop into the Picturesque.

Ivor De Wolfe (1949) Introduces Townscape to the readers of the Archietctural Review, AR, As, “A Plea for an English visual philosophy founded on the true rock of Sir Uvedale Price.” De Wolfe regards Prices, 1794 essay on the picturesque as, “A perennially English visual philosophy [that could] revolutionise our national contribution to architecture and town planning by making possible our own regional development of the International style.”

De Wolffe, unmasked, was Hubert De Cronin Hastings, Proprietor and editor of the Architectural Press, publisher of both The Architectural review and The Architects Journal. Hastings special genius was in employing to do the work for him (Glancey 2013). Hastings assembled around himself at the Review an impressive cast of writers, critics and historians which together in the early decades of modernism would produce and sustain a carefully articulated discourse on English visual culture.

JM Richards (1980), describes reflectively the AR as, “taking the first steps towards becoming the mouthpiece in England of the Modern Movement.’ Richards now found himself as one of the most prominent propagandists of the modern movement in England.

Castles on the Ground, written during Richards’ wartime secondment to Cairo and published in 1946, was seen by many as his wavering commitment to modernism. The association for Richards was the appropriation of Englishness condition of suburbia, “Our own contemporary vernacular, spread thinly but ubiquitously over hill and dale.” Richards defines the charm of the suburb as lying within the composition of its individual parts. “We may find that each suburban residence is not a self-sufficient piece of design but a contribution to a panoramic whole.

That its intrinsic architectural quality bears but a small relation to the part which it is capable of playing of building up the rich and varied picture of which the suburb in its maturity comprises.”

Higgot (2006) states that, “Under the editorship of Richards, the journal had an enormous effect in formulating what modernism was taken to be and taken to mean in Britain… Richards formulated its championing of modernism.

In his advocacy, the rigorous exclusion of ‘an incorrect’ architecture, and the careful way in which the ‘correct’ examples were interpreted, framed in relation to the necessary vision”. Richards himself, an early member of MARS and editor of the Review suggests that due to the continental situation and an influx of European modernists, England had found itself almost accidentally as the head quarters of modern architecture. He describes how the European modernism, while international in conception, is defined by its nationalistic qualities.

Harmonious with English traditions of architecture. “So as modern architecture matures, a new differentiation according to national characteristics is inevitable… Englishness is a definable quality found in things English, as Frenchness is found in things French, and these qualities are not incompatible with modern architecture.” (Richards, 1948, pp. 97 – 99).

First proposed in a 1947 by the editors of the AR to mark 50 years of the journals’ history. The Second Half Century, outlines the magazines position as, ‘a visual re-education’. The Review states its function as, “to emphasize the problems and potentialities of visual design, to recreate a visual culture which will help to re-create civilization.” This reeducation the review proposed could be realized modeled on the lessons of Sir Uvedale Price as, a visual educator. The Editors (1947) declare that, “After the Act of Revolution comes the process of building a new… The obvious short-term objective must be consisting of getting back some of the scope and richness that the Act of Revolution discarded… It can now seek more direct contact with human aspirations without compromising any of its principles... That is why a shortterm objective must involve new richness and differentiation of character, the pursuit of differences rather than sameness, the re-emergence of monumentality, the cultivation of idiosyncrasy, and the development of those

regional dissimilarities that people have always taken a pride in.”

Pevsner’s role within the AR was to develop a historical narrative to provide modernism with a rich history of visual precedence in the English tradition. That of the picturesque. It has been suggested Pevsner’s appropriation of picturesque, at Hastings’ suggestion was modeled on Christopher Hussey’s The Picturesque, a book well known by both men. The Picturesque became parallel with the day to day work of the Review. (Macarthur and Aitchison 2010).

Gordon Cullen offers his Townscape Casebook as an example of how such a judicial precedent may be composed. Cullen (1949) introduces his townscape casebook as, “a series of specimen pages from a hypothetical casebook… not as a crib, since in every practice every problem differs, but as an aid to this kind of visual sensibility.”

As suggested by the accompanying DRU, the pinnacle of the picturesque collaboration peaked in the mid 1950’s. The festival of Britain could be argued as the highpoint of the picturesque polemic. Generated on the success and national sentiment generated initially by the festival, the editors of the AR were presenting what was now a well practiced and matured position. Nothing equating to such a prolonged, sustained and articulated position of architecture has been attempted since the Architectural Review’s appropriation of picturesque. This sustained disparity in the architectural ideas of subsequent has been a contributing factor in contemporary condition of visual disorder in the built environment. Banham (1968) suggests that arising from the lack of a general theory in the pre war years the architecture of reactionaries to the picturesque, “who had so often presented themselves disinterested in the Review’s repeated injunctions to follow the advice of Alexander pope and ‘consult the genius of the place in all’ proved themselves adepts both in the theory and practice of topographical consultation of this sort.” Banham presents the great triumph of the picturesque lying not as an aesthetic discipline but a rational, considered approach; rather that to any adherence to a rigid formalism.

