2021 ESALA Masters of Architecture Academic Portfolio - Lily Gonlag by Lily Gonlag

Academic Portfolio Edinbur gh School of Architecture & Landsca pe Architecture: Masters of Architecture Lil y Gonl a g s 1537339

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Reflective Statement The curation of this portfolio has allowed me to look back on the last two years with nostalgia as I take stock of everything I have learned so far. The Integrated Design Studio pathway has offered a unique opportunity to delve deep into an everevolving thesis whilst developing a methodology for drawing architecture; to discover a rich context and culture which I will continue to learn about and admire. Simultaneously, I felt that I could use the knowledge gained in my other modules to complement my design thesis further. I have greatly missed the studio culture since the beginning of last year; I have struggled with motivation and often felt that my creativity was stumped when I was not surrounded by the work of my course mates for inspiration. It has been an especially challenging year, however, it eventually allowed me to develop a strong and productive working routine that will stay with me. Completing this degree leaves me with a strong support network of tutors and friends, and broad knowledge of architectural culture, theory and design, which will guide me as I continue on my path towards a profession in architecture.

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SEM 1

MARCH 1: 19/20

SEM 2

07 Architectural Design Studio C PARA-situation [Ahmedabad]: “Past, Present and Possible” Walls, Wells, Pols and Gates

MARCH 2: 20/21

45 Architectural Design Studio A PARA-situation [Ahmedabad]: “Past, Present and Possible” The Space of Appearing - In Detail

Architectural Technology Research

Architectural Design Studio D PARA-situation [Ahmedabad]: “Past, Present and Possible” Walls, Wells, Pols and Gates

57 Architectural Management, Practice & Law

The Virtual City

Architectural Design Studio H

80 Design Report

PARA-situation [Ahmedabad]: “Past, Present and Possible” The Spaces of Appearing as Enzymatic Territories

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Studio C

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Studies in Contemporary Architectural Theory

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ARB General Criteria

Part 2 Graduate Attributes

G C 1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

G C 7 Understanding of the methods of investigation and preparation of the brief for a design project.

The graduate will have the ability to: 1. prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 2. understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 3. develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

The graduate will have an understanding of: 1. the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 2. the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC2

G C 8 Understanding of the structural design, constructional and engineering problems associated with building design.

The graduate will have knowledge of: 1. the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2. the influence of history and theory on the spatial, social, and technological aspects of architecture; 3. the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

The graduate will have an understanding of: 1. the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 2. strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 3. the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

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

GC3

design.

Knowledge of the fine arts as an influence on the quality of architectural

The graduate will have knowledge of: 1. how the theories, practices and technologies of the arts influence architectural design; 2. the creative application of the fine arts and their relevance and impact on architecture; 3. the creative application of such work to studio design projects, interms of their conceptualisation and representation.

3. ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; 4. critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; 5. understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; 6. problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; 7. ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

The graduate will have knowledge of: 1. principles associated with designing optimum visual, thermal and acoustic environments; 2. systems for environmental comfort realised within relevant precepts of sustainable design; 3. strategies for building services, and ability to integrate these in a design project.

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

G C 1 0 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

The graduate will have knowledge of: 1. theories of urban design and the planning of communities; 2. the influence of the design and development of cities, past and present on the contemporary built environment; 3. current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

The graduate will have the skills to: 1. critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. understand the cost control mechanisms which operate during the development of a project; 3. prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

G C 5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

G C 1 1 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

The graduate will have an understanding of: 1. the needs and aspirations of building users; 2. the impact of buildings on the environment, and the precepts of sustainable design; 3. the way in which buildings fit in to their local context.

The graduate will have knowledge of: 1. the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 2. the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

The graduate will have an understanding of: 1. the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; 2. the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 3. the potential impact of building projects on existing and proposed communities.

2. ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals;

G C 9 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.

GC4

G C 6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

1. 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;

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GC11 3

STUDIO C

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DR [ GENERAL CRITERIA ]

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Course Title, Chronological Context

ASSIGNMENT TITLE Tutors: Collaborators: Brief The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question, making reference to appropriate examples, data and case studies.. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world.

Response The intensifying issue of Urban Flooding in North-West Europe as a result of climate change raises important questions around how cities respond to increasing rainfall. This report examines five preventative measures that have been implemented in different North-West European cities over the last 10 years to respond to this issue. The case studies, rooted in the principles of Sustainable Urban Drainage Systems (SUDS), go beyond current conventional interventions to produce site-specific and innovative solutions that not only alleviate flood threats, but also aim to bring other benefits to their immediate context. Parallel to a metric investigation, a series of diagrams show the technical and social elements of each project in order to clearly present the diversity of solutions available for addressing urban flooding.

a. Figure 1 b. Figure 2

Assignment Details

Figure Annotations ARB General Criteria Referencing System Additional Student Predicted Mapping ARB PART 2 Graduate Attributes Referencing System Page Number Course Progression

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Architectural Design Studio C

PARA - SITUATION [AHMEDABAD] : “PAST, PRESENT AND POS SIBLE” WALL S, WELL S, POL S AND GATES Year 1, Semester 1

40 Credits Course Organiser: Dr Dorian Wiszniewski Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee

Learning Outcomes:

Course Description:

Reflective Statement:

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.

Semester 1 of the Integrated Pathway opens the architectural design thesis, focussing on body, building and metropolitan scales.

Looking back, I found the experimental nature of Semester 1 to be enjoyable; a luxury due to the time allowed by the Integrated Pathway. At the time though, I did struggle with this. It felt like a tough transition from the Undergraduate degree as I was often left feeling like I didn’t know what I should be doing. Nevertheless, by the end of the Semester I felt that alongside Rachel and De Rui we had established the beginning of a very strong thesis to bring us forward into the next Semester and prepare us for our visit to Ahmedabad.

LO2: The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3: A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

It begins with the design of a small series of interventions across the city of Ahmedabad. Architectural projects should be legible at 1:50 scales. However, we will also look to how these projects impact in series across different situations so as to open the understanding of the broader urban and metropolitan context at 1:1000+ scales. India’s Tropical climate opens consideration towards a major theme of Wetness, and so, we will design and draw buildings as well as weather and the landscape conditioned by the comings and goings of the various seasons; we will draw out the rhythms of wetness. We will visit Ahmedabad at the beginning of Semester 2. Therefore, Semester 1 will be experimental and open up the research material necessary for making the most of the field-work opportunities.

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Architectural Design Studio C Year 1, Semester 1

THE GATEKEEPER’S FRUIT-FARM : TOWARDS AN URBAN OASIS Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee Abstract The Gate-Keeper’s Fruit Farm imagines the potential of Ahmedabad’s old city walls as an instigator for a fruit-growing network, simultaneously capable of both supplying the city’s fruit requirements and creating pockets of oases within the urban fabric. Agriculture has a huge presence within India, as the primary source of livelihood for 58% of the population; in terms of fruitgrowing, India is the third largest producer in the world. In Ahmedabad, production has faced challenges in recent years due to inefficient irrigation and poor links between growers and sellers, resulting in minimal profits for farmers. Bringing the farms towards the centre of the city will diminish the need for intermediate transfer links between the countryside and city, and a constant consideration of wetness aims to create a condition of year-round irrigation. Our speculation has begun with considering two fruits, mangoes and guava, for which Gujarat is especially known. By analysing the quantities of fruit processed in existing wholesale markets, the speculations can be given a scale that calculates amount of land necessary to meet Ahmedabad’s fruit requirements. The network comprises of two typologies: a series of small, privately owned fruit farms – [gate-houses] - and a central market place and administration building – [The Fruit-Farmers’ Guild]. The design for both was initiated through three primary forms – gates, step-pools, and screens - and three sub-forms – handrails, handles, and gutters.

‘The Gate-Keeper’s Fruit-Farm: Towards an Urban Oasis’, Exhibition

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‘Fragments of Ruin’, Analytical section of damage to Amrutvarshini Stepwell

‘Fragments of Ruin’, Analytical elevation of damage to Manek Burj

Group Drawing s c ombined and edited by Rac hel Dunne

Group Drawing s c ombined and edited by D e Rui L ee

‘DRAWING’ OBSERVATIONS Our explorations of Ahmedabad began with selecting two sites along the path of the Old City Wall - the Amrutvarshini Stepwell beside the Panchkuva Darwaja and the Manek Burj on the Sabarmati Riverfront. We used the process of ‘drawing’ observations of these Para-situations - in the definitions of both extraction and reproduction - to develop our own understanding of the city. With the knowledge that we have not yet, and would not at this stage, visited the city, we ‘drew’ from the informations we could find publicly available from archives, maps, texts, public photos uploads and videos of the street. In doing so, we created our own visions of each site in advance of visiting them.

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Studio C

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R H Y T H M A N A LY S I S : ‘CHAOS TO CALM’ A sequence of drawings across these two Para-situations captures an archiving of multiple moments folded into one. We created a film based on a collection of our ‘drawing observations’, which used footage of the two sites that we could find online, overlaid with videos of us drawing our own observations in sketches. From creating this video, we began to notice that there were distinct moments of transition from chaos to calm within the urban fabric and between the two sites. This drawing represents a rhythm of moments experienced along this journey; dissected and represented individually in frames.

