Lb acadmic portfolio 2small by Liam Bonnar

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

Academic Porfolio Liam Bonnar | Masters of Architecture

General Criteria

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Content

Design Studio C [ARCH11089] - Metropolitan Excurses: Edinburgh, Scotland

Design Studio D [ARCH11092] - Building in the City of Unsure Ground: Lisbon, Portugal

Design Studio A [ARCH11093] - The Tell-Tale Detail: Lisbon, Portugal

Design Studio H [ARCH11174] - Thesis: Architecture in the City of Unsure Ground

Studies/Readings in Contemporary Architectural Theory [ARCH11070]

- Course Diary,

Academic Porfolio Liam Bonnar | Masters of Architecture

Architectural Management, Practice & Law (AMPL) [ARJA11002]

- Contract Game, AMPL examination Architecture Technology Research [ARCH11075] - General Report: Excavation, - Contextual Report: Contemporary Envelopes Design Report [ARCH11069] - Excavation, contemporary envelopes

ARB - Graduate Criteria GC8:

GC1: Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC1.2 - 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;

GC8.1 - The investigation, critical appraisal and selection of alternative structural, constructional and Understanding of the structural material systems relevant to architectural design; design, constructional and engineering problems associated GC8.2 - Strategies for building construction, and ability to integrate knowledge of structural principles and construction with building design. techniques;

GC1.3 - 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.

GC8.3 -The physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC1.1 - 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;

GC9:

GC2: Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC2.1 - The cultural, social and intellectual histories, theories and technologies that influence the design of buildings; GC2.3 The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

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.

GC3.1 - How the theories, practices and technologies of the arts influence architectural design;

GC10:

GC2.2 The influence of history and theory on the spatial, social, and technological aspects of architecture;

GC3: Knowledge of the fine arts as an influence on the quality of architectural design.

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

GC3.2 - The creative application of the fine arts and their relevance and impact on architecture; GC3.3 - The creative application of such work to studio design projects, in terms of their conceptualisation and representation.

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

GC4.1 - Theories of urban design and the planning of communities;

Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

GC5: GC5.1 - The needs and aspirations of building users; GC5.3 - The way in which buildings fit into their local context.

GC10.1 - Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; GC10.2 - Understand the cost control mechanisms which operate during the development of a project; GC10.3 - Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11.1 - 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; GC11.2 - 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;

ARB - Graduate Attributes GC6.1 - The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society;

GA2:

GC6.2 - 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;

With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have:

GC6.3 - The potential impact of building projects on existing and proposed communities.

GC7: Understanding of methods of investigation and preparation of the brief for a design project.

GC9.3 - Strategies for building services and ability to integrate these in a design project.

GC11.3 - 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.-

GC5.2 - The impact of buildings on the environment, and the precepts of sustainable design;

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.

GC9.2 - Systems for environmental comfort realised within relevant precepts of sustainable design;

GC11:

GC4.2 - The influence of the design and development of cities, past and present on the contemporary built environment; GC4.3 - Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

Understanding of the relationship between people and buildings, between buildings and their environment and the need to relate buildings and the spaces between them to human needs and scale.

GC9.1 - Principles associated with designing optimum visual, thermal and acoustic environments;

GA2.1 - 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; GA2.2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; GA2.3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;

GC7.1 - The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

GA2.4 - 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;

GC7.2 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;

GA2.5 - 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;

GC7.3 The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GA2.6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and; GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

General Criteria

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Graduate Attributes

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design studio c

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design studio d

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design studio studio aa design

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design designreport report

field study invented sites metropolitan excurses

generic report contextual report

city-gate field index building in the city of (un)sure ground

essay course diary

tell-tale detail city field scales defining thesis narratives

contract game examination

(Un)sure Ground speculative morphologies new architectures

terrain vague atrophic landscapes

course title general work title specific work title

brief synopsis

learning outcomes

summary images

brief cover

notes on brief

contributors

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field study invented sites metropolitan excurses

Design Studio C

[ARCH11089]

Metropolitan Excurses Edinburgh, Scotland

Brief synopsis

The first semester of site and studio work in Edinburgh establishes the studio’s theme and means of inquiry. The focal area will be the south side of the basalt islands which underpin the Old Town, the sedimentary area between the lines and remnants of the fifteenth and sixteenth century city walls. Methodologies of collection, field/work, drawing and depicting of sure and unsure ground, inform practices of design and situated design projects, culminating in an end of semester installed articulation of defined field, sites and speculative projects: a Metropolitan Excursus. This is likely to take the form of a modelled proposition carefully sited in the studio, which is supported by a critically reflective Book of Drawing and a Folio of Working Drawings. Tactics, projects and refined inquiries will then be taken to Lisbon on a fieldtrip in the second week of the second semester. Working in Semester 1 in groups of 3, you are asked to present your Metropolitan Excursus at the end of the semester, which articulates: - the city as a field of unsure ground between landform and land value (field, geological scaledrawings, models, film).

LO1 – 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. LO2 – The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 – The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 – A critical understanding of, 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. Notes

Considering Edinburgh not only as a city formed and forged by geology and geomorphology but one which itself - in it’s constructed state - is a landform: an actively undulating metropolitan landscape. Investigations of the city as one of unsure ground

- sites invented in relation to fault lines, site (sight) lines, city walls, and building lines. - projects configured as a revisited Metropolitan Excursus which begins to articulate a new city interdependent with its ground.

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The geological city

The Old Town of Edinburgh was a defensively constructed city, formed within deep, glaciallyeroded. valleys. Glacial flows pushed through softer geological matter, though bastions of tough volcanic rock resisted this land forming. The remaining volcanic rock is now known as the seven hills of Edinburgh: Castle Hill, Corstorphine Hill, Craiglockhart Hill, Braid Hill, Blackford Hill, Arthur’s Seat and Calton Hill. Like the flow of the glaciers, the expansions of Edinburgh’s dense built landscape is mostly resisted by the seven hills.

calton hill

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arthur’s seat

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blackford hill

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corstorphine hill

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castle hill

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resisistance and solutions

As the boundary of the city extended, it was met by pockets of resistance in the seven hills and the resultant difficult topographies, but also in the end of available land to the North. In order to develop the new town, artificial landscape was laid over existing geology in order to achieve the simple grids of infrastructure. The quantity of artificial landmass rose as the city expanded and met more points of difficult geology and topography. As the expanding city met the boundary of the sea, the coastline also began to take a distinctively man made shape in the form of Leith port. With the nature of construction on difficult topography, along with the fast rate of expansion, Edinburghâ&#x20AC;&#x2122;s built form relies on bridging, tunneling and building on artificial land to stand as is does today. A product of this mix ground conditions is an expanse of complexly layered spaces and routes through the city.

General Criteria

- fault lines - artificial land mass

- castle hill - corstorphine hill - craiglockhart hill - braid hill - blackford hill - arthurâ&#x20AC;&#x2122;s seat - calton hill

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The rapidly expanding city

Looking through Edinburghâ&#x20AC;&#x2122;s development in plan, we see the definitive Crag and Tail, which stems from Castle Rock, exploding in all directions, the system of streets wrapping around and holding the seven hills, the defined line created by trade between Leith harbour and the city centre.

post office map of edinburgh: 1830 -1913

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points of disorientating layering in the city

In traversing the rapidly expanded city you often find yourself in confusing situations of disorientation due to the multitude of levels and the city works between and complex system of streets which connects them together. It was in these spaces where we began our investigation of historical collisions in the city: between old and new town, bridging over, tunnelling through and traversing over complex topography.

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the regent bridge

Celebrating a Royal visit to the freshly built New Town, the existing primary route into the City Centre through Calton Road was to be replaced with a grander entrance. Waterloo Place was to stem from Regent Road onto Princes Street, covering over the Calton Road route and extending a street of new buildings to frame the view of Edinburghâ&#x20AC;&#x2122;s New Town on entering the city. The result of the new entrance to the city was a series of pretty faĂ§ades with unconsidered interiors running 9 stories high to properly cover the Old Town beneath..

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Ghosts of levels of the Old Town and drainage systems

Points of convergence between old, new and earth

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sections through difficult topography

Bringing together the situations of architectures dealing with difficult topography, the groupâ&#x20AC;&#x2122;s sectional studies through the landscape showed the structural requirements of building in such a landscape. Ranging from heavy set vaults and foundations to anchor, and lighter weight constructions of the city that we see from ground level, we began to identify the constuctional language present within Edinburghâ&#x20AC;&#x2122;s architetcure on difficult topography.

Modelling circulatory system surrounding Regent Bridge

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sectional investigations

Using the sectional studies, we began to conglomerate gravitational parts to test possible re-appropriation to work with Edinburghâ&#x20AC;&#x2122;s extreme topography. Resultant drawings prompted a second series of investigations this time de-constructing the sections into individual gravitational pieces individually with the intent to create a kit of parts from which we could use as tools for design.

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{

field study invented sites metropolitan excurses

connecting

traversing

enclosing

opening

supporting

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kit of parts

To design freely, the kit of selected parts were lazercut. Ranging from heavy walls (arches, stepped walls) to light constructions (timber roof, window details) the pieces could be cut, glued and modelled to test architectural forms

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developing an approach to design

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re-appropriating kit of parts

The scale and orientation of the original sectional pieces were ignored in this exercise, using the kit of parts we each formed unconventional structures from the thin card members. which contrasted with the solid, monolithic state of the existing city. The current urban fabric served as an armature from which our kit of parts interventions would work with. Anchoring, bridging, excavating: new methods of traversing the rapidly expanding city.

When calibrated to the site, the proposition served as a new route between Calton Road and Regent Road , circulating between two of the bastions surrounding Regent Bridge.

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suspended stair

underground walkway

regent road section

calton road elevation

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[ARCH11089]

Metropolitan Excurses Edinburgh, Scotland

reflections

Testing mediations between the armature and the excurse, in design studio c, by way of the kit of parts yielded interesting architectural interventions through the rapidly expanding city. Individuals in the group developed the â&#x20AC;&#x2DC;bare bonesâ&#x20AC;&#x2122; propositions: re-appropriating existing structural elements to exploit the spacial opportunities inherent in a city of extreme topography: bridge, tunnel, void and corridor. The extensive variations in which an individual can traverse the geomorphologically defined metropolitan area were explored briefly in the early stages of city mapping. Although, by creating spaces which facilitate the negotiation through the complex topography of the city (and by doing so with a kit of exclusively structural elements) our architectural interventions seemed to offer little in terms of the consideration of the phenomenological and the subjective experience of the user. The art of meandering is something we moved into Studio D with fresh in our minds. The purest experience takes place in the most passive space; with no manipulation by artificiality we rely on our senses to guide our travel through architecture, not our mind. =

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11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

generic report contextual report

Architecture Technology Research

[ARCH11075]

i. general report: excavating new ground ii. contextual report: contemporary envelopes on historic structures

Architectural Technology Research Brief synopsis

COURSE HANDBOOK Semester 1 2012-13

The ambition and scale of most projects at the level of MArch is such that the technical issues are complex and not usually appropriate to standard or routine technique. The growing complexity of the construction process and changing technology suggest that the architect becomes a practitioner–researcher. There is growing need for a deeper relationship between practice and academia, particularly regarding research and its application in practice. The complexity of projects demands that research becomes an important aspect of the design process. 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. The material that is gathered will inform further development of proposals as projects evolve from MArch1 into MArch2. The aims of this course are:

Course Organiser: Dr Kate Carter Course Code: ARCH11075

LO1 – An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, e.g.. sustainable design. LO2 – An ability to analyse and synthesise technological and environmental information pertinent to particular context (e.g. users, environment). LO3 – An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4 – An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context. Notes Considering Edinburgh not only as a city formed and forged by geology and geomorphology but one which itself - in it’s constructed state - is a landform: an actively undulating metropolitan landscape. Investigations of the city as one of unsure ground

“The particular grounds us in the local; the general engages us in associations beyond our immediate situation. The interaction between them within a specific cultural context yields understanding.” P Patkau 1996

Contents Introduction Course Summary, Learning Outcomes Teaching and Learning Environment Assessment Reading and Resources Logistics: Timetable & Teaching Venues General Information

- To develop approaches for research in technology and environment, and reflect on its role in the design process. - To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form.

ESALA Course Handbook: Architectural Technology Research (ARCH11075)

2 2,3 3 5 8 8 9 1

- To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

lb rc General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

generic report contextual report

Architecture Technology Research

[ARCH11075]

i. generic report: excavating new ground ii. contextual report: contemporary envelopes on historic structures

Key points:

Bibliography:

The generic study, thematically linked to the investigations of Studio C, considered the necessity of excavation in the modern urban area.