H. de C. Hastings 19 27 - 197 3

J M Richards 19 37 - 1971

N i ko l a u s Pe v s n e r 19 3 6 - 197 0

Gordon Cullen 194 6 - 19 5 6 DRU Excerpt

Ashley Turner, Y4

Changing Perceptions - An extract from the joint thesis text - Perceiving Landscape Undertaken as part of the macro micro studio By: Peter Garrett Munnoch & Stephen O’Loughlin “While a house today must still shelter, it does not need to symbolize or romanticize its sheltering function. To the contrary such symbols are today meaningless and merely nostalgic” (Eisenman and Rakatansky, 2004, p. 214) Scotland’s landscape is characterised by the history of building within and interacting with the land. The progression of built form and patterns of inhabitation show the evolution of lifestyles and landownership.

Currently Scottish landscape is caught between the desires of conservationists and policy makers, little or no consideration is given to the changing circumstances and issues affecting the lives of those who live within the Scottish remote rural. Instead of development and change, current legislative frameworks have the stifling effect of preservation, opposing necessary progression within the highland region. Treating the landscape of Scotland as Relic confined purely by the picture on the front of a shortbread tin limits the ability of the remote rural to progress as a forward thinking landscape.

“The attention being paid to landscape today assumes more the character of sentimental recollection with attendant demands for either the re-creation or preservation of past landscapes than of visionary or ambitious projects. A combination of nostalgia and consumerism drives this desire while suppressing ambitions to experiment and invent.”

(Corner, 2014) Classifications of landscape created by governing bodies such as Scottish national heritage are based on perceptions of landscape that rest purely in ‘surface’ rather than ‘subsistence’. This top down documentation is widely appropriated by local planning authorities and policy makers. This single perspective creates a misplaced emphasis on scenic representation and form based box ticking.

The introduction of the lowland timber kit bungalow to the highlands illustrates the holes in this current system.

Tokenistic gestures towards a ‘highland form’ allow developers to “design appropriate to locality” (Planning Advice Note 72, 2006, p. 7), meeting current perceptions of appropriate proximity, materiality and sighting.

“Our planning system remains locked in a managerial approach that does not insist on quality and celebrates a mythical status quo, while regulations for roads and amenities departments mitigate against the creation of places designed primarily for people.” (Bain and Lowenstein, 2008) This limited perception of form combined with current partitioning of land has resulted in the domestication of landscape. The vast scale of the Scottish landscape has been reduced to a series of fictionalised boundary’s, separating plots only definable through planning documentation. Planning policy does not have the power to decide on matters of ‘good taste’ but it does effect what is constituted as ‘vernacular’. This representation of a ‘vernacular’ derived from historicised imaging creates an architecture based on a misinterpretation of a fictionalised landscape which we owe very little to. These naive perceptions not only limit useful guidance on prospective projects but also have the effect of legislating against development that show sensitive understanding of local built context and landscape in favour the post card pseudo-vernacular.

“If we want rural environments to reflect any more meaningful qualities than simple conformity to a ‘checklist’ of visual criteria based on dubious historical precedent, then we must address the issue, not only of what vernacular traditions are or have been, but what they will be.” (Edge and Pearson, 2001)

Existing boundary walls

Insertion of new

Landscape as narrative We are not arguing for an architecture that is devoid of historic influences, but suggest that to read the Scottish landscape as purely visual is the antithesis of an appropriate vernacular. The layered and evolving nature of the highlands should be read through the means of appropriate interpretation. We use the concept of palimpsest to illustrate our intentions. Derived from writing, palimpsest was the reuse and layering of text on a singular manuscript. Limited availability of writing material called for the superimposition of texts to create a new document witch still held traces of its original form.

Palimpsest: “A manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing.”

(Oxford, 2016) The Scottish landscape should be viewed as a palimpsest of land and built form. Continual inhabitation of the Scottish landscape is vital for its economic survival beyond that of the tourist trail. Legislation and policy must allow the remote rural to change and progress, to accrue new meaning and form, to allow new contemporary design to enforce, reinterpret and enhance the qualities of the Scottish landscape.