Pencil Drawings by Rachel Dunne; Amrutvarshini Stepwell (left), Manek Burj (right)

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Studio C

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LAND USE ARABLE LAND WAT E R B O D I E S FOREST URBAN UNPRODUCTIVE LAND RIVER DEPOSITS PRIMARY FRUIT GROWING REGION

SOIL C O A S TA L A L L U V I A L S O I L ALLUVIAL SANDY SOIL MEDIUM BL ACK SOIL SALINE SOIL

AHMEDABAD’S FRUIT-SCAPE

DEEP BL ACK SOIL DESERT SOIL ALLUVIAL SANDY LOAM SOIL

Agriculture has a huge presence within India, as the primary source of livelihood for 58% of the population; in terms of fruit-growing, India is the third largest producer in the world. In Ahmedabad, production has faced challenges in recent years due to poor and inefficient post-harvest management systems. Expensive land prices and overcrowding in and around the cities has caused farming to become decentralised; this results in a weakening of links between farmers, wholesalers, retailers and consumers. Current systems for transporting fruits across these large distances results in high wastage and loss of quality in fruits, decreasing farmers’ profits further. Each of these factors points to an opportunity to speculate a reconfiguration of Ahmedabad’s fruitscape; to test the potential of Ahmedabad’s old city walls as an instigator for a fruit-growing network capable of supplementing the city’s fruit requirements. Our consideration begins with mango and guava, for which Gujarat is especially known.

MUD

FRUIT NETWORK EXISTING FRUIT NETWORK

PROPOSED

EXISTING

PROPOSED NE T WORK E XPANSION

WHOLESALE FRUIT MARKETS APPLE

[OCT - DEC]

CITRUS

[JUL - SEP]

GUAVA

[NOV - JAN]

MANGO

[ MAY - J U L]

P O M E G R A N AT E

[JAN - DEC]

EXPORT

Ahmedabad’s Fruit-scape; Metropolitan plan of Gujarat, India, Drawn at 1:1,000,000

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Quantifying Produce

Carpeting Ahmedabad’s Fruit-Scape C ollage by D e Rui L ee

PROPOSING A FRUIT NETWORK By analysing the quantities of fruit processed in existing wholesale fruit markets, our speculation gains a sense of scale that calculates required land area for growing these fruits, mapped along the path of the old city wall. The Naroda Wholesale Fruit Market offers a market of similar scale to our site at the Manek Burj for comparison, situated to the North East of Ahmedabad, 3km outside of the old city walls. Ahmedabad’s Old City Plan, Drawn at 1:10,000

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Studio C

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Elevation Facing Panchkuva Darwaja, Drawn at 1:100 Group Drawing s c ombined and edited by Rac hel Dunne

THE GATEKEEPER’S FRUIT-FARM The Gatekeeper’s Fruit Farm attempts to curate insertions of tranquillity within the constant activity of Ahmedabad’s Old City. Two species of garden spaces are created: the fruit farm, which is concerned with productivity and economics; and an urban oasis, which provides refuge from surrounding chaos. Inspired by the city’s stepwells, and recognising the need to capture and store as much water as possible during the monsoon season, portions of the city wall become a ‘well-wall’ and stem into a series of stone step-pools which capture and move water down towards the soil.

First Floor Plan, Drawn at 1:200 Group Drawing s c ombined and edited by Rac hel Dunne

Each fruit farm appropriates space either side of the city wall by a combination of step-pools and screens - in a sense, walling the old wall - to create microclimates tailored for productivity. As seen in the old city wall, the construction of a wall is synonymous with the insertion of gates. Our gates, as thresholds, have acquired a depth capable of becoming the farmer’s home – whom now is also a gate-keeper, and in charge of opening and closing the oasis to the city.

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Section through Amrutvarshini Stepwell, Drawn at 1:100 Group Drawing s c ombined and edited by Rac hel Dunne

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The Gatekeeper’s Fruit-Farm Drawing Series Drawing s by Rac hel Dunne

Model of Amrutvashini Stepwell at 1:200 and Turning Gateway at 1:20

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Below Ground Plan - Market

Ground Plan

WHOLESALE FRUIT MARKET AND FRUIT-FARMERS’ GUILD The second typology reimagines the Manek Burj as the Fruit-Farmers Guild. The Fruit-Farmers’ Guild will offer an association building for the characters belonging to the Agricultural Produce Marketing Committee, established in 1984 to regulate exploitative fruit trading systems. Influenced by the ideology of stepwells as subterranean social spaces retreating from the heat, the wholesale fruit market sits below ground; whilst above ground is the administrative functions that facilitate the city-scale network. The primary and sub-forms of the Gatekeeper’s Fruit-Farm also navigate the design of the Fruit-Farmers Guild: step-pools guide water through the market; pivoting gates are used to open and close storefronts; screens create green areas of retreat within the activity. From tracing the path of the old wall, the Fruit-Farmers Guild and gate-houses – a duality of oases and fruit farms - re-establish a presence of the old wall in places where it has been visibly removed.

Roof Plan

Exploded Isometric Drawing by D e Rui L ee

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Elevation of Manek Burj and Fruit-Farmer’s Guildhouse Drawing by D e Rui L ee

Section through Wholesale Fruit-Market and Ellis Bridge Drawing by D e Rui L ee

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The Gatekeeper’s Fruit-Farm Site Model Series: PI

‘Towards an Urban Oasis’ Exhibition

The Gatekeeper’s Fruit-Farm Site Model Series: PII

The Gatekeeper’s Fruit-Farm Site Model Series: PIII

The Gatekeeper’s Fruit-Farm Drawing Series Pencil drawing s by Rac hel Dunne

‘Towards an Urban Oasis’ Exhibition Guide

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Preparation for Robert Stephens ‘Walls of Ahmedabad’ Exhibition, Matthew Gallery

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Architectural Technology Research

Year 1, Semester 1

20 Credits Course Organiser: Dr Kate Carter Tutor: Peter Robinson Collaborator: Rachel Dunne

Learning Outcomes:

Course Description:

Reflective Statement:

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

Architectural Technology Research offers the opportunity to undertake in-depth technological research which compliments the design modules. This course is intended to accumulate various sets of information that are both contextual and responsive to contemporary technological issues, based on the topic of the Global Climate Emergency. Students will be involved in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.

I enjoyed the opportunity to research and analyse case studies in depth, gaining knowledge which could be applied to my design module. Each of my Technology Research projects focussed on methods for working with water rather than fighting against it, and this is something which has influenced the way I look at my design work due the context of Ahmedabad - an area highly affected by the monsoon season.

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

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Architectural Technology Research Year 1, Semester 1

Natural Landscape

GENERIC STUDY: URBAN FLOODING Tutor: Peter Robinson Collaborator: Rachel Dunne Brief

S M L XL

The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question, making reference to appropriate examples, data and case studies.. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world.

SCALE Overall scale of project building, street or city scale.

DISRUPTION Disruption to surrounding area from implementation of system

SOCIAL BENEFIT Overall social value:

e.g increased green space, reduced noise pollution, better air quality, improved urban environment

Dense Residential

Response The intensifying issue of Urban Flooding in North-West Europe as a result of climate change raises important questions around how cities respond to increasing rainfall. This report examines five preventative measures that have been implemented in different North-West European cities over the last 10 years to respond to this issue. The case studies, rooted in the principles of Sustainable Urban Drainage Systems (SUDS), go beyond current conventional interventions to produce site-specific and innovative solutions that not only alleviate flood threats, but also aim to bring other benefits to their immediate context. Each project is evaluated by its social, economic and environmental qualities, alongside a calculative speculation of its feasibility and effectiveness of water retention in flood scenarios. Parallel to a metric investigation, a series of diagrams show the technical and social elements of each project in order to clearly present the diversity of solutions available for addressing urban flooding.

ENVIRONMENTAL BENEFIT Environmental value on top retention

flood

e.g. increased urban biodiversity, reduced air pollution, reduced water demands

MAINTENANCE Effort to maintain once built

e.g. watering plants, cleaning pipes, gardening maintenance.

COST Initial cost of project

amount of bulk funding required, not cost per square metre

EFFECTIVENESS Ability to act as flood retention system based on our calculations

X 16

Urban

COST/ AREA ( £//lm 2 ) £0.21

VOLUME/ AREA ( L/ m 2 ) Capacity to retain water per area of project £0.21 /l X

£0.21/l

-5

-12

Change in mean annual flood discharge per decade (%)

Water run-off from natural, residential and urban landscapes

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COST/ VOLUME ( £/ L ) X of retaining one litre Cost

EFFECTIVE FLOOD RETENTION Capacity to retain average rainfall in a flood event. Heavy cloud outburst in Western Europe defined as 50mm of rainfall in a 24hr period.

Evaluation Metrics

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X 16

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TH E C L I MATE TI L E

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S ML X L SMALL GUTTER

WIDE

GUTTE

RU N O F F F RO M RO O F

OUT

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CAN

RAIN WATER F RO M SU RRO U N D IN G AREA

catchment area basin 3

£38/l

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catchment area basin 1

catchment area basin 2

T HE L IV ING WAL L

I NFI LT R AT I ON

R UNOFF

S M L XL

CONCLUSION An analysis of the case studies has highlighted that the most successful systems are the ones which go beyond the function of collecting water to include further improvements to social, environmental and economic infrastructure.