Publications: Patterson, Mic (2011) Structural Glass Facades and Enclosures. John Wiley & Sons, Inc., New Jersey. pgs 72-76

“My proposition is urban implosion rather than explosion” Paolo Soleri Excavating

Theodossopoulos, Dimitris (2012) Structural Design in Building Conservation. Routledge, London. pgs 137-151 Milner Brown, Stephen (2005) The Strucural Engineer. The Institution of Structural Engineers, London. pgs 37-42

w Ne

Underground and subterranean spaces have always been associated with darkness, danger and death. Cinematography photography and fictional novels are often sources people refer to when attempting to envision places or spaces they have not experienced in person. This is perhaps one of the main reasons underground spaces are often portrayed in ways which fictional movies describe it to be. One could argue that this mentality have consequently discouraged new spaces to be created in subterranean levels as underground spaces still appear to be spaces unsuitable for human inhabitation.

Ground ...

- Further sources of information – including a short commentary on key sources of information and a bibliography, technical papers, and relevant architectural and engineering practices.

Stansfield, Kathy (1999) The Strucural Engineer. The Institution of Structural Engineers, London. pgs 1-12 Williams, C.J.K. (2001) The Analytic and Numerical Definition of the Geometry of the British Museum Great Court Roof. University of Bath, Bath. pgs 1-8

High-rise structures have always been the prime solution to provide additional residential and commercial spaces in congested cities but were there missed opportunities when high-rise buildings were erected in the first place? Could spaces below the building footprint be utilised more efficiently to provide alternate functional spaces as oppose to the generic underground car parks and transportation infrastructures? In recent decades, the excavation of new underground spaces and re-claiming of existing underground spaces have been identified as solutions and potential sites to alleviate the lack of building spaces in major cities.

Brief synopsis

- An illustrated summary document appraising and presenting the key issues of the topic (15002000 words) - A series of relevant case studies and examples

Watts, Andrew (2011) Modern Construction Envelopes. SpringerWienNewYork, New York. pgs 329-371

House With Two Horizons | 1972-73

With the global population continue to grow in an exponential rate, overcrowding in metropolitan cities are posing immediate challenges as to where to construct new buildings to accommodate the ever-expanding population?

Rickie Cheung | Liam Bonnar Architectural Technology Research | Generic Study |M.Arch (Year 1)

You are asked to prepare a detailed review of an aspect of contemporary technology. You can select your own topic or consider the list of topics on LEARN provided over the first week. The review should include the following:

Young, Nigel (2006) Detail Magazine 2006 Issue 6. Dokumentation GmbH & Co. KG, Munich. pgs 48-68

Mara, F (2012) Cool, calm, connected, King’s Cross. Architect’s Journal, Volume 236, 12.07.12, p28-39 EMBT (2000) El Croquis 100-101, Enric Miralles, Benedetta Tagliabue 1996-2000. Arquitectos, Madrid pgs 38-75 Websites:

New York Low Line | 2012

www.bdonline.co.uk www.ajbuildingslibrary.co.uk www.metalocus.es www.detail-online.com www.google.co.uk www.mirallestagliabue.com www.archdaily.com

Another global issue needs to be addressed is the high consumption of energy by buildings in metropolitan cities. In return for providing power to operate air conditioning and central heating systems in cities worldwide, global warming is gradually worsening on a daily basis. Are there ways to utilise the natural resources stored below ground efficiently to provide sufficient heating and cooling for buildings in a more sustainable way? One of the main benefits of building underground spaces is the opportunity to utilise the ground’s natural insulating properties in absorbing noise and energy. The use of underground thermal energy storage (UTES) through sources such as aquifers, rock caverns and ducts in clays & rocks could save power, reduce the size of distribution units thus minimize the cost and environmental impact of conventional energy systems. These systems have been trialled in many parts of Europe.

LO3 – An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4 – An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

The study should concentrate on recent practice and application, making reference to appropriate exemplars. The critical factors that inform design should be identified and explained.

Stockholm, Arlanda Airport, Sween (2008) ground water extraction for seasonal cooling and heating

lb rc General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

generic report contextual report

Architecture Technology Research

[ARCH11075]

i. generic report: excavating new ground ii. contextual report: contemporary envelopes on historic structures

Key points:

Bibliography: Barker, M. B. (1986). Using the Earth to Save Energy: Four Underground Buildings. Tunneling and Underground Space Technology , VoL I (No. 1), 59-65.

Contemporary Envelopes on Historic Structures Contemporary Envelopes on Historic Structures

Brillembourg, C. (2001). Raimund Abraham Interview. Retrieved from Bombsite: http://bombsite.com/issues/77/articles/2421 Carmody, J., & Sterling, R. (1993). Underground Space Design. New York: Van Nostrand Reinhold.

Mathematically defining geometric composition of toroidal roof pieces, British Museum

The contextual study, also thematically linked to the investigations of Studio C, considered building enclosure , techniques of dealing with existing/historical buildings in new architectural constructions, specifically focusing on the new constructions in the British Museum and King’s Cross Station.

Liam Bonnar & Robert Sedgwick s0832136

s0811318

The building has an edge, a limit defined by the envelope. An older building may impose physical limitations with an increased contemporary use; when the current programme has changed or has additional needs to that of the intent of the original architect generations before a change needs to be implemented. In more contemporary architectural developments the prevalence of larger spans and expansive use of materials like glass and steel mean a more diverse programme can be accommodated.

Liam Bonnar & Robert Sedgwick s0832136

s0811318

Brief synopsis

Experience has shown that as proposals develop in MArch2 key decisions and responses often hinge on and may have faltered on a lack of specific understanding of the technological and environmental context theme of the project. The situation is addressed with this project. In pairs of students a series of studies will be undertaken and presented back to the student body as a reference point for the design development. You are asked to review the broad aims of the particular studio you are working on and select an appropriate theme for study.

The necessity for a continued modernisation of historic, public buildings sees a fusion between contemporary construction methods and sensitive approaches to restoration, this is to be the focus of our report. We will pay particular consideration to instances of toroidal steel and glass structures due to their advantage of being calculated to maximum structural efficiency whilst being tailored to fit the particular context.

- Consider multiple truss materials for maximum structural efficiency (one for compression, one for tension). The selection of structural form is also hugely important where transparency is needed: the strength and flexibility of modern materials allows for a huge variety of forms to be achieved. The gridshell structure is commonly applied in cases where transparency is desired as it can be a mixture of both compressive and tensile elements and can easily be calculated to fit over geometrically complex bases. In terms of structural composition of contemporary roofs, reducing structural area is desired so as to not draw the viewer’s attention from the historic building at its base. In the case of gridshell structures, the patterns of members which comprise them are usually based on squares or triangles. This is beneficial in that the uniformity and simplicity achieved by these patterns means the roof is both structurally sound and non-obtrusive visually.

Institute, S. (2011, February). Energy: Generating power for a sustainable future. Retrieved from Sweden.se: http://www.sweden.se/eng/Home/Society/Sustainability/ Facts/Energy/ Holthusen, T. The Potential of Earth-Sheltered and Underground Space: Today’s Resource for Tomorrow’s Space and Energy Viability. Pergamon Press. Kastner, R., Kjekstad, O., & Standing, R. (2003). Avoiding damage caused by soil-stucture interaction. London: Thomas Telford. Kibert, C., Sendzimir, J., & G, G. (2002). Construction Ecology Nature as the basis for green buildings. London: Spon Press . Lopez, O. (2011, September 3). Paolo Soleri’s Arcosanti : The City in the Image of Man. Retrieved from Archdaily: http://www.archdaily.com/159763/paolo-soleris-arcosantithe-city-in-the-image-of-man/

Paul, T., Chow, F., & Kjekstad, O. (2002). Hidden aspects of urban planning : surface and underground development. London: Thomas Telford. Parker, H. (2004). Underground Space: Good for Sustainable Development, and Vice Versa. Open Session World Tunnel Congress (pp. 1-17). Singapore : International Tunnelling Association (ITA) .

- Minimizing the length of structural members in compression.

LO4 – An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

Group, G. (n.d.). Versatile Foundation. Retrieved from Giken Group: http://www.giken. com/en/developments/versatile_foundation

Meijenfeldt, E. (2003). Below Ground level. Belgium: Birkhåuser. Puller, M. (2003). Deep Excavations : a practical manual (2nd ed.). London: Thomas Telford.

De-materialization requires intelligent consideration of the internal forces occurring in the structure leads to the most efficientlyshaped structural members. Maximum apparent fragility can be achieved by :

LO3 – An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

Excavating and Shoring.pdf, Assosciation of Manitoba: www.constructionsafety.ca pg.14

- Decreasing the quantity of compressive members (even if tensile members increase).

Swedavia. (2009). The aquifer – the world’s largest energy storage unit. Retrieved from Swedavia: http://www.swedavia.com/arlanda/about-stockholm-arlanda-airport-/ about-stockholm-arlanda-airport/environment/carbon-dioxide-emissions/energy/ the-aquifer/

- If using trusses, increase truss depth as much as possible to minimize axial forces. Toroidol roof construction, British Museum

Thompson, J. (2009, November). Better Underground. Retrieved from Architecture Lab: http://architecturelab.net/2009/11/better-underground/

lb rs General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

Design Studio D [ARCH11092] Building in the City of Unsure Ground Lisbon, Portugal

Brief synopsis

Architectural Design Studio D is a non-core course which emphasises exploratory and creative work..It seeks to encourage projects that are investigative, poetic, theoretically informed, and that deal in a critical way with issues and questions of contemporary relevance. It looks for a sustained and rigorous process of study in all aspects of the student’s work. Studio D Integrated Pathway: SALTCITY2 actively works with the study city, Lisbon, as a field for working in and with and further develops the studio theme, The City of unsure ground.

The work of this course focuses on the development of design thesis propositions for the city and landscape of Lisbon. A field-trip takes place in week 2 of Semester 2. Studies in Contemporary Architectural Theory, runs concurrently with Studio D. This course enables students to:

LO4 – 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.

Notes

lb ps General Criteria

1.1 2.1 3.1 1.2 2.2 3.2 1.3 2.3 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

Material investigation: Azulejos du Lisboa

Studies into the tiles of Lisbon was the beginning of our City-Gate Field study. In investigating the material as a product of industry, we could investigate relationships between the city and itâ&#x20AC;&#x2122;s tiles through its history, manufacturing process, local and global trade. At the same time we explored the romanticism inherent in the tiles, the storytelling, the regional colurs, the craft. Investigating a simple material and finding itâ&#x20AC;&#x2122;s deep roots in Lisbons culture, architecture and history revealed the incredible amount of information we could find through the tales of materials and opened threads of enqury for us to develop in our City-Gate Field investigations of Lisbon.

General Criteria

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

4.1 4.2 4.3

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

composite map : drawing unsure ground | Salt City 2 studio

General Criteria

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

4.1 4.2 4.3

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

{

9.1 9.1 9.2 9.2 9.3 9.3

geo-urban lisboa | dc + rc

roman lisbon | rm + hw

rail city | rm + hw

temporal city | lb +ps

air city | md + dw

moorish city | ht + fb

Studio Contributors: Fiona Baxter [fb], Liam Bonnar [lb], Duncan Chalmers [dc], Rickie Cheung [rc], David Clark [dc], Sebb Hathaway[sh], Jamie Henry[jh], Sophia Humphries [sh], James Hunt [jh], Didar Hussein[dh], Alex Kuklinski [ak], Ross McArthur [rm], Murdo McDermid [mm] , Chris Nicholson [cn] , Pavlina Stergiadou [ps], Hannah Thomas [ht], Heidi Wakefield [hw], Douglas Walker [dw], Xixi Xu [xx] and Charles Young [cy].

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

ghosts in dense urban fabric

Jostled by the hectic pace of economic and social changes the urban fabric of Lisboa evolved along lines that become increasingly difficult to interpret. The cityâ&#x20AC;&#x2122;s Post-industrial urbanization led to the gradual emergence of intermediate zones, punctuating its urban landscape. These intermediate zones exist within the city as ghosts, skeletons and carcasses portraying the previous life cycles shaping the current built fabric; voids within the dense city scape, traces of roofs and openings, exposed structures.

lb ps General Criteria

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

4.1 4.2 4.3

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

alternate realities across the Tagus

The construction of the 25 de Abril bridge suspended over the tagus river to connect the capital Lisbon with the municipality of Almada on the South bank of the river, ironically led to a greater disconnection of the two sites. In the absence of true connectedness between the two sites, the regional area of Almada witnessed the successive demise of its once vivid industrial life, leaving dilapidated buildings along its coast line. Visiting Souto de Mura’s office during our field investigation, we asked why would someone travel to the Almada site considering its dilapidated state. The response: “Just to look back at Lisbon”, which became evident once we travelled there.