“From a postmodern perspective, landscape seems less like a palimpsest whose “real” or “Authentic” meanings can somehow be recovered with the correct techniques, theories, or ideologies, than a thinking text displayed on the world processor screen whose meaning can be created, extended, alerted, elaborated and finally obliterated by the merest touch of a button.”

(Baker, 1989, p. 8)

Thesis Excerpt

Peter Munnoch, Stephen O’Loughlin, Y5

Perspective Section Through Courtyard Mixed Media

George Ogilvie, Y3

View over Plaza Sketchup, Photoshop

Craig Mathers, Y4

Emotional Connection Photoshop

Euan Fleming, Y4

Nobel Center Axonometric AutoCad, Photoshop

Rowan Carmichael, Y4

Old Aberdeen Photoshop

Tokini Kent, Y3

Leith Library External Courtyard Hand Drawing, Photoshop

Hayley Butter, Y4

Nobel Center Site Strategy Hand Drawing, Photoshop

Ross Geddes, Y4

Library External View Mixed Media

Jack Dempster, Y3

The Complete Whole Teak and Resin

Claire Souliman, Y4

Invent City: Collage Mixed Media

Ivars Kalvans, Y5

Charette: Church Spire Mixed Media

Remus Leung, Rieya Patel, Harry Graham, Dinos Tsarmaklis, Y3

Year Three

Year Four

Year Five

Robert Birtles Ben Black Georgia Burghardt-Scriven Cameron Burns Dino Cambanos Georgios Chatzikomnou Yuxuan Chen Euan Christie Ross Cochrane Jack Dempster Paola Denton Greg Dommett Misako Elliot Sarra El Wahed Thomas Fairley Euan Fleming Rebecca Foy Harry Graham Laura Hebdon Louis E Joly Ulker R Kasif Tokini Kent Kaapo Komulainen Paul R Kyriou Adam Lancaster-Bartle Chun Yin Remus Leung Maja Maliszewska Constance E Maupertuis Francesca Meakins Katarina R Murajdova Hope Murphy George Ogilvie Edward O’Neill Alexander Paluch Katarina Partikova Rieya Patel Tristan Rebaeijs Jacob Scoular Iona Sorbie Dinos Tsarmaklis Erika Varha Biying Wang Bowen Jackie Wang Callum Weir Shuting Christina Wu Junyuan Yan

Antonia Bamberg Caitlin Bowers Hayley Butter John Cameron Rowan Carmichael Patrick Davies Alex Dutczak Michael Farquharson Matthew Gadie Ross Geddes Mindy Gill Claire Gorman Donald Griffiths Jack Helmn Michelle Hunt Julija Iljina Mingjia Liu Siyuan Liu Lowes Jonathan Kieran McAdam Jemma McBride Liam McKelvie Lauren McNamara David McPheat Jinxin Ma Craig Mathers Slaveya Moneva Ashleigh Muirhead Zhen Ng Li Fennella Nkansah Andrew Northway Claire O’Neil Pavel Pavlov Kirsten Pont Lewis Prenty Fang Qi Athina Ralli Danielle Reid Jenna Sherriff Sophie Simpson Claire Souliman Stelian Stefanov Ashley Turner Elizabeth Webster Jamie Wyllie Zhao Xiaoyu Ke Xie Ce Zhang

Chris Berridge Cameron Brown Gillian Brown Betty Buckman Christopher Caird Karvind Chohan Choo Alvin Anna Davila Siobhan Dyson Melvin Ezenwa Matthew Fleming Rui Min Gao Peter Garrett Munnoch Ya Hu Ainslie Innes Laura Ironside Ivars Kalvans George Kitson Bikem Korkuter Charandeep Kundi Shawn Leishman Bowen Lou Fergus Low Jamie McCann Devon McCrea Andy Marriot Deborah Martin Samuel Micklefield Robbie Miller Ilinaz Mior Keri Monaghan Stephen O’Loughlin Tolani Onajide Yang Yang Pan Surbahon Rajkumar Grace Rome Lisa Rubython Martin Rusev Stephen Sampson Yong Ren Saw Eliza Serban Nicolas Shepherd Hania Steplewska Elspeth Tayler Yu Tian David Urquhart Suyang Xiao Jingwen Xiong Yilan Yue Yi Zhou

Colophon The Level 6 Portfolio is published by Architecture: University of Dundee, May 2016.

Printed by The Print Unit, Level 5, Matthew Building, DJCAD, Dundee in an edition of 150. Typeset in Tw Cen MT and Franklin Gothic M. Cover image: Peter Garrett Munnoch

dundee.ac.uk/architecture