£0.58/l

PAR C D E BILLANCOURT

£2.35/l

WAT E RS QUARE

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S ML X L

GREEN RO O F

X 2.5

£0.62/l

Regarding all factors, we have determined both the Climate Tile and the Green Roof as the most effective interventions. Both provide high value, cost-effective solutions to urban flooding whilst offering additional social and environmental benefits. The Climate Tile is a street scale system which must be planned for in the early stages of an urban design project, but it is adaptable and easily scalable. We must consider, however, that this product is still in the pilot stage, and so for its effectiveness to be calculated more accurately it must be carried out on a wider scale. The Green Roof, on the other hand, can be implemented on an individual building scale, making it a flexible, low impact intervention. For all case studies it is important to consider each in its immediate climatic context, and so the effectiveness of each is site-specific.

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Architectural Technology Research Year 1, Semester 1

CONTEXTUAL STUDY: AMPHIBIOUS FOUNDATIONS Tutor: Peter Robinson Collaborator: Rachel Dunne

Brief The aim of the Contextual Study is to develop a deep understanding of a chosen topic in relation to a specific context to aide studio work.

Response This report investigates how the effects of flooding can be alleviated by the utilisation of amphibious foundations for dwelling in Ahmedabad’s informal settlements. The scope of the investigation is centred around the framework of the Slum Network Programme which was introduced to the city in 1996 in the hope to completely eradicate informal settlements – yet still neglects to address the destruction caused from the annual floods. Initially, three pilot projects are examined which have successfully implemented floating foundations in-situ; we evaluate the merits and downfalls of each amphibious typology – particularly, in the context of its implementation in Ahmedabad. An important factor in the selection of the typologies was to be comparing lowtechnology, low-labour construction techniques that use easily sourced and economical materials, which provide an opportunity for the houses to be built within the slum communities independent of government intervention. The findings and solutions found from the case studies are then applied contextually within the parameters of a small existing informal settlement, Madrasi Na Chapra, to theorise the social, economical and environmental implications - and advantages - of introducing self-built amphibious foundations within redevelopment schemes.

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APPLICATION IN CONTE X T Analysis of the effectiveness of three case studies for amphibious architecture has led us to believe that the LIFT House typology provides the most applicable proposal for redeveloping the Madrasi Na Chapra slum settlement in Ahmedabad. It is an affordable solution which makes use of local materials and individual labour, providing a comfortable, long-term home with full sanitation facilities; a proposal which meets the objectives of the SNP and our personal objectives for this project.

Social Providing amphibious housing in slum settlements hones in on the social groups who are most at risk and most vulnerable to the adverse effects of flooding. Stress is reduced when families can stay together in the comfort of their own homes and communities, knowing their homes and possessions are protected against damage. To a certain extent, work and daily life can continue.

Health Providing resilient housing during flooding eliminates many of the adverse health effects associated with flood events. Doctors surgeries built on amphibious foundations can remain open, and families have a better chance of recovery when they can stay in their own homes. Illnesses as a result of living in damp conditions are avoided. Integrated sanitation facilities will increase protection from contaminated water.

Sanitation Improvements Although the Spine Wall accounts for around 75% of the total project cost, it brings many benefits for living conditions. By providing self-sufficient access to water through rain-water harvesting, electricity through solar panels and sewage through composting toilets, the house can function independently of the city grid and remain functional when risen from ground level. The graph below compares percentages of access to facilities before and after redevelopment.

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Architectural Design Studio D

PARA - SITUATION [AHMEDABAD] : “PAST, PRESENT AND POS SIBLE” WALL S, WELL S, POL S AND GATES Year 1, Semester 2

40 Credits Course Organiser: Dr Dorian Wiszniewski Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee

Learning Outcomes:

Course Description:

Reflective Statement:

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.

Semester 2 develops the architectural design protothesis. This is when the building and city scale thesis begins to be formed.

Visiting India was an outstanding highlight. On our trip, we were privileged to meet so many kind and generous people and families. I am grateful to everyone who extended their kindness to us, invited us into their homes, shared their knowledge with us, protected us from dogs, and made our experience so much more special and genuine.

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.

The semester begins with a fieldtrip to to Ahmedabad to visit areas of interest developed over Semester 1 and undertake intensive measured studies of specific situations. Studies of these situations will be recorded in film and drawn at the following scales: 1:20, 1:50; 1:100 and located at 1:500. As the thesis develops the architecture is developed as a series of buildings. Therefore, the key scales are 1:100; 1:200 and 1:500. These serial situations are what we will in due course refer to as the Series of Enzymatic Territories (the SET scale). By the end of this semester it is expected that we will have taken on at least one building designed at no less than 1:100/1:200 scale and fully programmed. These designs will also work with the weather drawings and further develop the metropolitan scale understanding of Ahmedabad.

The Measured Intensities exercise allowed us to solidify the importance of our thesis within the context of Ahmedabad’s fruit industry.

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Architectural Design Studio D Year 1, Semester 2

FIELDWORK: MEASURED INTENSITIES Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee

Brief In January we will visit the city of Ahmedabad in Gujurat, India. This trip is a critical component of your research; it will provide the opportunity to test and confirm hypotheses emerging from the studio work and to further this work by gathering first-hand data on the city at the four scales of body, building, city and metropolitan landscape. An Archive and Fieldwork Supplement - ‘Measured Intensities: Intense Sites Measured’ - should be created both to provide the methodology and record this survey. We will also be attempting to survey the Old Walls of Ahmedabad. We will be looking for photographic and measured surveys of the Walls, inside and outside, as far as can be determined and achieved.

Response The field trip to Ahmedabad highlighted the importance of fruit-selling as an industry within Ahmedabad and so it became the foundation for our group thesis. Our film tells the story of the streets of Ahmedabad, abundant with stalls selling pomegranates and other seasonal fruits.

‘A Tale of Ahmedabad’s Fruit Trade’, film, click to activate

Also available at : ht t ps ://www.youtube.c om/watc h?v=X_dKMH8TOgQ

Elevation of Naroda Wholesale Fruit Market

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Fruit Stall at Naroda Wholesale Market Photograph by Rac hel Dunne

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Panchkuva Darwaja, Drawn at 1:200

MEASURED INTENSITIES: INTENSE SITES MEASURED The process of surveying the path of the Old City Wall between Panchkuva Darwaja - gate - and Kalupur Darwaja revealed that the wall had been completely lost between these points. This resulted in an in-between condition which invited us to test the potential of community-scale fruit cultivation as a process of re-tracing and re-building the ‘ghost’ wall. Panchkuva Darwaja to Kalupur Darwaja, Drawn at 1:500

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Pomegranate Explorations Exhibition

PEELING AND [UN]PEELING: POMEGRANATE E XPLORATIONS After witnessing the abundance of pomegranate stalls in Ahmedabad, this naturally led to a study into the architectural qualities of the pomegranate - a process of dissecting, photographing, drawing and modelling. This study reveals a rich architectural language which holds different meaning from metropolitan and city scale to building and body scale. The skin of the fruit becomes a method for containment, which can be burst or ruptured, allowing its contents to spill out. The membrane is a thin layer which acts as a boundary, lining or partition – again containing, but in a more flexible manner. The flesh of the fruit represents the weightiness and substance of the architecture. Lastly, the seeds represent the ‘south-for entity’, and the term ‘sowing seeds’ may be linked to the beginning of a process or condition. ‘Dissecting the Pomegranate’ Drawing Series

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SET Scale Plan - Panchkuva Darwaja to Kalupur Darwaja, Drawn at 1:500

Laying the Pomegranate along the path of the Old Wall Pencil drawing by Rac hel Dunne

A SE T OF ENZ YMATIC TERRITORIES Pan chk u v a D arwaja to Kalu pu r D arwaja The old city of Ahmedabad can be seen as a ruptured pomegranate, its seeds spilling to the periphery. The thickness of the old city walls - the skin - has been peeled back at many points, causing the contents of the old city to ‘spill’ outwards and an ‘in-between’ zone to emerge. Cultivating the In-Between treats these spaces along the interior and exterior of the old city walls as interfaces that fluctuate in density and openness, mimicking the swelling and seeping of the fruit skin. Three architectural agencies of Selling, Growing and Dwelling become the apparatus for the cultivation of pomegranates responding to the issues outlined at metropolitan scale; my individual project being the House for a Fruit-Farmer. [Un]peeling the drawings of the pomegranate, as with a fruit, reveals a new method for organising space. The linearity of the [un]peeled drawing invites us to lay these across our the path of our Measured Intensities survey and analyse how the existing plan can become agitated by our drawings. [Un]Peeling the Pomegranate

Drawing by Rac hel Dunne

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PEELING AND [UN] PEELING: CULTIVATING THE INBETWEEN A study into the architectural qualities of the pomegranate allows for the Fruit-Farmer’s Dwellings to take on the properties of the pomegranate seeds, arranged in clusters and spilling into the gaps left along the path of the old city wall. [Un] peeling and laying the ruptured pomegranate along the path of the old wall offers a method for agitating the existing condition and organising the program.