Lisbon, Cais do Sodre

Lisbon reality

Albeit the deminished character of the Almada Reality,it is what you see across that is truly lifeless. As the carrier of capitalism the site across evolved under commercial guidelines. It is a cultural cemetery wearing the façade of the human, with museums, cafes, taverns and public spaces running along its line. But the paradox is intensified by the observation of community within the ruins; the observation of an informal public life, where to comprehend its importance is to be concerned for its future.

Almada, Cacilhas

Almada Reality

In response to the observation of the paradox formed by the two opposing realities of the mirroring estuaries; that of the Lisbon Reality and the Almada Reality, we identified the situation not as a problem but as an opportunity, a Terrain Vague for architectural intervention.

Identifying Terrain Vague

lb ps General Criteria

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

4.1 4.2 4.3

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

defining new armatures

To comprehend the extent of the bridgeâ&#x20AC;&#x2122;s effect we travelled to Seixal, where we found its once thriving industrial region also in dereliction. Identifying the commonalities between the two sites, as well as, the Terrain Vague present within Lisbon discovered during the field investigation, we observed that these marginal, undefined places were occupied by an atmospheric â&#x20AC;&#x2DC;strangenessâ&#x20AC;&#x2122;. Recognizing that these atmospheres create a connection amongst the geographically distant situations of Terrain Vague, we began to develop an index through studying conditions of dilapidation through investigations of material and immaterial presences. The index was developed over a variety of mediums, specifically concerning four perceivable levels of dilapidation: At the point of demise - recently abandoned buildings, Carcass - small tears, fractures in the building skin. Where nature has begun to occupy the building. Skeletons - exposed structure, bare bones of old arhitecure, a suggested framework. Ghosts - voids in dense urban fabric, traces of past lifecycles, visible layering hinting at a history of constructions. The video accompaniment to our atmospheric index is too long to be consider for viewing in this document, but can be reached by clicking the link below: Demise, Carcass, Skeletons & Ghosts

lb ps General Criteria

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

4.1 4.2 4.3

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

atmospheric indexing in abandoned factory buildings

lb ps General Criteria

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

4.1 4.2 4.3

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

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design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

light indexing

The Rua du Ginjal has degraded into an atrophic landscape, with no sheltering from the harsh tides from the East, prevalent winds from the West and constant exposure to the sun.

Diffusion,

Delight,

Mystery,

Culture,

Energy,

Climate,

Nature,

Complex,

Composition,

Open,

Direct,

The man-made coastline extends far enough from the cliff face so there is no shading from topography. The resulting strength of natural light permeates the deteriorated façades of the existing architecture and has a distinct effect in creating atmospheric conditions found within.

Context,

Screen,

Exhibition,

Desire,

Heat,

Through the Lisbon Light Index we categorically defined the describable functions of daylight - or the distinct lack of it - within situations of Terrain Vague found on the Almada coastline:

Variety,

General Criteria

Transformability,

Satisfaction,

Restorative,

Task,

5.1 5.1 5.2 5.3 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

History,

Washing,

Occupant,

Opacity,

Enlightenment,

Decoration,

Maintenance,

Obstruction,

Obstacles,

Rhythm,

Harshness,

Exposure, Active,

Location,

Reflectance,

Chance,

Mimicry, Sky,

Planning, Sparkle, Privacy, Simple,

Health,

Colour,

Rendering, Glamour,

Responsibility,

Dimension,

Texture,

Beauty, Aesthetic, Sensitivity,

Scene,

Shine,

Quality,

Seasonality,

Maintenance,

Drama,

Joy,

Passive,

Time,

Comfort,

Urban,

Glare,

Transparency,

Shade,

View,

Silhouette,

Sparkle,

Emergence,

Necessity, Miser,

Poetics,

Degradation,

Flexibility,

Intensity,

Right,

Depth,

Control,

Concealed,

4.1 4.2 4.3

Volume,

Contrast,

Function,

1.1 1.1 2.1 2.1 3.1 3.1 1.2 2.2 2.2 3.2 3.2 1.3 1.3 2.3 3.3 2.3 3.3

Relief,

Spirituality, Protect,

“Light’s shadow and shade, its different sources, its opacity, transparency, translucency, and conditions of reflection and refraction intertwine to define or redefine space. Light subjects space to uncertainty” - Stephen Holl

Fulfilment,

Filter,

Solar,

Materiality, Activity, Optics, Mask

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

city-gate field index building in the city of (un)sure ground

charring

breaking

rusting

oxidising

burning

material indexing

By simulating instances of advanced degradation in material, we could experiment with a variety of effects which could be used in an architectural context. We worked with ideas of sacrificial layers, designed dereliction and spaces which vary with weathering which could then be assimilated into our architecture to create specific atmospheric conditions. Through investigations in degradation, and the inherent feeling of demise found within the situations of Terrain Vague, we considered that the programmatic function of our architectural propositions should harmonise with the overwhelmingly morbid reality of dead buildings. With the theme of dereliction specifically occurring in post-industrial buildings, the narratives of death, decay and industry led to the development of a crematorium complex as our proposition, which would deal with the sensitive nature of death and loss but which also has industrious connotations in the furnaces, chimneys and mechanisms present within crematoriums.

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a journey through mimesis and catharsis

Elaborating on selected parts of the atmospheric and material index led to the development of architectural form which sought to accentuate, mimic or conceal existing atmospheric conditions on the Almada site. Considering the emotionally loaded programmatic nature of a crematorium, a degree of sensitivity must be considered in the creation of emotive spaces, so our attitude in design was to use the spaces to accentuate the viewerâ&#x20AC;&#x2122;s emotional response, as opposed to manipulating it. Creating a mimetic journey through the, our architecture became a resonant amplifier for a subjective experience. Given the intensely personal moments present during a funeral, the service seam runs separate and adjacent to the grieverâ&#x20AC;&#x2122;s route towards the crematorium. The viewer would find themselves journeying through moments of full exposure, enclosure and points of mediation between the two intended to accentuate the subjects emotional response in a time of grieving, with an eventual cathartic release and point of clarity on their emergence on top of the architecture and landscape. The architectural forms are scaled in a way that considers the subjectâ&#x20AC;&#x2122;s perception of space and their place in it: moments of isolation, confusion, suspension, freedom and clarity are all present within the journey to the crematorium.

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city-gate field index building in the city of (un)sure ground

ferry entrance

chapel and furnace room

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calibrating to the landscape: anchoring, excavating, bridging

Rua do Ginjal is a man-made spine running along the Almada coastline, a mediating space between steep topography and the harsh waters of the estuary. The man-made coastline is treated much like the armatures of Edinburgh: a solid monolith comprised of both building and geology which we could anchor from, bridge over or excavate through. The adjacency aggressive tides and steep cliff-side holds the man-made coastline with a sense of compression. We sought to exploit the unsettling nature of this environment to contribute to atmospheric condition within our propositions. The crematorium space lies in an excavated area of the cliff side, suspended above estuary water which is allowed to enter through a tidal inlet underground. The walls of the cremation room are to be used for hanging commemorative copper plates for the deceased which are expected to oxidise in the exposed void and create a wall of patina. After the cremation, the subject emerges onto the viewing platform on top of the cliff with a view over their journey and back to Lisbon. The thick-walled crematorium is anchored within the geology, the chapel building and mimetic journey runs down the hillside towards the coastline.

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calibrating to the landscape: reactive mechanisms

The most notable atmospheric shift we experienced on the Almada coastline came when we entered the ground floor of a derelict factory. Though windowless, the stillness inside the building powerfully contrast to the exposure to the sea, sun and wind on the coastal road. To amplify the atmospheric shift into isolated stillness, we developed reactive enclosures which undulated with the troughs and crests of waves at the coastline, connected to buoys suspended within the intertidal zone. Excavating a ferry entrance into the site restricts boats entry to periods of high tide (twice a day) which allows entry and exit within the general funeral service and cremations time of 3hours. Whilst the tide is too low for the buoys to register movement, the enclosures remain static, signalling no entry to the buildings. reactive mechanism 1: ferry entrance

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city-gate field index building in the city of (un)sure ground

reactive mechanism 2: necropolis canopy

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city-gate field index building in the city of (un)sure ground

rituals and rhythms Tagus location plan In situating our proposition across the estuary in a derelict landscape, the crematorium scheme comes with connotations of an island of the dead. The ritualistic nature of a funeral is one which has intends to make people most at ease with the reality of death, one which relies on a series of successive moments to gradually bring people around to the acceptance of the loss of a loved one. By placing our architecture in Almada, we sought to extend the idea of the ritual to one which removes the subject from the city, from a place of comfort, to somewhere unknown so as to amplify the initial discomfort, but also the exponential amplification of clarity and acceptance which can potentially be experienced.

furnace room sectional perspective

necropolis sectional perspective

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city-gate field index building in the city of (un)sure ground

casting the armature

Casting plaster seemed appropriate for modelling dereliction, the process and tools used leave blemishes and traces on the produced casts: chips, cracks, air pockets, hints of formwork. The time sensitive nature of pouring, setting and drying created a unique texture on each of the casts so that nothing was too clean edged or the same colour, which was desirable in recreating the degrading landscape of Rua du Ginjal. Conversely, the inherently precise process of lazercutting set a stark contrast between our proposed parts and the existing landscape, defining clearly an architectural language which worked between monolithic and fragile structures, anchoring, bridging, supporting and levering from one another.

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city-gate field index building in the city of (un)sure ground

1:200 crematorium complex

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Studies/Readings in Contemporary Architectural Theory [ARCH11070] i. Course Diary ii. Essay: The incommensurability affect between architecture and atmosphere

Brief synopsis

Contemporary architectural theory scrutinizes the interaction between built forms and economic, political, social and cultural contexts. It takes various modes ranging from reflection on and critique of the consequences of architectural practice, to enabling, guiding and facilitating design processes. The course will sample architectural debates in various modes across the range.

Many of the traditional values in architecture are being challenged by the phenomenon of globalization, and the city is increasingly the site for thus process. The phenomenon has seen an acceleration and intensification of global interdependence in economic, social, political, cultural and ecological terms. This course will explore a range of theoretical frameworks to study the architectural dimensions of this phenomenon, with particular focus on the city. To do so, it will be concerned with intra- and interdisciplinary linkages, looking at “conversations” within the discipline and at relevant debates such as cultural studies, philosophy, art, landscape, geography and planning.. The course will aim to:

LO3 – An ability to coherently and creatively communicate the research, comprehension and contextualization of a given theoretical theme in relation to architecture using textual and visual media.

LO2 – An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture..

Notes Considering Edinburgh not only as a city formed and forged by geology and geomorphology but one which itself - in it’s constructed state - is a landform: an actively undulating metropolitan landscape. Investigations of the city as one of unsure ground

- develop your understanding of what theory is, and how it relates to design by engaging with major trends in architectural thought since midtwentieth century; - develop your ability to evaluate critically the ideas presented in a text and learn how to analyse it to draw out the fundamental ideas it presents; - develop your ability to write and communicate a focused critique of and response to a text.

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Studies/Readings in Contemporary Architectural Theory [ARCH11070] i. Course Diary ii. Essay: The incommensurability affect between architecture and atmosphere

Post-Modern, Post-Fordist, Post-Industrial

Architectural movements appear in times of revolution, Modernism, Industrialism and Fordism were notorious for excessive manufacturing of architecture. Considerably similar to the industrial production line, homogenous architecture was churned out; marginally different from one another, architecture was a commodity, Such a treatment of the physical environment was detrimental to the living conditions in urban environments. “Machine architecture” which was ruthlessly re-producing itself , a celebration of the current state of technology but distinctly lacking in a human feel.

Studies in Contemporary Architectural Theory | Course Diary Liam Bonnar MArch 2

Modern technologies attempt to make the human existence simpler, more pleasurable, more connected. Software and hardware ,over the last 30 years in particular, have brought huge developments in the ease in which building drawings, models, visualisations and analysis can be produced. “Digital technology allowed a firm of our size to do a building that a decade ago would have been doneby an army of draftsmen... using the computer for designbut for fabrication and building specs...we can design as easily in china as we can in philadelphia” 16

“An all too familiar kind of mind is at work here: a mind seeing only disorder where a most intricate and unique order exists”14

Brief synopsis

The course diary is intended to be a brief, illustrated record of a selection of the weekly readings. You should report on at least two readings and elaborate on the significance of some aspects of the readings for contemporary architecture or urbanism.