Dissecting Architecture; Developing Plan

Roof Plan Drawn at 1:200

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A HOUSE FOR A FRUIT-FARMER The Fruit-Farmer’s Dwellings create clusters of community, which focus on maintaining a strong connection between farming and community; culture and cultivation. A study into the architectural qualities of the pomegranate allows for the Fruit-Farmer’s Dwellings to take on the properties of seeds. Courtyard spaces act as thresholds between old and new; transitions between private dwellings and the street. Within each cluster of dwellings, a community hall acts both as a place for inhabitants of the Fruit-Farmers’ Dwellings to meet and spend time, and as a meeting house for members of the Fruit-Farmers’ Guild. The heavy flesh of the pomegranate becomes a closed edge wall to the site, protecting the precious contents within – the seeds. Unlike the heavy outer facing of the dwellings, the courtyard façade is lightweight and permeable to invite the dwellings to breathe. The light skin of the pomegranate manifests as a series of opening roofs, allowing the buildings to be [un]peeled. Site Plan, Drawn at 1:500

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Ground Plan, Drawn at 1:100

First Floor Plan, Drawn at 1:100

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Studio C Studio ATR Studio D D SCAT

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Studio A

AMPL

Studio H

S K I N // P E E L I N G R O O F S

M E M B R A N E // C A N O P I E S

M E M B R A N E // S C R E E N S

M E M B R A N E // L I G H T W E I G H T S T R U C T U R E

F L E S H // C O N C R E T E B AT H S

F L E S H // M A S O N R Y

Exploded Isometric Drawn at 1:100

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Studio C Studio ATR Studio D D SCAT

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Studio A

AMPL

Studio H

Pomegranate Explorations Exhibition

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Studio C Studio ATR Studio D D SCAT

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Studio A

AMPL

Studio H

StudiesArchitectural in Contemporary Theory

THE VIRTUAL CITY Year 1, Semester 2

20 Credits Course Organiser: Ella Chmielewska Tutor: Dr Hannah Cannon

Learning Outcomes:

Course Description:

Reflective Statement:

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

Contemporary Architectural Theory offers an opportunity to discuss and critique the interaction between design and its cultural, intellectual, political, social and economic contexts. Through a process of critical reading and group debates, the course interacts with broader areas of cultural interpretation, criticism, and speculation linked to architecture .

I was surprised by how much I thoroughly enjoyed studying for the ‘Virtual City’ course, because I have always found essay based courses to be particularly challenging. I was so glad to see such a varied assortment of Theory modules; the digital realm has been something I have always been curious to explore further and have never had the chance to apply my interest to my academic practice until now. My excitement kept me motivated to engage with the readings and so I was able to get a lot out of participating in weekly class discussions.

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

The ‘Virtual City’ module explores the relationship between physical space and the emergence of virtual space. Classic texts within the field of architectural theory - the meaning of cities and embodiment and movement in space - are complemented by contemporary arguments which carry these theories into the digital realm.

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AMPL

Studio H

Studies in Contemporary Architectural Theory Year 1, Semester 2

COURSE JOURNAL Tutor: Dr Hannah Cannon Brief The course reading journal documents an ongoing critical reflection in response to weekly readings and seminar discussions.

Response My weekly journal entries capture specific thoughts that arose after completing the readings and weekly discussions - exploring the relationship between the physical and virtual realms as I come to a realisation that both spill into one another in a co-dependent relationship. I particularly enjoyed that each week, a piece of classic theoretical text was paired with a contemporary passage, allowing me to contemplate the relevance of architectural theories in the context of the digital era.

Course Journal Spreads

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AMPL

Studio H

Week Two Course Journal, ‘Authentic Edinburgh’

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AMPL

Studio H

Week Three Course Journal, ‘The Lived, the Perceived and the Conceived’

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AMPL

Studio H

Week Seven Course Journal, ‘Uninterrupted Commercial Interruption’

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AMPL

Studio H

Studies in Contemporary Architectural Theory Year 1, Semester 2

ES SAY: THE PINK WALL PHENOMENON Tutor: Dr Hannah Cannon

THE PINK WALL PHENOMENON: TO WHAT E X TENT DOES INSTAGRAM SHAPE THE WAY WE INTERACT WITH PHYSICAL SPACE?

Brief The 3000 word illustrated essay provides an opportunity to explore a specific topic of interest in more depth, arising from the weekly readings and seminars.

Response

Checking online reviews of a restaurant before visiting, checking a route on Google maps before wandering, choosing meeting locations based on whether free Wi-Fi is offered; the inhabitation of physical space is becoming increasingly tied up with how we inhabit virtual space. Early 1990s discussions of cyberspace argued that the virtual and physical worlds were two separate, parallel realms,1 however, this is very clearly no longer the case. As stated in Professor of Architecture and Urban Culture Iain Borden’s ‘Tactics for a Playful City’, “Cities become at once real and virtual, physical and ethereal, concrete and imagined…” 2; virtual and physical spaces now spill into one another, constantly informing each other. Over the last decade, social media has grown to play a huge part in the way our physical space is designed and inhabited; we are no longer designing for the physical body alone, but rather, for our virtual bodies. This essay explores Instagram – founded in 2010 and now hosting over one billion active users3 – as a means for understanding the developing relationship between the virtual and physical worlds.

Whilst engaging with the weekly course readings, I became partciularly interested in the realm of social media and its affect on the way we inhabit physical space. My essay focuses on two case studies; the Paul Smith Pink Wall - a space which without social media would merely be an uninhabited parking lot - and the Museum of Ice Cream - an example of a space which has been designed to be inhabited purely through the lens of the virtual realm. Analysis of these case studies highlights the idea of a shift in the relationship between the virtual and physical worlds.

Analysis of two case studies – the Paul Smith Pink Wall and the Museum of Ice Cream – highlights a shift in the relationship between the virtual and physical worlds. The meaning of the physical realm becomes re-articulated as something of an accessory to social media consumption as spaces which were previously unpopulated become hubs of activity due to their online popularity. The boundary between the virtual and the physical worlds becomes intangible, one spilling into the other. Instagram allows us to understand this relationship between the virtual and physical realms as something which is co-dependent and constantly evolving.

1. Benedikt, cited in Stephen Graham, ‘The end of geography or the explosion of place? Conceptualizing space, place and information technology,’ Progress in Human Geography 22, no. 2 (1998): 165.

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

3. Mansoor Iqbal, “Instagram Revenue and Usage Statistics (2020),” last modified March 24, 2020, https://www. businessofapps.com/data/ instagram-statistics/

#paulsmithpinkwall. Screenshot. “Explore Locations: Paul Smith Pink Wall.” Instagram. Accessed March 19, 2020. https://www.instagram.com/explore/locations/1031086823/paul-smith-pink-wall/

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AMPL

Studio H

Essay Spreads, ‘The Pink Wall Phenomenon’

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AMPL

Studio H

Architectural Design Studio A

PARA - SITUATION [AHMEDABAD] : “PAST, PRESENT AND POS SIBLE” THE SPACE OF APPEARING : IN DETAIL Year 2, Semester 1

40 Credits Course Organiser: Dr Dorian Wiszniewski Tutors: Dr Dorian Wiszniewski & Kevin Adams Consultants: Andrew Leiper & Jonathon Narro Collaborators: Rachel Dunne & De Rui Lee

Learning Outcomes:

Course Description:

Reflective Statement:

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

Semester 3 develops the architectural design thesis through understandings of technology and environment. The thesis will be tested at body and building (detail) scales.

Meeting with the Environmental and Structural Consultants was extremely valuable to the technical progression of my design this semester. I began this semester with a basic volumetric concept for the Fruit-Farmer’s Dwellings, and am proud of how my architecture progressed after the meetings. I enjoyed facilitating the wisdom of the pomegranate to further develop an individual methodology for creating architecture.

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

The building designed over Semester 2 will now be developed in great detail technologically and environmentally. External professional consultants will be brought in to advise: an environmental engineer and a structural engineer. The architecture will be fully explored and developed to show how it works in the tropical environment of Ahmedabad. The building design of semester 2 will now be represented to show how it articulates the material reality of an architecture of wetness (and dryness). The key scales are body and building presented at 1:20; 1:50; 1:100/200; and located at 1:500.

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Studio C Studio ATR Studio D SCAT Studio A A AMPL

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Studio H

Architectural Design Studio A Year 2, Semester 2

PEELING AND [UN]PEELING: CULTIVATING THE IN-BETWEEN Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee Consultants: Andrew Leiper & Jonathon Narro Brief The building designed over Semester 2 will now be developed in great detail technologically and environmentally.

Response Semester Three sees as progression towards ‘The Space of Appearing- In Detail’. As a group, our thetic development has become one which is mutually beneficial to the landscape and the city, fulfilling a duty to rebuild the old city walls and give back to the city whilst responding to the environmental impact of decentralised farming. Through an environmental and technological lens, the Fruit-Farmer’s Dwellings have developed to become passive, breathable structures, forming protected clusters of cool micro-climates.

A House for a Fruit-Farmer

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Studio C Studio ATR Studio D SCAT Studio A A AMPL

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Studio H

FLESH

[noun] the edible pulpy part of a fruit or vegetable

Load-Bearing Brick Walls // Concrete Baths The flesh of the pomegranate is represented by a thick brick wall that wraps around the outer edge of the cluster and carries it on the ground, containing sculpted out spaces for staircases, services and solar chimneys. A series of stepping concrete baths rest on top of the wall to collect and channel water towards a storage well. Whilst the thickness of the brick wall protects from the heat, rainwater is pumped through the brickwork cavity to provide an active cooling system for the dwellings during the hotter times of the year.

SKIN

[noun] the peel or outer layer of certain fruits or vegetables [ ver b] remove the s k in from ( a n a nima l or a fr uit or veg eta bl e)

Timber Roofs // Canopies The skin of the pomegranate is a lightweight structure, encasing parts of the dwellings to become a series of peeling roofs and canopies, allowing the building to breathe.

MEMBRANE

[noun] a thin sheet of tissue or layer of cells acting as a boundary, lining, or partition in an organism; a thin pl ia bl e s heet of mater ia l for ming a ba r r ier or l ining

Movable Timber Screens // Lightweight Timber Str ucture A double layer of lightweight, moveable timber screens represents the flexible membrane of the pomegranate. The interior of the dwellings expands and contracts; encloses and exposes; depending on the temperature, the time of day and the season. A timber structure spanning between the brickwork represents the lightweight structural qualities of the membrane.

Isometric Section through House

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Studio C Studio ATR Studio D SCAT Studio A A AMPL

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Studio H

A A

Section A-A through Amrutvarshini Stepwell Drawn at 1:200

Group Elevation, Panchkuva Darwaja to Kalupur Darwaja

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Studio H

Section B-B through Courtyard Drawn at 1:100

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Studio H

C C

Section C-C through Meeting Hall Drawn at 1:50

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Studio H

D D

AUTOVENT ROOF PIECES Autovent pistons allow roof pieces to open automatically to maintain a comfortable temperature within. A piston is seated in mineral wax within a tube; depending on the heat outside, the wax expands and contracts, pushing the piston up and down.

VENTIL ATED ROOF SPACE Double layer roof helps to cool house by expelling stale air through openings in the outer layer. Ceiling louvres allow cool air transfer into building.

PROTECTION FROM DIRECT SUN Heavy brick wall wrapping around East, South and West sides of site helps to protect from direct sunlight.

RAINWATER COLLECTION Rainwater is collected and channelled towards a storage well. In the pump room, it is filtered and reused for drinking water and circulated through walls as an active cooling system.

OPEN PLAN INTERIOR Open interior spaces with minimal partitions allow good ventilation.

TIMBER SCREENS Double layer of lightweight timber screens on both levels creates a fully openable North facade, allowing ventilation at body level and additional control over thermal comfort.

RAINWATER CIRCUL ATION Recycled rainwater circulation pipes on the inner leaf of the brick walls provide an active cooling system for the interior by convection. TERTIARY SHADING Tertiary structures provide extended shading on the South facing walkways.

PL ANTED COURT YARD Cooling atmosphere of micro-climate through transpiration and evaporative cooling.

ACOUSTIC BUFFERING Thickness of masonry on street edge provides acoustic insulation.

THERMAL MASS Thermal mass of brick walls and concrete baths provides ‘coolth’ storage.

SOLAR CHIMNEY Solar chimney draws hot air up and out of the building to stimulate cross ventilation. Insulation on the inner face protects interior from build up of hot air within.

VENTIL ATED TIMBER GROUND FLOOR Gaps in masonry provide ventilation to timber ground floor to avoid moisture build up.

Environmental Section D-D through House Drawn at 1:20

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Studio H

Meeting Hall

Brick Containing Wall

Worm’s Eye Isometric Drawn at 1:100

A House for a Fruit-Farmer

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Studio H

Elevation of components casting off Drawn at 1:50

Peeling Walkway Exploded Isometric Drawn at 1:20

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Studio H

Membrane and Skin Details Drawn at 1:20

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Studio H

BRASS: HANDLES AND DE TAILING Home on Ma la ba r Hill, Mu mba i, C ase D e sign Ph o togra ph by C a s e D e s i g n

MEMBRANE

SKIN

FLESH

Tu r n i n g shu t t e rs: Brass turning piece Teak wood frame Teak louvre Brass pin Brass plate Steel fastener

Pu l l e y c an o pi e s: Pulley cord Brass weight Steel pin Wheel Steel channel Teak wood frame Palm wood panels Screw eye Brass channel Brass hinge piece Brass clip Brass pin Brass support

Exterior brick skin [4 0 0 mm]: Double course red brick, approx. 210x100x90 Concrete foundation

Pu l l e y sh u t t e rs: Brass turning piece Teak wood frame Teak louvre Brass pin Brass plate Steel fastener Pulley cord Brass weight Steel pin Wheel Steel channel Screw eye

ARJUN WOOD: STRUCTURAL Av ai l abl e i n Ce n t ral I n di a - he av y an d st ro n g ;

TEAK WOOD: MOVABLE SCREENS AND PRECIOUS PIECES Hou se on Pa l i Hill, Mu mba i, Stu di o M u mba i Ph o togra ph by Hele ne Bine t fo r Stu di o Mu m b a i

PATH C OVERING S ang ath H ouse, A hm edab ad, D oshi

u se d fo r be am s, raft e rs an d po st s

Do u bl e sk i n ro o f : Steel Autovent piston 10mm Heat reflective coating 10mm 40mm Palm wood panelling 38x25mm battens Waterproof Membrane 25mm Palm wood panelling 180mm Arjun wood truss 200x200mm Arjun wood beam Teak louvre Brass turning piece

Fl o o r st r u c t u re : Arjun wood beams Polished palm wood floorboards Brass plate - brick fastener

T i m be r w al k w ay : Brass fastener Palm wood panels Arjun wood batten Arjun wood dowel Arjun wood post Brass pin Steel screw Concrete Base

CHINA MOSAIC:

PALM WOOD:

I n terior brick skin [4 0 0 mm]: Red brick, approx. 210x100x90 Rainwater circulation cooling pipes 60mm rigid insulation Brick ties Red brick, approx. 210x100x90

Fl o o r st r u c t u re : Arjun wood beams Polished palm wood floorboards Brass plate - brick fastener

C on crete B ath s: 190-300mm concrete slab 40mm waterproof render

RED BRICK: WALLS

CLADDING AND PANELLING Av ai l abl e t hro u g ho u t I n di a - st ro n g , du rabl e an d fi bro u s; u se d fo r fu r n i t u re, ro o f co v e ri n g , j o i st s an d raft e rs

Me e t i n g hal l : Palm cladding – rebated feather edge 38x25mm battens 25x50mm counter battens 180mm Arjun wood frame 25x50mm battens 30mm Palm internal finish Steel fixing Concrete Foundation

CONCRETE: WATER C OLLECTING BATHS In di a n In stitute of Managem ent , A hm edab ad, Louis Kahn Pho tog ra p h by C emal Emd en for ht t p s ://arc heye s .c om/ in d ian -in s t itute -of -man agemen t-louis -kahn /

Material Specification, Elevation Drawn at 1:100

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Studio C Studio ATR Studio D SCAT Studio A A AMPL

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Studio H

A House for a Fruit-Farmer, Isometric

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Studio C Studio ATR Studio D SCAT Studio A A AMPL

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Studio H

ArchitecturalPractice Management & Law Year 1, Semester 2

20 Credits Course Organiser: Iain Scott Tutor: Chris French Collaborators: Rachel Dunne

Learning Outcomes:

Course Description:

Reflective Statement:

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

Architectural Management, Practice and Law is a lecture, tutorial, workshop and seminar based course aimed at developing student’s knowledge and understanding of the management of architectural practice.

The knowledge I gained from this course feels extremely valuable and relevant to a future career in the field of architecture. Until now I had been slightly anxious about my lack of knowledge of the ‘reality’ of the profession, but I feel like I have now overcome these feelings and learned a lot. I particularly enjoyed the Contract Simulation; putting things into practice helped me to understand the topic with much more clarity, and I loved having the chance to work as a team. It would have been even better if we could all have been sitting around the same table rather than on Microsoft Teams!

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

Adapted from previous years to fit the online format of this semester, the course is delivered through a series of previously recorded lectures presented by architects and related professionals involved in the creation of the built environment. The knowledge gained from these lectures is assessed through a regulatory drawing project, a contract simulation exercise and an online examination.

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Studio C AMPL ATR Studio D SCAT Studio A AMPL Studio H

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Architectural Management, Practice & Law Year 2, Semester 1

REGUL ATORY DRAWING PROJECT Tutor: Chris French Collaborator: Rachel Dunne

Brief In pairs, students will co-produce a set of two drawings critically analysing a selected case study project in relation to regulatory framworks; Planning, Building Regulation and CDM.

Response The Site Gallery by DRDH Architects offered an interesting case study due to it’s location in Sheffield’s Cultural Industries Quarter Conservation Area. Secondly, it’s function as an art gallery posed some interesting questions on ethics of making art fully accessible to all. The drawing exercise allowed us to critically analyse the success of the gallery in terms of regulation compliance and hence illustrate the disparities between regulations and ethics of the Equality Act, for example. For both Planning and Building Regulations, we map the design decisions against specific regulations.