The post- movements were a revolt against the clinically organised city, a break from the monotony, over-functionality and autonomy of architecture at the time. A desire for some unchoreographed freedom and human consideration in building again, for architects to consider anthropology and phenomenology once more. Baudillaird considered the extreme idea of a technologically controlled future of architecture and society: “The Beaubourg Effect” critiquing the inconsistency in theory and realities of the Pompidou Centre and what implications similar thinking would have on a city scale.

LO1 – A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame. LO2 – An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture.. LO3 – An ability to coherently and creatively communicate the research, comprehension and contextualization of a given theoretical theme in relation to architecture using textual and visual media.

Noteably absent of living organisms. The Pompidou Centre 15 Baudallaird stating the centre, the incinerator, of the machine-city was devouring all things human; culture, society, fun. Further exploring the idea of the mechanised city adverse to the biological ideologies of Haussmann and Lefebvre; blood circulation, heart , organic movement, etc. - the treatment of the human occupiers seems to be almost abusive; a suppressing field of manipulation, little private space for contemplation, isolation or any one of the similarly unproductive human tasks. Although an extreme set of views,

Baudallaire’s imagining of the machine city is quite a poetic representation of this idea of the rise of the machines , with a society so efficiently ordered that it is unecessary to be led by man. “The Beaubourg Effect: Implosion and Deterrence” must have seemed fairly outlandish in 1997, although in our current state of technological advancements, it is not difficult to imagine. In just over 25 years the personal computer, the internet, mobile phones have rapidly evolved, the role that machines and electronics have in our life is already a dominant one.

It seems technological influence on how and what we design will continue to dominate the field of architecture, the progress in 3D printing for example could see a series of homes designed and built in less than 30 hours each17 With such staggering production speed comes the very real fear of a prevelant utilatarian approach to architecture, theory being overlooked in preference of costeffectiveness and speed. Obviously this is an extreme case, 3D printed building could prove extremely beneficial in times of recovery postdisaster or war, but it remains that it is a method of production for the sake of production. The incorporation of digital technology into the realm of

architecture has undeniably being beneficial, and remains a key part in developing the contemporary city. The future need not be as Baudallaire imagined as long as we remember the importance of the human throughout the design process to avoid falling back into the production-line architecture of the past.

Production-line 3D neighbourhood printing 18

Jacobs (1960) http://th01.deviantart.net/fs71/PRE/i/2013/026/b/4/ the_beaubourg_effect.jpg

14 15

Gregg Pasquarelli, SHoP Architects. Quote from “Redesigning the World” TED talks - USC technology (2013)

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Bibliography:

Ruin, Void, Waste

The modern city is strewn with fragments of both celebrated but somehow redundant architecture: unecessary institutions, unsuccessful industry, buildings of historically significant use and so on. This architecture remains in place for the longest when it is believed to be in the proper position. At the current rate of change in modern cities it can be analysed as a digital device: constantly updating, deleting, moving. Ruins exist because of program and place, bastions the city can orientate itself around whether as an urban anchor or a visible exterior border.

The temporality of architecture is often measured through levels of shearing, though the degradation of material and change of experience is better addressed phenomenologically. In terms of its lifespan, the initial program of a building is usually very brief, with the erratic changes in economy and culture cause varied programmes throughout building use. Only through use can an architecture be maintained, it can be said that - through occupation - life can be lent to architecture, and when the time comes where the building is no longer of use, it’s demise, the process of decay begins. Like severing an artery, if the flow of human life suddenly stops the appendage will diminish.

state, we can interpret architecture naturally, without influence of stucco walls and clean slabs. An inherent memory remains in material and space; ghosts of the pre-existing and the affect of time becomes tangible. The coterminous lines of space and structure, thick and thin become skewed. It is in this state of failure that we can see architecture in its honest state, we can interpret architecture naturally, without influence of stucco walls and clean slabs. An inherent memory remains in material and space; ghosts of the pre-existing and the affect of time becomes tangible. The coterminous

lines of space and structure, thick and thin become skewed. Like the spaces in which the buildings occupy, the interior becomes an enemy of order and clarity. Although, through immersion, this doesn’t seem like a bad thing. The material memory of the space imbues a sense of comfort. It is no longer the initial fear of the unknown as you find that, to you, the building is known. It’s original designed spaces of order are clear to the viewer, levels of material degradation give us ideas of where and where is not structurally safe so order begins to rise through the physical state of the space.

My project, situated in the dilapidated stretch of abandoned institutions/ industrial buildings across the estuary from Lisbon, in Almada. The very obvious state of ruin tells a lot about the area, but searching within the carcass of the architecture one can find out so much more. Found artefacts, exposing of structure, levels of degradation give us a simulated memory of the place. You can see the ghosts of previous uses, previous occupiers. Through the stages of degradation; Demise, Carcass, Skeleton & Ghost we can see varying levels of natures effects on the material of the building. The point that a building

Martín–Hernández, Manuel J. (2008). For (a) theory (of architecture). The Journal of Architecture, (13) 1, 17. Castells, Manuel (2004). ‘Space of flows, space of places: Materials for a theory of urbanism in the information age’, A reader in architectural theory, William W. Braham and Jonathan A. Hale (eds). London: Routledge: 441- 56.

becomes a ghost is when it is removed from the existing fabric but the negative of the building remains, all that remains is a faint trace, an outline, hints of what once was. These ghosts fill the contemporary city, usually unnoticed but again containing a memory. Though a small effect, these moments of memory in the contemporary city are important, providing fragments of unnoticed but inherent history in the city without distracting from development.

Snodgrass, A.B. (2006). Ethics and practice. In A. B. Snodgrass, and R. D. Coyne (eds.), Interpretation In Architecture: Design as a Way of Thinking: 111-115. London: Routledge. Cauter, Leiven de (2004). ‘The capsular civilization: The city in the age of transcendental capitalism’, and ‘The rise of heterotopias’, The capsular civilization. Rotterdam: NAi Publishers: 40-74. Lefebvre, Henry (1996) Writings on Cities, Chapter 14: The Right to the City. Oxford: Blackwell, pp. 147 – 159. M. de Certeau (1984) The Practice of Everyday Life. Berkeley: University of California Press, pp. 91-110.

“Cherished things may slide into disuse, become ‘transient’ objects, which may further decline and become rubbish, but they can be reclaimed as useful or desirable once more, according to the vagaries of fashion and status..”35

2 Architects - 10 Questions (Koolhaas and Tschumi on Program) McLeod, M. (2000) ‘Architecture and politics in the Reagan era: from postmodernism to deconstructivism’ [1989], in Hays, K.M. (ed.) Architecture Theory since 1968, Cambridge, Mass.; London: MIT Press, pp. 680-702. Edensor, Tim (2005). ‘Waste Matter – The Debris of Industrial Ruins and the Disordering of the Material World’, Journal of Material Culture, Vol 10(3): 311-332. Benjamin, W. (1982) “The author as producer” [1934], Victor Burgin (ed.), Thinking Photography, London: Macmillan Press, pp. 15-31. Hays, K.M. (1984) “Critical architecture: between culture and form”, Perspecta 21: The Yale Architectural Journal, pp. 14-29. Braudel, Fernand (Civilization and Capitalism, 15th-18th Century, Vol. II: The Wheels of Commerce

It is in this state of failure that we can see architecture in its honest Skeleton

Ghost

Gerbner, George (1992 ) “Persian Gulf War, the Movie” in Triumph of the Image: The Media’s War in the Persian Gulf - A Global Perspective, edited by H. Mowlana, G. Gerner and G.I. Schiller, Boulder and Oxford:Westview Press, pg244

Carcass

Michael Thompson (1979) Self-produced image 37 Self-produced image 38 Self-produced image 35

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Studies/Readings in Contemporary Architectural Theory [ARCH11070] i. Course Diary ii. Essay: The incommensurability affect between architecture and atmosphere

The Incommensurable Affects of Architecture & Atmosphere

Preface The task of mapping the city of Lisbon took us across the Tagus Estuary by ferry - as we were told the only reason to cross was to “look back” at the beauty of Lisbon. The comparison between the ferry terminals at either side was stark, from the rather commercial coastline of Lisbon we found ourselves in a near desolate environment in Alfama. The buildings that were still occupied were shuttered and those that weren’t were derelict. Following the Alfama coast we found miles of abandoned industrial/institutional buildings in varying states of dereliction. The inauguration of the 25th de Abril Bridge (1966), a road/rail connection between Lisbon and Alfama, ironically led to the isolation of the latter. It was easier to transport goods, harvested in Alfama, by car than boat so most of the coastline became redundant.

Liam Bonnar, MArch, s0832136

So stands miles of prime, coastline real-estate left to decay under the harshness of the tides, winds and rain: the excessive cost of land and building means no one is willing to procure or maintain the buildings. An unexpected result of the dead shoreline was an abundant homeless community, working with found materials to create dwellings in the interiors of the buildings. Another similar series of abandoned industrial buildings were found 20miles east along the coast, again the interiors of the building showing a history of use and re-use.

Brief synopsis

An Essay that explores the relationship between your design work and a selection of the weekly reading topics considered during the course. The essay need not be a comprehensive analysis of each cluster of material, but might concentrate on specific themes that interest you. Most importantly, your essay should aim to put the theoretical material to work in relation to a particular set of architectural issues that you are examining in the studio. You should treat this as an opportunity to reflect upon and develop your own design work. Q19.

human interaction attributed to the atmospheres found in our sites, there was a feeling of a more truthful experience of architecture and nature (with no artificial qualities like artificial lighting, heating, shading).

As architects, we are to the subject as directors are to the film viewer: we manipulate that which is real with techniques, technology and mechanism to create a physical space and a mental state. We choreograph movement; we use technical skills to impose our ideas upon both the physical body and the consciousness of the body (body and mind). Through theatricality, we, like the director, seek to create tangible atmosphere through presence/absence of form. In this short essay I will be discussing the relationships between atmospheres and the body (and senses), but more specifically atmospheres and the mind, in the fields of neuropsychology and phenomenology : the incommensurability of the subjective experience of atmosphere creatd by atmosphere, discussing the writings of Bachelard, Kant, Foucault, Thrift, Tschumi and Zumthor.

In these dead buildings, where one expects to feel desolate stillness and darkness, fear of the unknown, we found an incredible sense of comfort, in the solitude we felt free to meander and roam, to climb and play in a way that would make us very uncomfortable in a populated urban environment. We found memory in material and a sense of history in space. In summation, through our investigations of these carcass-like buildings we couldn’t help but feel a deathly atmosphere surrounding the skeletal structures, although it was intertwined with an incredible sense of comfort: a sense of death but also the embrace and acceptance of it. It was a very basic feeling that these buildings once housed communities of people and in I now feel that the homeless congregation on the shoreline did not live there because they would be undisturbed, they had gathered there because of the comfort in that space which was born from its generations of use.

The opening question states that architecture is a method of “production” of atmospheres, I must first argue against the use of term “production” here. I argue that real atmosphere is uncontrolled; it comes from the un-designed and the unpredicted, I feel that treating atmosphere as a product seems too industrial and simplified when describing something so connected with phenomonology:

“Architecture’s central task is the production of atmospheres. Discuss this statement with relation to current debates on affect and sensibility, as well as for your own work.”

So, in this essay I will be addressing physical architecture as merely one of many contributing variables in the production of atmosphere, as are time and process. Architecture is the vessel in and around which atmosphere is present. Considering affect - in Thrift’s definition of the term - we can theorise that human emotion stems from affect and that affect stems from context. But in reality, context is constantly changing, so architecture becomes a vessel for experiential conditions which are constantly undulating over time. Zumthor considers: “the idea of things that have nothing to do with me as an architect taking place in a building, their rightful place – it’s a thought that gives me an insight into the future of my buildings: a future that happens without me.”4 an idea I feel should be considered in all architecture. If atmosphere cannot be designed and implemented permanently, we must embrace the presence of natural processes and ageing, of human free-will and impulse: we must not fear or try to overpower uncontrollable variables.