Drawing One, ‘Conservation (Planning)’

Drawing Two, ‘Visual Accessibility’

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Elevation, Drawn at 1:200

BE16 Exploded Axonometric

DRAWING ONE: CONSERVATION ( PL ANNING)

Alternating brick textures across the façade animate the street, a bring variation to its long frontage. The design is sympathetic and in-keeping with the character of the conservation area, but is still designed with a contemporary and design-minded outlook.

B E 1 7, C I Q 3

Pre-extension Facade

Planning Authorities Feedback for Application to meet Condition 4

Under the regulations of the Planning (Listed Buildings and Conservation Areas) Act 1990, Local Planning Authorities are required to publish detailed proposals of how they are addressing the ‘preservation and enhancement’ of conservation areas. Sheffield’s response to this legal requirement, the 1998 Unitary Development Plan (UDP), outlines its general planning framework for construction within conversation areas. Within this framework, supplementary guidelines for localised areas have been given – notably, The Sheffield Cultural Industries Quarter Conservation Area in 2001, of which the Site Gallery is situated.

Details of all windows and doors have been submitted for approval. The proposed aluminium framed glazing system has a simple, slim profile which is consistent with the building’s contemporary appearance and large openings. The submitted details are therefore considered to be acceptable.appropriate quality of development.

CIQ5 Detail of Brick Skin Construction The brick façade hangs from a model bracket that is fixed to a ring beam of contrast that sits atop of the existing foundations, meaning that no alternations to the foundations were needed and the impact on the neighbour’s underneath was kept minimal.

BE12 Provision to Public Art

Post-extension Facade

The Cultural Industries Quarter Conservation Area (2001) documents classify the original building as having positive impact on area – and so should remain mostly unchanged. DRDH improved the visual impact of the building and redefined the street identity by creating a new 36m long frontage. Working in-between the lines of the Cultural Industries Quarter Conservation Area regulations, the concept of a red brick skin was developed. This would not only unify the facades of the two buildings and be in-keeping with the material language of the area, but also be supported on a steel bracket from the existing retaining wall, to avoid disturbing the groundworks below.

By having a non-load breading brick wall, large openings could be made in the facade. A building height window to the gallery creates transparancy between gallery and the public, and allows the art inside to be visible from the street inviting the public realm to engage with the art.

BE16, CIQ3, CIQ5 A ‘Brick-Skin’ Solution The Cultural Industries Quarter Conservation Area (2001) documents classify the original building as having positive impact on area – and so should remain mostly unchanged, whilst the adjacent garage was said to have a ‘neutral’ impact on the local area. DRDH improved the visual impact of the building and redefined the street identity by creating a new 36m long frontage. (BE16) Working in-between the lines of the two regulations CIQ3 and CIQ5, the concept of a red brick skin was developed. This would not only unify the facades of the two buildings and be in-keeping with the material language of the area (BE16), but also be supported on a steel bracket from the existing retaining wall, to avoid disturbing the groundworks below.

Exploded Axonometric, Drawn at 1:100

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Studio C AMPL ATR Studio D SCAT Studio A AMPL Studio H

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DRAWING TWO : VISUAL ACCESSIBILITY The development of Site Gallery intends to achieve an inclusive approach to social and educational opportunities. To achieve this, it is necessary to create an environment which is accessible and usable, where all building users can utilise the full range of facilities and services (as applicable) without any detriment to that experienced by non-disabled people. Three quarters of information about our environment is received through vision, yet two million people in the UK live with some form of visual impairment. Therefore, it is important to consider the impact of colour design choices on how occupants may use and navigate a space. The way we perceive colour depends on many factors, including light, contrast, surface texture and subjective considerations. (CPD 6 2018: Colour-considered design for the visually impaired, building.co.uk)

1. ENTRANCE

2. RECEPTION

ADM: 2.22 People with visual impairments should be in no doubt as to the location of glass doors, especially when they are within a glazed screen. The choice of a different style of manifestation for the door and glazed screen can help to differentiate between them

ADM: 3.6 An entrance hall and reception area will satisfy Requirement M1 or M2 if: b. any reception point is easily identifiable from the entrance doors or lobby, and the approach to it is direct and free from obstructions

2.7 Accessible entrances will satisfy Requirements M1 or M2 if: a. they are clearly sign-posted, incorporating the International Symbol of Access, from the edge of the site and from the principal entrance; b. they are easily identified among the other elements of the building and the immediate environment, e.g. by lighting and/or visual contrast

T&T: “The top of the counter must contrast in colour and luminance with the edges. Due consideration must be given to all surface finishes, with the following being unsuitable: high gloss finishes, large repeating patterns, slippery surfaces (or surfaces that give the impression that they are wet), brilliant white surfaces.”

T&T: “Where glazed doors, along with any side panels (and/or façades) are to be installed, suitable manifestations should be included. The markings should be two tone to be visible against a variety of backgrounds at two levels, 850 to 1,000mm and 1,400mm to 1,600mm from the floor level, contrasting in colour and luminance with the background seen through the glass in all light conditions.”

AA: “The desk/counter is 5m from the main entrance; There is level access to the desk/counter from the entrance; The hearing assistance system is signed.”

AA: No specific comment.

Authors: Despite advice by Turner & Townsend, photographs show a lack of contrasting colour. A suggested alteration would be to break up the use of white within the reception space, by adding colour to the walls and/or reception desk.

Authors: It can be argued that the main entrance to the Site Gallery is not easily distinguishable amongst the other openings on the façade which have similar height and frame colour. A suggested alteration would be to use a coloured door frame or signage outside the door to identify this as the main entrance.

The Equality Act is referred to throughout ADM, however, compliance with ADM Building Regulations does not necessarily equate to the ethical duties set out in the Equality Act. Service providers are required under the Equality Act to make reasonable adjustments to physical features which may disadvantage a disabled person, and this may include features outside the scope of ADM (Approved Document M, p6).

3. WAYFINDING AND CIRCUL ATION

4. ACCESSIBLE SANITARY FACILITIES

ADM: 3.8 The presence of doors, whether open or closed, should be apparent to visually impaired people through the careful choice of colour and material for the door and its surroundings. For example, when a door is open, people with impaired sight should be able to identify the door opening within the wall, as well as the leading edge of the door.

5.3 A number of issues need to be considered in connection with all forms of sanitary accommodation. These relate to the needs of people with visual or hearing impairments, people with learning difficulties and people whose lack of tactile sensitivity can cause them to be injured by touching hot surfaces...

3.10 Internal doors will satisfy Requirement M1 of M2 if: e. all door opening furniture contrasts visually with the surface of the door; f. the door frames contrast visually with the surrounding wall T&T: “Doors and/or door frames are to be clearly identified by contrasting in colour and luminance from the surrounding wall.”

AA: “The door(s) [to the café] is/are permanently held open.”

Authors: A suggested improvement would be to re- tile the walls to a contrasting hue to allow fittings to be easily distinguishable.

5. CAFE

6. GALLERY

4.16 Refreshment facilities will satisfy Requirement M1 if: a. all users have access to all parts of the facility

ADM: 3.12 In order to help people with visual impairment to appreciate the size of a space they have entered, or to find their way around, there should be a visual contrast between the wall and the ceiling, and between the wall and the floor. Such attention to surface finishes should be coupled with good natural and artificial lighting design.

T&T: “Surfaces of all slopes will contrast with the surroundings to assist with differentiation of surfaces. Pay Point floor finish should be of a different tactile surface to rest of floor. This assists visually impaired people to indicate important features.” “The detail of the counter is very important in terms of colour contrast of the horizontal and vertical panels, etc.”

AA: “The contrast between the external door and wall; internal door and wall is poor. The contrast between the wall-mounted grab rail(s) and wall; the dropdown rail(s) and wall; walls and floor is fair.”

Authors: From the main entrance, the reception desk and cafe entrance is in view, however, view of the bathrooms and gallery space is obscured. By walking further into the right side of the reception, the entrance to the gallery, shop and bathroom can be viewed. The blue door leading to the main gallery clearly contrasts with its surroundings. A suggested alteration would be to change the door handles to a shade which contrasts with the hue of the door.

T&T: “All fittings are to be easily distinguishable from the surroundings. These include shower, drop-down seat, grab rails, soap dispensers, hand towel dispensers, toilet seats, etc.”

AA: “The ramp/slope is located immediately beyond the entrance. The gradient of the ramp/ slope is steep.”

Authors: Analysis of photographs shows that advice to differentiate tactility of floor finish around the pay point to assist with identifying important features has not been followed. A suggested alteration would be to introduce a differentiable ground texture to the ramp and till point.

4.1 The aim is for all people to have access to, and the use of, all the facilities provided within buildings. They should also be able to participate in the proceedings at lecture/conference facilities and at entertainment or leisure and social venues, not only as spectators, but also as participants or staff. T&T: “Wall surfaces are to be free from glare and reflection; Colours, tones and textures are to be varied to assist people distinguish between surfaces, fixtures and fittings; Brilliant white is to be avoided in areas of the building where visual acuity is essential.” “Lighting levels will be designed to help people, especially those with sensory impairments; Lighting will avoid creating glare, pools of bright light and strong shadows; Artificial lighting will give good colour rendering on all surfaces.” AA: “The lighting levels are good.” Authors: BS8300 states that the light reflectance value (LRV) difference between surfaces (e.g. a floor and wall), should be 30 points. However, this means that a very similar combination of colours can still meet regulations. This is where discrepancies between the strict guidelines of the regulations and ethics of the Equality Act may become clear. Site Gallery has opted for the minimalist ‘white cube’ aesthetic which has been implemented widely in galleries across the world since the 20th century to allow artwork to stand out on its backdrop (Tate). Nevertheless, opting for this aesthetic arguably disadvantages the visually impaired due to a lack of contrast.

A N A LY S I S K E Y ADM :

Approved Document M; Regulatory framework relating to the access

and use of buildings and their facilities T& T: Tu rn er & Town sen d ; D is ab il it y C o n su l t an t s A A : Acce s sA b l e ; Acce s sib il it y gu idan ce fo r b u il d ings in u se

‘Compliance in Diagram’ Isometric drawn at 1:200

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Architectural Management, Practice & Law Year 2, Semester 1

CONTRACT SIMUL ATION EXERCISE Tutor: Iain Scott Collaborators: Julia Brookfield, Rachel Dunne, Pamela Feng, Jamie Forde, Ridwan Naim Brief Teams of six students will work as an Architectural Practice for two days to navigate through a series of 34 scenarios. For each scenario the group should decide on an appropriate course of action by referring to the appropriate clause(s) in the contract and completing any necessary forms and correspondences. Scenario questions, group responses and correct answers should be recorded by each team and submitted upon completion of the exercise.

Example of completed Interim Certificate

Response The two-day Contract Simulation was an excellent opportunity to work as a team and test our communication skills. Putting topics into practice rather than just listening to them in a lecture was very engaging and allowed us all to reach a greater understanding of the roles and responsibilities of individuals and organisations within architectural project procurement and contract administration. I think this exercise would have been a lot of fun in-person, but we adapted and made it work using online platforms.

Sample of Group Scenario Report

Example of completed Architect’s Instruction

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Architectural Management, Practice & Law Year 2, Semester 1

CONTRACT SIMUL ATION REPORT

CONTRACT

CLIEN T

Tutor: Iain Scott

Brief After completing the group Contract Simulation Exercise, each individual team member is to submit a 1500 word reflection on how a different form of procurement and contract would have had an impact on the delivery of the project in relation to time, cost and quality. The report should include an analysis of how particular cost control mechanisms evidenced in the simulation exercise, would operate differently under an alternative form of procurement and contract.

APPOINTMENT

A RCHITECT L E A D C O N S U LTA N T

CONTRACT A D M I N I S T R AT I O N

C O N T R AC T O R 3

CONTROL

CON SULTA NT S

CONTROL

SU B -CON TRACTORS

Response DESIGN TEAM

Diagram 1: Traditional Contractual Relationships, Tendering

CON SULTA N TS O P P O R T U N I T Y F O R N O VAT I O N

The Contract Simulation game follows a traditional procurement route, adopting the JCT 2016 Standard Building Contract with Quantities for use in Scotland (JCT SBC/Q/Scot). This report offers a reflection on the various ways in which selecting a design and build form of procurement under JCT Design and Build Contract (JCT DB16) may have impacted the delivery of the project in terms of time, quality and cost due to a shift in priorities, by referring to specific scenarios in the Contract Simulation.

APPOINTMENT

CLIENT

EMPLOYER’ S AG EN T

CONTRACT

1 2

3 4

S I N G L E- S TA G E T E N D E R T W O - S TA G E T E N D E R

CONTRACT A D M I N I S T R AT I O N

APPOINTMENT

C O N T R AC T O R

CONTRACT

2 5

APPOINTMENT

CON SULTA N TS

CONTROL

AR C H I T E C T L E A D C O N S U LTA N T

SU B -CON TRACTORS

CONTRACTOR’S TEAM

Diagram 2: Design and Build Contractual Relationships, Tendering

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Architectural Management, Practice & Law Year 2, Semester 1

E X AMINATION Tutor: Iain Scott Collaborator: Rachel Dunne

Brief Students will work in pairs to answer two 1200 word scenario based questions on the subject of architectural practice. n.b. this examination should have taken place within a period of 30 hours, but due to technical difficulties, the exam was re-released in semester 2 with a two week deadline.

SCENARIO THREE: GETTING WORK “Obviously we are delighted to have won our first commission and we look forward to working on this in the coming months. We have also been approached by a family member to design a house extension in the Borders, including some internal alterations to the existing Victorian property. All new work is welcome! But we need to now ensure that we continue to attract more work on a regular basis and we need to devise a set of clear and carefully considered methods for getting that work in. I wonder if you could write a short memo on the development of a ‘Getting Work’ practicestrategy. It should include both general points on good practice and any specific targets we should have.” ‘Getting Work’ as a new practice can be acquired through various channels: by direct appointment, by public procurement, by competition or by development. It is positive that we are already considering the development of a ‘Getting Work’ practice-strategy, as winning new work and setting up growth targets must be a priority if a small practice is to survive (Morris, RIBA). It is important not to get too caught up in the design side of things and forget about the fact that time needs to be put towards growing the business and ensuring that work does not dry up – identifying prospective clients to chase should become a daily task within the practice. As outlined in our response to Question 1, the potential for the company to become an Employee Owned Business means that everyone in the practice holds an incentive to get involved with finding work. The following things should be considered:

Marketing: Developing an online presence early on will be extremely important as a way for clients to engage with our practice. Although this should extend to social media platforms, our own website will be one of the most important means of communicating with prospective clients and collaborators. It should include a portfolio of work, photographs, information about staff and anything which helps to tell our story and create a ‘brand identity’. In Starting a Practice: A Plan of Work, Foxell notes that “clients and their advisers will use websites extensively to vet architectural firms and draw up shortlists.” (2015, p101).

Approximately 40% of business for architects comes from repeat clients, (RIBA Journal) however, engaging with new clients and entering into new markets is vital. We must research options for attending events and exhibitions where we are likely to meet potential clients and colleagues, including contractors, working in the field that we are interested in working in. Becoming active in the local community, both as a practice and as individuals, is also valuable as people will think of us when they need something done. As mentioned previously, a lot of our future work will come from existing clients, and many successful businesses are based on a few long-term key accounts. Once a good relationship is established with a client, we should ask for testimonials and referrals. Therefore, it is necessary to set up a system for Customer Relationship Management where all details of clients, correspondence and an understanding of their needs should be logged. Competition: For a small, new practice like ours, competitions – open or by invitation – may offer opportunities to work on projects of a scale which may be harder to win through public procurement. Competitions also offer opportunities to partner with larger practices – smaller practices may be able to bring something new to the table that larger practices are looking for; whilst larger practices can bring more resources, PI cover, experience, etc. (Ostime, 2013, p113). This would offer opportunities to gain more experience and grow our network for future projects. Our first large project has been secured through a competition, so we recognise their value, however, it is important to consider the associated risks – they are often expensive and sometimes the projects don’t end up getting built.

In order to integrate ‘Getting Work’ into the daily practice of the firm, I have compiled the following checklist of good practice and some specific targets:

Good Practice: Make prospecting work part of daily practice. Register as a chartered practice to be listed on the UK Directory of RIBA Chartered Practices. Have work ready to be assembled into various publication formats, such as presentation drawings, photographs, client testimonials, awards, writings, staff CVs, etc. Conduct a SWOT (Strength, Weaknesses, Opportunities, Threats) analysis of our practice to determine where our practice sits in relation to key markets, and where we should be putting our energy Research and attend events which may attract clients working in the fields we would like to pursue. Establish “a firm practice position on unpaid work.” (Foxell, p107). Consider if a project aligns with company values before taking it on – we should not take on every piece of work that crosses our path, but instead consider questions presented by Ostime in the Handbook of Practice Management: - “Does the practice wish to work for this client? - Is the project likely to proceed? - Does this project meet the practice’s established ambitions? - Does the practice stand a reasonable chance of winning? - Is the commission of a type in which the practice has expertise, or in which it wishes to gain expertise? - Will the commission help enhance the practice’s reputation? - Can the practice make profit out of the commission? - Does the practice have the necessary resources to perform the commission?” (2013, p199). Be conscious that the ARB Code, Standard 3, requires all advertising of professional services to be conducted in a truthful and responsible manner, and that advertising conforms to codes and standards of the industry.

Targets:

Tendering: We should also keep an eye out and respond to advertisements in the architectural press for clients seeking architects – this could be particularly successful if the project is close to us geographically, or if we are able to start work on it immediately. Colander Associates sets a benchmark of 50% for winning work through chasing projects (RIBA Journal). Being open to small scale projects may allow us to get our foot in the door with a client that we wish to work with again in the future.

For advertising beyond our website, we should decide on which areas we would like to focus and target areas that will become likely sources of work. This can include press beyond the architectural profession, such as local press and technical and business journals. The RIBA sets a benchmark for marketing expenditure to be 2-5% of turnover (RIBA Journal, 2014).

The Official Journal of the European Union (OJEU) publishes public sector architectural opportunities daily. However, open tendering opportunities such as these create very competitive markets which can be difficult for new practices, without as much experience or track record, to break into (Foxell, p104). A new and small practice like ours should be realistic about the chances of succeeding and consider the following questions posted by Ostime in the Handbook of Practice Management: “Do I know the client? Have I been involved in the project? Do I have the skills/resources to complete the project? Do I have an adequate track record to demonstrate experience? Do I need to form a consultant team?” (2013, p113).