“now affect is more and more likely to be actively engineered with the result that it is becoming something more akin to the networks of pipes and cables that are of such importance in providing the basic mechanics and root textures of urban life (Armstrong 1998),” 1

The buildings we found were rarely documented on modern maps and were occasionally inaccessible by paths, all in varying levels of degradation through both natural and human intervention. Initially, we were looking for commonalities in material/structural language, but our investigation proved slightly mundane; indexing the physical components of these amazing dead buildings did no justice to the experiential qualities found there, therefore we had to look to what was influencing our subjective experience of the architecture.

LO3 – An ability to coherently and creatively communicate the research, comprehension and contextualization of a given theoretical theme in relation to architecture using textual and visual media.

General Criteria

Architecture, Atmosphere & Time

Thrift explains that “The emotional responses associated with affect are generally negative/ categorized, but this is too simple” 2 in “NonRepresentational Theory”.Thrift further elaborates that the affect in the city is not documented in traditional architectural literature, more in “whimsical” poetry or novels. Affect essentially describes the uncontrolled ebb and flow of emotion caused, in this case, by architecture in the city.3

Our conclusion was that it was the degradation of the physical architecture through weathering/

Thrift, Nigel (2008). Non-Representational Theory:Space, Politics, Affect. London: Routledge: p.172 ibid, 3 ibid, p.173 4 Zumthor, Peter (2006). Atmospheres: Architectural Environments - Surrounding Objects. Switzerland: Birkhauser: p.18 1

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Architecture as a Resonant Amplifier It seems too easy to fall into the trap of creating strident atmospheric qualities in hopes of manipulating the viewer to act in a controlled way. With a project requiring such sensitivity as a crematorium it was important that we created a building which resonates atmospheric qualities and amplifies, not imposes emotional response to the occurrence of death. Through use of thick and thin boundary conditions we sought to create a distinct presence of absence (which was developed from similar atmospheric qualities found in abandoned buildings in Lisbon) which we felt was fitting for the situation. Architecture is a vessel that holds the body, so therefore must also hold the mind. But, in death, what does a body become when consciousness is lost? How do we sensitively address the idea of subject becoming object? Must we transcend the reality of death through beliefs in religion or semiotics?

Dysfunctional Body and Mind Vitruvian ideology describes the human form as the distinctive influence on the proportions of Classical architecture.5 Da Vinci’s illustrated manifestations of Vitruvian theology further develop the ideas of human geometry, its symmetry and how it relates to the symmetry of the physical world . The basis of architectural form is to act as a capsule to hold within it the human body, and in many instances the human body is the influence for the architectural form in the first place, the relationship is cyclical. Both Vitruvius and Da Vinci dealt with the functional body however; one must also consider the dysfunctional body, the subversive body: the carnivalesque according to Bakhitin6. Though I do not wish to stray into the ideas of social disparities and the sacrilegious, my interest lies in this misbehaviour (against reason and policy) and expressibility of the body and mind in states of disorder due to atmosphere, in this context, attributed to by architecture.

a mimetic journey to deal with the loss of a loved one. Initially, the subject is taken through stages of confusion and disorientation to slightly increase the state of grief they experience. Although this seems to lack sensitivity, the idea is only to isolate emotions which are already occurring; the atmospheric qualities of the space will always be seen subjectively. In taking the subject away from society for the ritual of the funeral, and because of the intense personal emotions which are present, the subject is more likely to lose inhibitions and act compulsively, intuitively. Through our mimetic journey we sought to amplify and temper these uncontrolled emotions through varying states of disorder and order, disorientation and clarity. Briefly taking the subject to a dark experiential plane through mimesis leads to the intensified feeling of relief and release (catharsis) at the end of the journey.

Through our architecture we wanted to emphasise the strong presence of absence that is found in the loss of a loved one, but also strongly imbue the feelings of acceptance and comfort surrounding the occurrence of death. Our design of the crematorium involved taking the subject through

Cartesian and Idealist theologies state that reality is mentally constructed, that reality is immaterial and therefore entirely subjective: the mind and the body are separate, though interlinked, entities. In this case, states of order and disorder are surely not arbitrary? However, Cartesian theories suggest that an individual’s perception and sensation of reality is the “source of untruth and illusion”, insinuating that the addition of imagination (memory, personal emotion, representation) is what causes disorder and uncontrollable behaviour of body and mind. To explore further this I will refer to some Neuropsychological theories, specifically those concerning with autism.

this sense) is to act without thought of outcome, without reason and without consciousness for the purpose of preventing anxiety through creating order and is done so without inhibition. Another symptom, acting in ritual, is again to act to a set of rules, where the subject’s actions are seldom arbitrary and which, to an outsider, seems irrational but to the individual it is order through habituation. With this in mind, I say that it is out with general society (free from Foucault’s ideas of biopower ), in solitude, where we move further from the idea of the docile, functioning body and more towards the misbehaving body. It is in this mentality, without empathy or inhibition, where we become aware of our freedom from gaze and judgment, where most commonly act compulsively (without logical calculation/reason). So when we are away from society, and we know that we are, we will act differently, we drop the guise and are more true to ourselves, isolation. It is only in certain contexts that we reach a sensorium where this compulsive behaviour is triggered, either in apparent solitude or polarized states of overwhelming comfort or panic.

Symptoms of repetitive, ritualistic and compulsive behaviour found on the autistic spectrum suggest that, for the individual, systemization is the primary cognitive objective, while social interaction and attributing mental conditions (emotions, of oneself and of others) is recognised as physiological - there is a lack of empathy.7 Psychoanalytically, the idea of acting compulsively (although pathological in v. Symbolic light: Zumthor’s Bruder Klaus Field Chapel Resonant Amplifiers: Chapel and Furnace Room

General Criteria

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Bibliography: Publications: Bachelard, Gaston (1994). Poetics of Space. 4th ed. London: Beacon Press: p39-45

Context, Affect & Imagination attributing to Subjective Experience In his book, “Atmospheres”, Zumthor states that, to him, atmosphere is an aesthetic and we as the viewer’s experience an entirely subjective “immediate appreciation, a spontaneous emotional response and rejecting things in a flash”8 through the sensibility gleamed from perceivable context. Zumthor argues that linear thought (mental organization) is entirely different from emotional sensibility in terms of affect. It is the personal sensibilities gained from atmosphere which make us act and “do things a particular way”9 impulsively. Through his text he refers to architecture which “moves” him, both physically and through mental states, he can empathize and interact with as if it were a person: “The body of architecture – the material presence of things in a piece of architecture, its frame. …to me it’s kind of an anatomy we are talking about. As a bodily mass, a membrane, a fabric, a kind of covering, cloth velvet, silk, all around me…a body that can touch me.” 10 It was interesting, when reading Atmospheres, how much Zumthor’s text seemed to match my intuitive sense of atmosphere found in the dead buildings of Lisbon. I could use the categorization of his nine variables of architectural atmosphere to identify and describe specific sensibilities. “these were spaces you could enter and begin to feel that you could stay there – that you were not just passing through…but then something would be drawing me round the corner…saunter on… direction, seduction, letting go, granting freedom. It should all seem very natural”11 This returns us to the idea of the phenomenological sensation of comfort through atmosphere, one which cannot be fully explained because of the connections made in both the conscious and subconscious mind (seduction, tension, nostalgia etc.).

Conclusion

“daylight, the light on things, is so moving to me it is almost a spiritual quality. When the sun comes up and casts its light on things it somehow feels that it is too magnificent, and should not be on this world.”

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Connor, Steven (2006). ‘The menagerie of the senses’, The Senses and Society 1 (1): p9-26 Lavin, Sylvia (2000). ‘The new mood or affective disorder’, Assemblage 41 (April): 40 Libeskind, Daniel (2004). BreakingGround, Adventures in Life and Architecture. New York: Riverhead Books: p108-176. Kant, Immanuel (1914) Critique of Judgement. London: Macmillan and Co.: p101-125 Massumi, Brian . (2008). Strange Horizons. Available: http://www.brianmassumi.com/textes/Strange%20Horizon.pdf. Last accessed 22/04/13. Pallasmaa, Juhani (2005). The Eyes of the Skin: Architecture and the Senses. London: John Wiley & Sons: p1-19. Perez-Gomez, Alberto. (2006). Built upon Love . Architectural Longing after Ethics and Aesthetics. Cambridge, Massachussetts: MIT Press.

Through acts of compulsion we see the uncontrollable physical and cognitive reactions associated with the connection to one’s imagination. Just as such reactions are influenced by the incommensurable qualities of atmosphere, architecture is affected by the unpredictable forces of nature and time. I say that we cannot effectively design/create atmosphere. We must move away from attempting to manipulate the subject into feeling specific emotion, we should design for the future where we (the architect) and our ideas no longer strictly apply We must instead look to use architecture to help create atmosphere which can emphasise/dampen the magnitude of affect, and accept that the only predictable thing about the future of a building’s atmosphere and affect is that it is unpredictable.

Such instances were found often in the dead buildings in Lisbon, though floors were visibly cracking and the wind was harsh we were drawn upwards, up rickety stairs and mounds of timber to reach the light before considering going into the darkness. The presence of this subconscious desire seemed natural, even though it was compulsion, acting without reason.

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Bergson, Henry (1896). Matter and Memory. 5th ed. London: George Allen and Unwin: p40-42.

“Very often, the source of emotions seem to come from somewhere outside the body, from the setting itself…the problem is that emotions are largely nonrepresentational: they are ‘formal evidence of what, in one’s relations with others, speech cannot congeal’ (Katz 2000: 323)” 15

In Bachelard’s “Poetics of Space”, he explains the polarized connection of the attic and the cellar, giving the example that when you are looking for something you will instinctively look for it in the attic because that is where the light is. We are taught from a young age to fear darkness, and our subconscious mind will therefore always associate the idea of the cellar (darkness, the unknown) with fear. So our predisposition towards atmosphere come from memory, what we have no memory of frightens us. Bachelard states that it is our imagination which brings true cognitive response to a building/object that our cognitive appreciation of a space transcends reality as our imagination adds that which does not exist in reality to help us understand newly perceived spaces.

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Baron-Cohen S. (2009) Autism: the empathizing–systemizing (E-S) theory [PDF]. Ann N Y Acad Sci. Last accessesed 18/04/13

Returning to the analogy of architecture and theatricality, one cannot help but make reference to the disciplines as forms of art. Hegel’s particularisation of aesthetics saw Architecture and Cinema as the First and Seventh fine arts. Plato believed art was dangerous, a tool for the uncontrolled release of expression and emotion unfitting the symmetry and rationality of Classical order. The idea of control, and also absence of it, correlating to atmosphere (and therefore affect) of architecture is a subject which interests me greatly. Classical theory works with apparent symmetry to achieve order and comfort; the fear of the unknown, the uncontrolled and unexplainable brings out unease in us. It is these phenomenological qualities, that affect our sensibilities and which we cannot quite describe, which attribute to atmosphere in architecture and cinema:

The idea that, even today, our rhetoric is not strong enough to effectively translate our sensibilities – “Human language is no longer assumed to offer the only meaningful model of communication.” 13 – explains why the disciplines of poetry and theatre often tackle atmosphere: where it is encouraged for imagination can be actively used in addition to what is perceived in order for us to understand the unexplainable. Here we can discuss the idea of the sublime with reference to Kant. In, “Critique of Judgement”, Kant refers to beauty and the sublime as separate entities: the former an appreciation of the physical form (aesthetics) and the latter a subjective figment that exists in one’s imagination to comprehend an object that’s representation in reality does not apply to sense or reason. – which promotes a “[satisfaction] in the extension of the Imagination in itself.” 14

General Criteria

Bakhtin, Mikhail (1941). Rabelais and his world. Bloomington: Indiana University Press.

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Tanizaki, Junichiro (1977) In Praise of Shadows. London: Leete’s Island Books Thrift, Nigel (2008). Non-Representational Theory:Space, Politics, Affect. London: Routledge: p171-183. Thrift, Nigel. (2012). Space and Spaciality in theory . Dialogues in Human Geography . 2 (1): p1-20.

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The Tell-Tale Detail Design Studio A [ARCH11093] Lisbon, Portugal

Brief synopsis

Architectural Design Studio A is a core module which emphasises the development and refinement of the structural, material, environmental and legislative aspects of design projects. Studio A Integrated Pathway: LISBON builds from work completed in Year 1 of the Integrated Pathway, in Studio C and Studio D. The projects of Studio D have framed hypotheses for projects in the city, investigations of potential and imagined futures of city and urban field. The design projects of Studio D and Studio A are required to interact to form a single Thesis project, and a Design Report will be expanded during this period to frame the thesis inquiry. Studio A looks for a sustained and rigorous process of investigation and the development of urban and architectural design.