Networking:

Development:

Building a strong network of contacts is a valuable long-term approach to getting work and word-of-mouth is especially useful for a newly developing practice like ours – evident in the fact that it has already secured us our first job outside of the Leith competition project.

Lastly, it is possible also to generate our own work by identifying sites and assessing building opportunities. By having an awareness of which funding and grants are accessible, we can approach developers, contractors or private clients to pitch an idea.

Set up website immediately which displays examples of our work and the company ethos. Work towards expanding online presence towards social media platforms to reach wider audience. Set a marketing strategy and budget (meeting the 2-5% turnover benchmark) and analyse it regularly against the SMART (Specific, Measurable, Achievable, Relevant, Time-Bound) objectives set up in our business plan. Aim for a benchmark of 50% for winning work through chasing projects which give us experience in the sectors we wish to work in in future. Tendering for projects on the OJEU could be something we aim towards as the practice becomes more established and we put together a larger and stronger portfolio of work. Develop a system for Client Relationship Management.

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Architectural Design Studio H

PARA - SITUATION [AHMEDABAD] : “PAST, PRESENT AND POS SIBLE” THE SPACE OF APPE ARING AS ENZ YMATIC TERRITORIES Year 2, Semester 2

40 Credits Course Organiser: Dr Dorian Wiszniewski Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee

Learning Outcomes:

Course Description:

Reflective Statement:

LO1: The ability to develop a research inquiry which is clearly and logically argued, has awareness of disciplinary and interdisciplinary modes of research, draws from specifically defined subject knowledge, and is relevant to current architectural issues.

The final semester frames and presents the thesis at all scales; body, building, series of buildings, urban and metropolitan scales.

Following the Integrated Pathway has offered a unique opportunity to delve deep into an ever-evolving thesis and discover a rich context and culture which I will continue to learn about and admire. I have enjoyed developing my own method for drawing architecture; the pomegranate offering both a poetic and architectural tool for design.

LO2: The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks. LO3: A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modeling, photography, film, computer, installation, performance and workshop techniques).

By this point the architecture and urban scale thesis is very well-developed and most of the semester is given over to presentation. Even though this semester allows for the architectural projects to be further developed and more fully resolved it also allows for the work to be presented in ways that seem appropriate to the thesis. It is often the case that this semester involves the production of a particular piece of work that supports all other pieces of work, many of which are the result of the previous three semesters. It is an opportunity to luxuriate in the benefits that the final presentation brings to the thesis.

I have greatly missed the studio culture since the beginning of last year; I have struggled with motivation and often felt that my creativity was stumped when I was not surrounded by the work of my course mates for inspiration. It has been an especially challenging year; however, I am still proud of the thesis that I have developed alongside Rachel and De Rui and the work ethic that I will carry into my future career.

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Architectural Design Studio H Year 2, Semester 2

PARA-DISE POMEGRANATE : WALLS, GARDENS & DWELLING Tutors: Dr Dorian Wiszniewski & Kevin Adams Collaborators: Rachel Dunne & De Rui Lee Abstract Ahmedabad’s Old City is a ruptured pomegranate. The thickness of the old city walls has been peeled back; its seeds have spilled to the periphery. Simultaneously, fruit production in India is facing challenges due to inefficient postharvest systems, poor irrigation and decentralisation. Large transport distances result in high wastage and reduced fruit quality, diminishing farmers’ profits. Paradise Pomegranate tests the potential of Ahmedabad’s old city walls as an instigator for reconfiguring Ahmedabad’s fruit-scape, and its consequential role within the larger metropolitan network. Visualising the [in-between] zone of the Old City Walls as both an inside and outside, three architectural agencies of Selling, Growing and Dwelling become the apparatus for forging fruitful interventions and creating conditions of continual wetness. The intensity of this liminal condition is transposed to the Sabarmati Riverfront Project, where vast openness offers potential for further cultivation. As the agencies emerge, so does the etymological link between culture and cultivate: tilling the land, and the acquisition of skills. Paradise Pomegranate does not aspire to utopian ideals, but gestures instead towards evocations of lushness and delight, rooted in the modest origins of the word ‘Paradise’ in Old Iranian as a ‘walled enclosure’. Combining knowledge of the pomegranate with analysis of the social and environmental impact of current farming systems has driven thetic development towards a proposition that is mutually beneficial to the landscape and the city, fulfilling a duty to rebuild the old city walls and give back to the city.

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‘PARA-dise Pomegranate: Walls, Gardens and Dwelling’, film, click to activate Also available at : ht t ps ://www.youtube.c om/watc h?v=b68dA gHZ3tc

Film Storyboard

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TESTING A FRUIT-GROWING NETWORK Semester 4 has offered the opportunity to cast elements of the Fruit-Farmers’ Dwellings into the wider landscape. Speculatively, the dwellings have been sown like seeds across Ahmedabad, testing their reciprocal relationship with new sites. Paradise Pomegranate treats the ‘in-between’ spaces along the interior and exterior of the old city walls as interfaces that fluctuate in density and openness, mimicking the swelling and seeping of the fruit skin. Enzymatic territories included within each zone comprise of smaller scale fruit growing plots and processing spaces, agricultural research and teaching facilities, homes for farmworkers and their families, and markets for fruit selling. Larger areas of derelict land along the Sabarmati riverfront offer an opportunity to speculate mass-scale farming within the city; fruit growing becomes a community-led activity, addressing the issues of current de-centralised farming practices.

Carrying ‘ghosts’; ‘Sowing seeds’

Carrying ‘ghosts’; ‘Sowing seeds’ - Ahmedabad City Plan Drawn at 1:10,000

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SPILLING SEEDS As with the site at the Amrutvarshini Stepwell, the dwellings trace the path of the ‘ghost’ city wall. A second condition – the riverfront wall – is formed. The intense structure of the old city is transposed onto the riverfront site to form a territory diagram in which to organise the dwellings and farming and to soften the edge of the Sabarmati riverfront.

New Riverfront Wall

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Site Plan, Drawn at 1:500

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Riverfront Isometric, Drawn at 1:500

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Riverfront Section, Drawn at 1:200

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Riverfront Worm’s Eye, Isometric Section Drawn at 1:200

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PARA -DISE POMEGRANATE : THE POSSIBLE C arpet c ollage s by D e Ru i L e e

Paradise Pomegranate: The Possible forms a coda to the group thesis. A series of collages bring together each of our architectures at SET, city and metropolitan-scale and leave the project open to further speculation, alluding to a fruit-scape that will carpet Ahmedabad and its broader landscape.

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Paradise Pomegranate: The Possible - Combining Architectures at Building Scale Plan drawn at 1:500

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Paradise Pomegranate: The Possible - Combining Architectures at Building and Body Scale Group Drawing s c ombined and edited by Rac hel Dunne

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Paradise Pomegranate: The Possible - Combining Architectures at Building and Body Scale Group Drawing s c ombined and edited by Rac hel Dunne

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PARA -DISE POMEGRANATE : THE POSSIBLE ht t p s :// p a ra d is e p o megranate.my por tfolio.c om /c ult i vat ing - t he - i n - b e t we e n

Because we were unable to hold a physical exhibition, we decided to create a website to display the thesis as a whole - Paradise Pomegranate. This allowed us to present the shared thesis as an introduction, and to present our individual projects side by side as they may be read in a physical setting.

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Paradise Pomegranate, Website Screenshots

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Design Report Year 2, Semester 2

10 Credits Course Organiser: Adrian Hawker Tutors: Dr Dorian Wiszniewski & Kevin Adams

Learning Outcomes:

Course Description:

Reflective Statement:

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.

The Design Report requires students to produce a comprehensive document which sets out the research and design development undertaken in the final semester, incorporating images including the key representations of the project itself. The Design Report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. The Design Report is also a reflective document allowing the students to reflect not only on their finished project but also a key aspect of their methodology and practice.

The Design Report was a great opportunity to present the thesis I have developed as a whole whilst reflecting on my methodology for design. Seeing the thesis laid out in such a comprehensive document makes me proud of how far I have progresed since the beginning and of the work I have achieved alongside Rachel and De Rui.

LO2: Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context. LO3: The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.

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Studio C DR ATR Studio D SCAT Studio A AMPL Studio H DR

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Design Report Year 2, Semester 2

DESIGN REPORT Tutors: Dr Dorian Wiszniewski & Kevin Adams Brief Construct a design report as a designed object that effectively, efficiently and eloquently introduces an architectural design project or design thesis undertaken during the MArch Programme. Appropriately structure and present the design report as a fully referenced academic document which demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design and reflects upon aspects of personal architectural practice.

Response The Design Report - PARA-dise Pomegranate: Walls, Gardens and Dwelling begins by setting the scene of Ahmedabad’s Fruit-scape before continuing to introduce the Fruit-Farmer’s Dwellings as they sit within the wider group thesis. The design report has been submitted digitally this semester, however, I imagine it to be printed and bound as shown.

Design Report - Speculation of Printed Document

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Design Report - Abstract

Design Report - Contents

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Design Report - Situation: Ahmedabad’s Fruit-scape

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Design Report - PARA-dise Pomegranate: Walls, Gardens and Dwelling

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Design Report - Discussion

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T he End

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