The projects of Studio A are required to further develop the projects of Studio D towards a complete draft of one detailed architectural proposal of significant complexity.

Notes

LO2 – The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 – The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 – A critical understanding of, 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.

With establishing a series of thematic investigative and propositional methods in the previous semesters, Studio A encouraged the beginnings of refinement in both architectural theory and architectural design of our current enquiry, eventually working towards a degree of resolution. which would work at a variety of scales from the minute detail up to urban and estuary strategies. The beginnings of Studio A encouraged us to develop refined details, stemming from work in the previous semesters, which could be used to strengthen and resolve chosen threads of enquiry to be continued throughout the semester. Given that our propositions take place within our Terrain Vague, dealing with the existing derelict buildings became central to our enquiry this semester, especially in relation to the prevailing narratives of life cycles and environmental/cultural/ infrastructural rhythms present in the Almada site: tides, ferry schedules, hours of work, weather patterns etc.

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lending life to the city

The Rua du Ginjal is poised between the harsh environments of the Tagus Estuary and the extreme coastal topography of the borders of the Almada. Acting as a mediation point between the juxtaposed conditions, the manmade coastline is a remnant of an industrial port. The site became uneconomical as a local distributor with the construction of the Abril de 25th Bridge. when it became accessible from the south of the estuary by road and rail. In simulating the densities and flow of daily traffic, we can notice a draining and then filling of the Almada side at either end of the working day. From personal experience on the site, it would seem that the port town is mostly residential, people staying there as a cheaper option than staying in the City and commuting over by ferry for work every day. This cycle of flow, draining and refilling is reminiscent of the human circulatory system, pumping towards and then away from the heart of Lisbon in a constant cycle.

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revisiting reactive mechanisms

As the building skins of the Atrophic Landscape decay, nature holds more of an influence over the architecture and itâ&#x20AC;&#x2122;s interior. Supporting walls worn down to permeable, fragile skins by driving wind and waves allow in enough light and rainwater to vegetation to grow but still provide enough shelter for the buildings to occupied by local wildlife. Designed openings in the homogeneous stretch of faĂ§ades that make up the Rua do Ginjal coastline test the effects of intentional exposure to the tides, weather and sensory experiences of the estuary. In puncturing parts of the existing, we could potentially harmonise the programmatic functions of our architectural propositions with some identifiable rhythms of the estuary and surrounding areas. high tide inlet mechanism

visualizing tidal data

determining tidal range and synodic rhythm

diagram consistent with information with tidal information of November 2013

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Fully tensed: end of synodic month, waxing crescent moon

Fully submerged: beginning of synodic month, waning crescent moon

responsive tidal mechanisms | autonomous algae harvesting system

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shifting paths: tides causing exclusion within the building

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high tide | urn viewing space, exclusion, enclosure

low tide | urn interaction, accessibility , undulating enclosure

necropolis | shifting paths

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choreography through shifting pathsways Using water inlets triggered by tide height, we can create points of varying inclusion and exclusion within our architecture. Changing routes of passage, rhythmically, throughout the day. In order to create a fluid interior space, where there does become a point of exclusion, the alternative/available pathway must become immediately apparent. This idea of choreography through shifting pathways became part of the narrative of the mimetic journey from Studio A

mimetic journey axo

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Atrophic Landscapes

The line of inquiry explores the possibilities of architectural conditions forming symbiotic relationships between scales and notions of time, atmospheres and nature. The inception of the design thesis begins with an investigation of the marginal, semi abandoned space; those atrophic landscapes within or along the edges of Lisbonâ&#x20AC;&#x2122;s fabric. The derelict coastline of Almada is identified as the counterpoint to the way order and consumption holds sway over the city, offering room for spontaneous and creative appropriation and informal uses. The tale is that of conatus technologies; the inherent instincts of self-preservation in regards of death, birth, rebirth and sacrifice. To articulate this tale a series of rituals stretch across the site and within the proposed architectural moments, dealing with issues of time, movement and form. The crematorium, the cathedral, the necropolis, the flower marker, the enfleurage and copper plate workshops, all become fragments/ locations within the ritual. Spaces switch between private and public and interweave between inhabitable and uninhabitable as the orchestration of the funeral procession takes place.

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Atrophic Landscape: notation map

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

Building in Atrophic Landscapes

As an abstract concept, a specific locale, a subject of literary and architectural intervention, â&#x20AC;&#x153;Atrophic Landscapesâ&#x20AC;? particularly deal with the architecture of circadian and synodical rhythms. Atrophic Landscapes open in the dichotomy of what we perceive as city and nature and the thesis proposes the possibility of a mortal architecture that rises into ruin before it is built, rather than fall into ruin after it is built. In testing design within the Terrain Vague we developed an architectural language and an attitude towards the existing, but when we begin to calibrate our series of connected architectural fragments, we are to an extent taking ownership of this Atrophic Landscape. By regarding the landscape as a physical object, as opposed to a series of predominating concepts, we begin to deal with the actuality of the armature. Calibrating our architecture within a physically degrading coastal landscape required a less speculative attitude towards context (existing structure retention, environmental and construction strategies.). Testing architectures in place also led to a consideration of the potential impact of both short and long term occupation of the Almada site; development of community, trade, new transport and infrastructure routes/schedules, maintenance, cycles of use and building lifespan (sacrificial layers, designed degradation or structural longevity). Our architectural fragments work between points of assimilating themselves with the rhythms and cycles present on the Almada coastline, and points of autonomously resisting them to create a distinct contrast between the public and private spaces within the proposition.

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

necropolis flower market

nal

rmi

y te ferr

s arve

eh alga

pel

cha

ant

pl ting

on ssi e c pro

te rou

ium

ator

crem Rhythms within the Atrophic Landscape: composite map

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

design development

Necropolis

A place of final rest, the Necropolis acts as a Columbarium for the commemorative urns from the Crematorium. Once placed the urns stay suspended above a permeable bed which becomes submerged in water (and inaccessible) at high tide. The Necropolis is an architecture of shifting states: changing pathways and varying situations of enclosure or exposure dependent on the tides view from the ferry entrance

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

design development

Algae harvesting facility

The algae harvesting facility was developed as secondary architecture: one which has itâ&#x20AC;&#x2122;s place in the narrative of rhythm and cycles but its main function is harvesting algae bi-products to be used in programs across the Atrophic Landscape.. Using reactive mechanisms, the device works autonomously, submerging and extracting the permeable algae growing membranes from the estuary water in harmony with the synodic cycle (28days) to then be used in the extraction of biooil (to fuel the crematorium oven) and algae flake (dry flakes, compacted and used as air filters). oxygen concentrations in the estuary

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

legislative frameworks

The Algae Harvesting Facilityâ&#x20AC;&#x2122;s primary function is to filter the exhaust fumes from the crematorium ovens. The exhaust are piped directly into full algae harvesting pods for algae to feed on, filtering harmful gasses and outputting as oxygen for safe release into the atmosphere and considerably accelerating algal bloom .

250 yard radius

Without filtration, any crematorium must be located at least 250 yards from any residential area.

algae harvesting facility | machine room detail

violation of proximity to residential buildings as stated in planning guidelines for crematoria in the UK and EU

crematorium exhaust: mercury, carbon dioxide, carbon monoxide, dioxins, nitrogen oxides

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

design development

Procession and Crematorium

The processional route towards the Crematorium mimics the ascension to the churches typically found at the peaks of hills in Lisbon. The journey upward leads the subjects above the landscape to the Crematorium which is perched adjacent to the Rua do Ginjal elevator, with a panormic view over Lisbon and the Tagus. The significance of the ritual of cremation required a new architecture which did not need to act within the constraints of the existing buildings.

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

Algae harvesting plant technical section | machine room

Necropolis technical section | urn space

Crematorium technical section | circulation tower and ovens

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

time drawing 1

flower market opening

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

time drawing 12

Crematorium entrance, end of procession

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design design studio studio aa

AMPL

design studio h

design report

tell-tale detail city field scales defining thesis narratives

time drawing 13

low tide | urn space accesible

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.1 4.2 4.2 4.3 4.3

5.1 5.1 5.2 5.2 5.3 5.3

6.1 6.2 6.2 6.3 6.3

7.1 7.1 7.2 7.2 7.3 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

contract game examination

Architectural Management, Practice & Law (AMPL)

[ARJA11002]

i. contract game ii. examination

Brief synopsis

Architectural Management, Practice and Law lectures are intended to present the student with a range of knowledge which can then be built on and developed by further reading. The workshop vehicle which will be used to assess learning outcome 2 of the course is a web-based ‘contract simulation game,’ which will provide participating students with a considerable depth of knowledge in relation to the administration of a standard form of building contract. Aims of the course are to: - acquire understanding of the issues and constituencies which influence the processes and delivery of design and theoretical aspects of project and practice management. - understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect.

LO1 – An understanding of practice management and codes of professional conduct in the context of the construction industry. LO2 – An understanding of the roles and responsibilities of individuals and organizations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. LO3 – An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects. Notes Considering Edinburgh not only as a city formed and forged by geology and geomorphology but one which itself - in it’s constructed state - is a landform: an actively undulating metropolitan landscape. Investigations of the city as one of unsure ground

- introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project. - develop an awareness and understanding of the financial matters bearing upon the creation and construction of built forms. - develop an awareness of the changing nature of the construction industry, inter-relationships between individuals and organisations involved in building modern day building procurement.

fb lb dc rc General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

contract game examination

Architectural Management, Practice & Law (AMPL)

Team 10: Dynamics and cost control measures

[ARJA11002]

i. contract game ii. examination

The Contract Game was foremost an insight into the formal/working relationships created between individuals and organisations when tied together contractually through the stages of procurement. The Traditional procurement contract we were provided creates complex strings of situational hierarchy between the organizations and professionals involved and defines the appropriate actions to taken by the Contract Administrator (The Architect in this case) in the event of disputes to the enforce the hierarchical framework of responsibility, liability and professionalism. Although the Traditional contract the group (Team 10) was supplied with was a heavily multifaceted document, we noted that the Scenarios mostly concerned issues of liability, hierarchy, responsibility, cost control and time management. There are numerous clauses present which allowed leeway in terms of costs, time, quality and more specific variables of the procurement process and who is liable for them. These are regarded as allowable and considered risks, (like the %3 Retention fee set aside by the Client) which can occur within the boundaries stated in the contract without necessitating any change in the physical contract document. It became clear to the group, with correspondence from our Controller, that preventing changes to the physical contract was a consistent theme of the Contract Game.

dh + jm + rm + ak

Liam Bonnar, MArch, s0832136

Brief synopsis

LO1 – An understanding of practice management and codes of professional conduct in the context of the construction industry.

As a group we familiarised ourselves with the terminology used both in the correspondence emails with the Controller and the contract documents and how these tended to relate to one another whilst carrying out the first few scenarios. The breakdown of the clauses into individual sections under the “Conditions” portion of the document was initially intimidating because of the sheer volume of them. Although once the group became more versed with the terminology used it was easier to isolate the sections where the relevant clauses could be found and referenced in response to each scenario. Identifying key phrases in the correspondence notes facilitated a more streamlined handling of the scenario, allowing us to quickly identify what issue the correspondence was outlining, who it concerned and what was needed in response. Deciding whether the scenario mainly addressed an issue of liability, quality, time or cost quickly became the group’s first action. As

LO2 – An understanding of the roles and responsibilities of individuals and organizations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. LO3 – An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

a group of four we initially decided that we would be most efficient individually focusing on different elements. Each person handling either:

end of the second day we had completed 30 out of the 36 scenarios, doubling our output from the day before.

-Relaying correspondence emails to/from the controller to the group, identifying the key phrases in the texts which related to the contract.

Our adapting as a group to most efficiently handle the tasks was what lead to this difference in our scale of production, as well as the collective familiarity with the document and the process of reading, scanning, composing and responding. I personally noted that our response time for each scenario dropped from around one hour on the first day to as little as 11 minutes on the second. We also learned that the Scenarios concerning potential additional costs tended to end in us protecting the Client’s money at the expense of the Contractor. The Architect’s Instruction’s allowed us (as the Contract Administrator) to document any cost changes and also define who was liable for them with reference to the contract document: Scenario 8 – excavation and installation of attenuation tank to be paid for by contractor because of them being liable for rectifying previous shoddy construction. The Architect’s Certificate was another tool used to control and document costs, using the example of Scenario 11 the AC was used to document deductions made to the payment of the Contractor due to incurring additional costs with rectifying lowquality construction.

-Choosing and filling out relevant attachments such as Architect’s Instructions/Certificates -The scanning of the contract for clauses relevant to the scenario -Composing what would be sent to the Controller (referring to input from the above) and dictating to the email writer. This method proved to be ineffective after the first few scenarios were completed. The contract being so vast required all four group members to be scanning the document, the identification of key phrases in the correspondence emails was better handled by all four as well seeing as each member may pick up on something the others had not. Also to fill out any attachment documents didn’t take very long and was rarely needed in the scale of the Contract Game so devoting one person to this was unnecessary. The pace of the game left the group little time to discuss and readjust our approach to tackling the scenarios, by the end of the first day we had only completed 10 of 36 scenarios even with a head-start. The second day yielded considerably better results with the group’s reconsidered tactics. All group members would read the mail from the controller and then discuss what information stood out. When an agreement was reached of the exact issues, each group member scanned the contract index for the relevant sections and sub-sections to look within (as we familiarised ourselves with the more commonly used clauses/sections this process became considerably faster). The group kept the designated correspondence writer for the sake of consistency in grammar and writing style, though each member now contributed to the composure of the email and the citations and references which were to be used within it. At the

necessary was there for us to find, reference and apply so the process of responding to the Scenarios need not have been so complex.

To be critical of our performance, I would first have to state we were considerably unprepared for the method of working posed to us in the Contract Game. As well as this I think our co-ordination of all four people was poor, on numerous occasions the task was began by four but carried out and completed by two. As we did not complete all 36 scenarios it is obvious to me that time management was also something we needed to focus on more and in retrospect, I think the most pertinent reason for that was our over-thinking and over-complication of the task. We often found ourselves deliberating over which clause was more relevant than the other and even arguing over the more subjective feelings born from the correspondence - questions of loyalty and morality were raised in Scenario 12 when we were posed with the scenario on who was liable to pay for the replacement of the much-loved Jaguar buried under a fallen wall on site. The game provided us with a Traditional contract: a formal document which should have been treated as such. All information

fb lb dc rc General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3 4.3

5.1 5.2 5.3

6.1 6.1 6.2 6.2 6.3 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.1 10.2 10.2 10.3 10.3

11.1 11.1 11.2 11.2 11.3 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

contract game examination

Architectural Management, Practice & Law (AMPL)

Alternative Procurement Routes

[ARJA11002]

i. contract game ii. examination

The hierarchy framework in Management Contracts stipulates that the Design Team (both consultants and contractors) selected by the client will run the works, under the oversight of a Project Manager or a Management Contractor although any additional fees incurred over the construction period by any tier of said Design Team is, contractually, to be paid by the Client. This is why Management Contracts are regarded as high risk for the Client, and this is also why it is worth the Client’s time – and money – to select a reputable design team and Project Manager to oversee works: those who have experience in providing quality construction at a fair price. Management Contracts seem to impose a you-get-what-you-pay-for situation for the Client: they tend to produce better quality buildings with an ability to move along quite quickly, but at a price. Contract profiling visually details the priorities of the proposed construction and is a tool for selecting the appropriate contract for builds.

dh + jm + rm + ak

Liam Bonnar, MArch, s0832136

Unlike the Traditional contract method, the tendering process is not so much about competitive pricing here, the selection of a professional is based more on their skill, reputability, expertise and experience. If the Client is unwilling to compromise on the initially stated price, a Traditional Contract would be better suited as the liability for additional payment lies with the Contractor. Correspondence in Scenario 6 (and again in Scenario 8) of the Contract Game suggested that the Client was more concerned with cost cutting than quality of construction concerning drainage pipes:

Brief synopsis

“I met the QS and Clerk of Works on site and they told me about the contractor fitting the wrong pipes in the ground. I want you to leave them in place, as long as we get the decent saving the QS indicate.” Duggs, W, Scenario 6. The Contract Game

LO3 – An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

With the meticulous selection process of reputable professionals in Management Contracts, it is unlikely disputes would occur over the use low-quality/nonspecified materials being used. Comparative to the Traditional contract method, the Client (and Architect) has considerably less power as to what occurs in design and on-site if there is a disagreement with the Management Contractor although can stipulate certain standards need to be

General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3 4.3

5.1 5.2 5.3

6.1 6.1 6.2 6.2 6.3 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.1 10.2 10.2 10.3 10.3

11.1 11.1 11.2 11.2 11.3 11.3

met in the Client brief. This being said, Managing Contract’s do allow for changes to design at any stage through alteration of Work Packages (where reasonable/applicable). The Project Manager’s fee is usually a pre-determined percentage of the final cost of construction. This percentage remains the same even if the costs rise above the calculated costs at the beginning of the construction process. This expense can turn out to be justifiable as the Project Manager can save the Client millions throughout the construction. Whilst the Client employs Consultants and Contractors, giving the Management Contractor an active role earlier in the procurement process can allow work on site to start earlier. Unlike the Traditional Contract, a Management Contract can allow quicker on-site activity after the initial stages of the procurement process have begun as a full set of drawings aren’t required for the construction process to begin. Management Contractors are responsible for the hiring of the reliable, reputable and relevantly experienced sub-contractors, who are in turn responsible for putting together Work Packages. Their Work Packages contain all the necessary information to complete whatever portion of work they are regarding, including: - The Sub-Contractor responsible. - Objective of the work. - Major Tasks and who is responsible for each task in the Works Package. - Earliest start date, latest completion date and who is responsible for each task. - The desired outputs for each task. - Major milestones. Information retrieved from typical work package supplied from Jisc Project managers Using the content and timescales in the Work Packages as building blocks, the Project Manager/ Management Contractor can put together a multifaceted construction plan (It is not the Management Contractor’s job to carry out the work, it is to manage it). The main benefit of this more complex and overlapping plan of work over a linear, successive arrangement (Traditional) is that the full timescale of construction can be compressed. Well managed work packages allow for numerous sub-contractors

Graduate Attributes

2.1

2.2

2.3

2.4

to be working on their sections of construction at the same time on site, once each work package is complete, the next sub-contractor/contractors can begin their section of work and so on. Also, with not all of the sub-contractors being needed on site at the same time, design/tender of their sections can run in tandem with actual on-site construction. Scenario 3 of the contract game described a dispute between two sub-contractors both working in close proximity to a fragile wall, one asking for additional time onto the contract to delay works. The addition of an overseer in a Management Contract is effective at reducing situations like this as (in theory) they can be foreseen and the construction plan structured so that the Works Packages are calendared so as to not interfere with each other. The Client can choose to novate specialist subcontractors of their choice to work under the Management Contractor, if made clear before having an active role. In Management Contracts the Design team assembled by the Client will create a design package which will act as a point of reference for all contractors and sub-contractors to work from as it is them who will be creating the detail drawings. With hubs, intranet systems or cloud-based online storage like 4projects (WWW.4PROJECTS.COM) the works packages can be uploaded and stored online leaving a lot of opportunity for review, overlay and co-ordination of the collective Works by all organisations and individuals involved in the procurement process. As well as being a time-saving device, issues of quality or inaccuracy can be easily be found and addressed, preventing instances such as found in Scenario 10 of the Contract Game where the rebars in the concrete floors were the wrong gauge but the mistake wasn’t noticed until late in the construction schedule.

a more streamlined line of communication between the Contractors, the Consultants and the Client. With the Architect as the Contract Administrator in the Contract Game, there was a situational system of hierarchy leading to a string of complex negotiations and notifications where disputes occurred. Scenario 14 of the contract game specifically addressed the dispute of hierarchy on site involving the Clerk of Works (Client representative), the contractor and the Architect. Although the complexity of the system of hierarchy in the Traditional Contract could be considered the fairer option – with varying liability and responsibility depending on the situation and those involved – as all parties share the risk, it is often the case that it is also more time consuming option. The Management Contract has less complicated system as it is the managing parties (Project Manager, Management Contractor) who have the most power on site. In the RIBA member’s online survey 2011, only 18% of members stated that they commonly used the Management Contract procurement method. Although the reasons for such a low percentage (in comparison to Traditional Contract: 86%) are not stated it can be speculated that in the current economic climate, Clients are less likely to take on such risk-laden and high budget constructions, opting more for the more the cheaper and lower quality - but with reduced risk – D+B or Traditional procurement contracts. Essentially, it is the Client’s business needs which inspire the inception of a project in the first place: the design team, the procurement method, the construction and the allowable risks are born from the Client’s ambition.

The dual involvement of both the consultants and the contractors throughout almost the entire period of works (including the appointment of an overseer, PM/Management Contractor) generally leads to a higher quality of work in large scale projects than through using the Traditional or Design and Build contracts. The Project Manager can act as the Contract Administrator using Management Contracts giving

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

contract game examination

Architectural Management, Practice & Law (AMPL)

[ARJA11002]

i. contract game ii. examination

Question Summary:

Answer and references:

Brief synopsis

Students will work in pairs as small architectural practices in answering questions based around real-life scenarios of Architectural Management. The exam paper will have two sections, each with three questions. Students are to attempt two questions from each section each with a maximum word count of 800 words per question.

lb rs General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3 4.3

5.1 5.2 5.3

6.1 6.1 6.2 6.2 6.3 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.1 10.2 10.2 10.3 10.3

11.1 11.1 11.2 11.2 11.3 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

contract game examination

Architectural Management, Practice & Law (AMPL)

[ARJA11002]

i. contract game ii. examination

Q4 Summary: Q4. Requires advice on the production of an Outline Briefing for a new Interfaith Centre, a (supplementary to the current Chaplaincy Centre) at the University of St. Andrews. The correspondence letter from a University representative provides an initial schedule of accommodation - giving a rough guide to the named necessary spaces and their individual and cumulative space requirements for the new building - as well a rough outline of what should be covered in the response: - “What initial questions do we need to ask? - What initial actions do we need to carry out? - We have been asked to express the brief in a way that is communicable to a design team, how do we do that? - What would be the contents of the document? - What do you anticipate would the approximate size of the building, and what do you think would be an appropriate budget? - What involvement will you need from other design team disciplines?”

Q5 Synopsis:

lb rs General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3 4.3

5.1 5.2 5.3

6.1 6.1 6.2 6.2 6.3 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.1 10.2 10.2 10.3 10.3

11.1 11.1 11.2 11.2 11.3 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

contract game examination

Architectural Management, Practice & Law (AMPL)

[ARJA11002]

i. contract game ii. examination

Q5 Summary: Q5. The correspondent has been asked to identify development opportunities in Edinburgh for a prestigious Regional HQ office for a major UK finance company. They have two potential sites in mind: above the Princes Mall Shopping Centre in Princes Street (in which they have a controlling interest) and, secondly, The Old Royal High School on Regent Road, which was previously considered for the Scottish parliament building. We are asked to outline the opportunities and constraints present within each site, referencing relevant statuary guidelines, regulatory frameworks, zoning laws.

LO1 â&#x20AC;&#x201C; An understanding of practice management and codes of professional conduct in the context of the construction industry. LO2 â&#x20AC;&#x201C; An understanding of the roles and responsibilities of individuals and organizations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. LO3 â&#x20AC;&#x201C; An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

lb rs General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3 4.3

5.1 5.2 5.3

6.1 6.1 6.2 6.2 6.3 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.1 10.2 10.2 10.3 10.3

11.1 11.1 11.2 11.2 11.3 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

Thesis: Architecture in the City of Unsure Ground Design Studio H [ARCH11174] Lisbon, Portugal

Brief synopsis

The Thesis Project developed through Studios C, D and A raises many issues concerning architecture in the urban context. Studio H has a single objective: to present the Thesis Project as complete, in its own terms and in relation to the terms of the ARB/RIBA validation criteria. Students will frame issues that either require specific further development or may arise as parallel concerns. These may traverse philosophical, technological, environmental, cultural, political, economic, management issues, and will be developed through design, critical presentation and more exploratory modes of practice. Through the course of Studio H we are encouraged to: - Zoom in and/or extend parts of your current proposition- developing the architectural language to a more sophisticated level, spatially, technically and with a high degree of resolution, drawing out and analysing/ reflecting on found and made complexities and specific spatial/ environmental/ material conditions.

- Tagus field. Some of you may have suggested these moves in Studio A ‘muralha’ and ‘estuario’ drawings. - Curate and consolidate the common and differential qualities of your design proposals over the past 3 semesters (Edinburgh excursus, gatehouse, city: field proposal, current proposition); to analyse spatial arrangement, urban grain, interdependencies and morphologies. This testing may lead to a new series of propositions in identified ground in the Lisbon.

lb ps General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 4.1 3.2 4.2 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

Tell-tale material Location: Rua Santa Justa, Lisbon Focus: Traces in preserved building relic Themes: Ghosts in the city, previous use, ruin as relic, framing light

img _ 0177

audit Studio H began with a critical audit of the first three semesters in order to identify prevailing narratives present within the Integrated Pathway. The narratives would go on to become key seams of enquiry running through our thesis work, but also gave us an idea of the themes and investigations we would be leaning towards in the beginnings of Design Studio H. Considering the nature of the work ahead (proposition resolution, thesis production) we thought returning to, and developing our existing light and material indexes would be a good start to elaborating on our process of design in the Atrophic Landscape.

light and material index II: elaboration

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

elaborating on index

testing design methodology

fleshing out propositions

Along with auditing relevant work from previous semesters, the Studio A work was in a diagrammatic state and required a fleshing out. Using the elaborated index and a variation of the original form, the Crematorium design was updated. As a test of a possible process of design which could be developed throughout the course of the semester. With the level of resolution necessary in Studio H, the audit of work also included identifying key weaknesses in the propositions: building/landscape circulation systems, dealing with existing architectures and geology.

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

MOVE I

Studio H, Move I required us to revisit the City-Gate scale of enquiry in the form of the composite studio maps from which we could establish/clarify a thematic link between our thesis and the City Field. Map I identifies the scale and quantity of officially abandoned buildings in Lisbon and the surrounding regions. Map II is an abstraction of maps by Eric Fischer which use data from image upload websites like flikr and Google Earth to record when people are taking and uploading photographs in the City, where they are positioned when they are taking them, and what the focus of the image is. The different colours of line represent different users: locals, tourists and unknown. As a beginning to Move II, we created a physical model of a composite of these maps and overlaid our own photograph data to develop a less speculative idea of the use of the Almada site, who it is being used by, and what at which points people tend to explore the derelict buildings or avoid them.

Map I - Abandoned Buildings

Map II - photo data

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

MOVE II

Move II, Speculative Morphologies, foregrounded the Tagus as theme of investigation once again. Working with the maps from Move I, we identified bunching of photograph uploads which together built up the two edges of the Estuary and

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

MOVE III & IV

Move III focused on honing in on specific design narratives which would be prevalent in our collective thesis. Move IV was the implementation and representation of our new architectures, consistent with the design narratives running throughout the integrated pathway and highlighted in Move III this semester. With our prevailing Macro narrative of Terrain Vague, our architecture has developed from a series of interconnected elaborations and micro narratives; industrious seams, the atmospheres of death and decay, rhythms and cycles and atrophic landscapes. To bring to the forefront our narratives for Move III, we began work on videos, drawing, models which we felt would best represent the key themes leading up to our final propositions.

Rua do Ginjal

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

lb ps

Video will play on page load General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

lb ps

Video will play on page load General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

representing atrophy

The inherent malleable/fragile qualities of wax in its different states made it ideal as a representational tool in designing degradation. The ease in which itâ&#x20AC;&#x2122;s shifts states allowed us to record the changes in material in time and highlight our strategies of resisting and encouraging points of deterioration.

drawing existing (pencil) & projected facade deterioration (pen) with retaining structures deterioration around lintel and sills

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

between wax and concrete

Using cast wax and cast concrete as separate investigations in modelling, we can express our two attitudes to the Atrophic Landscape: - The landscape as a deteriorated, yet solid, anchor - A landscape shifting with time Working between the two materials, we also work between two scales. The detail achievable with wax lends itself to more zoomed in models so it was used to model the existing facades in the 1:50 spacial models. held in place but representing an architecture which was intended to be sacrifical or seen as a relic. With the steep topography running directly behind the man-made coastline, concrete would represent the solidity of the man-made coastline and the connecting geology, sectional models would be produced to show how the new architectures sit in the land and the respective heights and scales of the propositions in relation to the existing landscape.

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

Demise, Carcass Skeleton, Ghost video Tests of tidal openings, shifting pathways Light and material index: Edinburgh to Lisbon Plan chest: situating the enquiry, Terrain Vague Design development process: index, assemble, implement Designed degradation: deteriorating faรงades video. model and drawing Necropolis - 1:50 detail model Chapel - 1:50 detail model Design Report Atrophic Landscapes: 1:500 location model

tille

Dis et ark

el Chap

nd algae ha

rium

Atrophic Landscapes: Folio of building plans

Procession a

Crem ato

1:100 landscape sections

M wer Flo

Atmospheric perspective render

Necropolis

Rhythms in the Atrophic Landscape: time drawing

rvesting

Degree show arrangement

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

Necropolis

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Roof Plan + 9.0m

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

tide-responsive enclosure

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

General Criteria

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+ 1.0m

tidal inlet

tidal registering mechanism

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

necropolis entrance

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

recessed podium beds

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

relic wall

2.1

2.2

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

urn podiums

commemorative copper plate housing

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

tille

Dis

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

design studio a

wall retaining supports

lightwell for etching station

entrance from flower market

existing wall

private entrance

jal

condensors

drying wall

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

building enclosure

d ua

design report

in uG

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

al inj

design studio h

public access for flower market and plate collection

+ 1.0m

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+ 7.0m

AMPL

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

t arke

er M Flow

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

ATR

design studio d

SCAT

design studio a

stall-ownerâ&#x20AC;&#x2122;s entrance

+ 5.0m

OD UC

jal

Gin

BY AN

du Rua

design report

D RO

B ED

T AU

E SK

design studio h

D RO

IO AT

AMPL

AU SK

TO ED UC AL

ION

CE DU O R

T 11.1 11.2 11.3

Graduate Attributes

2.1

10.1 10.2 10.3

ION

9.1 9.2 9.3

8.1 8.2 8.3

7.1 7.2 7.3

2.2

6.1 6.2 6.3

5.1 5.2 5.3

4.1 4.2 4.3

2.3

3.1 3.2 3.3

2.1 2.2 2.3

2.4

1.1 1.2 1.3

General Criteria

2.5

cafe

public rest room

Y DB

TO AU

S DE

N TIO CA U ED

OD PR

T UC

public entrance hall

design studio c

2.6

2.7

ATR

design studio d

SCAT

D RO

route for moving petals to distillery

distillery entrance

design report

UC BY

design studio h

D CE

U NA

E SK

N TIO

AMPL

+ 1.0m

design studio a

AU SK

inja

uG ua d

ED UC AT ION AL PR

E UC OD PR

11.1 11.2 11.3

10.1 10.2 10.3

ION

9.1 9.2 9.3

8.1 8.2 8.3

7.1 7.2 7.3

Graduate Attributes

6.1 6.2 6.3

2.1

5.1 5.2 5.3

4.1 4.2 4.3

3.1 3.2 3.3

2.1 2.2 2.3

2.2

1.1 1.2 1.3

cart storage

2.3

General Criteria

flower fridges

private restroom

seed fridge

N YA B D

T AU

KE ES OD

AL ION T CA

D RO

2.4

design studio c

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

nd ce a n a r t En Ferry

el Chap

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+ 4.0m

a Ru

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

inja

G a du

jal

n Gi

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT coffin hoist

General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

relic wall

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

chapel entrance

i uG

excavated slipway

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+ 1.0m

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT procession route

General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

funeral space

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

arvesting nd algae h

a Procession

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

Crem a

toriu

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

hanging-vine rafters

+ 12.0m

public entrance

main stairwell

end of procession

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

existing staircase

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+ 8.0m

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT + 1.0m

main entrance coffin passover space

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

contemplation spaces

public entrance

cremation oven

retaining wall

coffin lift

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

+ 6.0m

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

(Un)sure Ground speculative morphologies new architectures

Rhythms of New Architectures in the Atrophic Landscape

lb ps General Criteria

1.1 1.1 1.2 1.2 1.3 1.3

2.1 2.1 2.2 2.2 2.3 2.3

3.1 3.1 4.1 4.1 3.2 3.2 4.2 4.2 3.3 3.3 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.1 7.2 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design designreport report terrain vague atrophic landscapes

Design Report

[ARCH11069]

Vol. I - atrophic landscapes Vol II - dark 1 Vol III = dark 2

Brief synopsis

The Design Report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. A Design Report in architectural practice situations often constructed to both introduce and to document architectural designs. Audiences for a Design Report include both those architects and other specialists in the discipline interested in the design. The aims and objectives of this course are to: - critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report. - demonstrate an ability to analytically and logically synthesise documentation which encompasses a range of architectural issues, research and design development undertaken, individual study progress and key project representations.

LO1 – The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report. LO2 – The ability to produce documentation and reports that are clear, analytical and logical, covering a range of architectural issues of culture, technology, history, professional practice, value, theory and design. LO3 – Demonstration of integration of knowledge in architectural design, materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, management, practice and regulatory frameworks, within the report. LO4 – The development of transferable skills and techniques through the preparation of a sophisticated graphic document. Notes Considering Edinburgh not only as a city formed and forged by geology and geomorphology but one which itself - in it’s constructed state - is a landform: an actively undulating metropolitan landscape. Investigations of the city as one of unsure ground

- develop skills in the communication of architectural design proposals, through sophisticated visual and textual synthesis and consideration of reception. - construct a design report as a designed object that effectively and eloquently introduces an architectural design project or design thesis undertaken during the M.Arch Programme. - appropriately structure and present a comprehensive design report which documents and presents in detail an architectural design project or design thesis, a fully referenced academic document which fully demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design.

lb ps General Criteria

1.1 2.1 1.2 2.2 1.3 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design designreport report terrain vague atrophic landscapes

Volume I: Terrain Vague Volume II: Atrophic Landscapes

Situating the enquiry, Jostled by the hectic pace of economic and social changes the urban fabric of Lisboa evolved along lines that become increasingly difficult to interpret. The city’s Post-industrial urbanization led to the gradual emergence of intermediate zones, punctuating its urban landscape. These intermediate zones exist within the city as ghosts, skeletons and carcasses portraying the previous life cycles shaping the current built fabric; voids within the dense city scape, traces of roofs and openings, exposed structures… A seminal text reflecting on derelict and abandoned spaces is “Terrain Vague” 11, a 1995 paper written by the Spanish architect Ignasi de Sola Morales. Morales’ perceives terrain as “the idea of a script of land fit for creation, with a direct corollary to the urban. Vague, is intrinsically tied to an assortment of Ideas.

Volume II

Volume I

Terrain Vague

Atrophic Landscapes

Thus the dual concept of a plot of land defined by indeterminacy is the key to understanding of terrain vague, which has both a spatial as well as a social connection “spaces as internal to the city yet external to its everyday use. In apparently forgotten places, the memory of the past seems to predominate over the present.” In response to the observation of the paradox formed by the two opposing realities of the mirroring estuaries; that of the Lisbon Reality and the Almada Reality, we identified the situation not as a problem but as an opportunity, a Terrain Vague for architectural intervention.

The line of inquiry explores the possibilities of architectural conditions forming symbiotic relationships between scales and notions of time, atmospheres and nature. The inception of the design thesis begins with an investigation of the marginal, semi abandoned space; those atrophic landscapes within or along the edges of Lisbon’s fabric. The derelict coastline of Almada is identified as the counterpoint to the way order and consumption holds sway over the city, offering room for spontaneous and creative appropriation and informal uses. The tale is that of conatus technologies; the inherent instincts of self-preservation in regards of death, birth, rebirth and sacrifice. To articulate this tale a series of rituals stretch across the site and within the proposed architectural moments, dealing with issues of time, movement and form. The crematorium, the cathedral, the necropolis, the flower marker, the enfleurage and copper plate workshops, all become fragments/locations within the ritual. Spaces switch between private and public and interweave between inhabitable and uninhabitable as the orchestration of the funeral procession takes place.

lb ps General Criteria

1.1 2.1 1.1 2.1 1.2 2.2 2.2 1.3 1.3 2.3 2.3

3.1 3.1 3.2 3.2 3.3 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.1 8.2 8.2 8.3 8.3

9.1 9.1 9.2 9.2 9.3 9.3

10.1 10.1 10.2 10.2 10.3 10.3

11.1 11.1 11.2 11.2 11.3 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6 2.7 2.7

100

design studio c

ATR

design studio d

SCAT

design studio a

AMPL

design studio h

design report

End Liam Bonnar | Masters of Architecture

General Criteria

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

Graduate Attributes

2.1

2.2

2.3

2.4

2.5

2.6

2.7

101