Lucy Pratt Architecture Porfolio Part 1 University of Greenwich
Table of Contents
01
part I design projects
02
part I final year project
03
technical
04
extended essays
05
photography
06
professional portfolio
01
part I design projects
PROJECT ‘Showtime’ 2nd year final project brief: To employ the use of performance architecture as a trigger for localised urban activation. proposal: my project site was based in a concrete factory within the Greenwich peninsula, my proposal being for an open air theatre constructed solely by reused and recycled materials from around the peninsula which is currently under renovation. It would offer a cultural talking point for the peninsula, bringing in new crowds and social groups. The theatre consists of a complex set background rotation system levered off a structure made of recycled water tower componants, offering open air audience viewing.
ames Site Locations osen materials are taken from
lucy pratt | year 2 final project
site map
proposed section axo
exploded axo
proposed section
lucy pratt | year 2 final project
PROJECT ‘Guerrilla interventions’ 2nd year reseach project brief: To propose a physical structure that is capable of adapting or subverting site characteristics rapidly and dramatically. To return to an architecture that is ‘crafted’ and specific. proposal: A look into how chromatography can be used to creeate its own art form, using the tide to create specific patterns and textures. Each strand shown on the model contains a drop of ink, which will change depending on its exposure to the tide and wave pattern. Providing a unique way of measuring site characteristics.
lucy pratt | year 3
lucy pratt | year 3
02
part I final year design project
Project brief
The site for this project is the Isle of Sheppey, around the Thames Estuary. 53 miles East from Central London, due to its strategic location, the Isle of Sheppey has a long history of things such as trade and aviation. The island also has many examples of renewable energy generation including solar and wind farms.
Unit 3 is proposing a look into how future development can be achieved in a sustainable way taking into account the possible risks involved with future change. Building proposals are to be set around a specific theme, in this case ‘Health and social support’
The Isle of Sheppeys highest point is 76 metres above sea characterised by low lying marshlands, home to many species of birds as well as rich fertile soils. As the Isle of Sheppey is a relatively flat lying island it runs the risk of increased change over the coming years, making resilient design key to new developments. It is a relatively undeveloped area and is often earmarked for future development.
lucy pratt | year 3 final project
Brief in Context In response to the brief we were asked to design a resilient building which aims to tackle the problems the Isle of Sheppey may face due to future change. The site is located in South East Kent 53 miles to the East of London, on the Isle of Sheppey. The first satellite image shows the Isle of Sheppey in relation to London and the Thames, and the bottom image shows the Isle of Sheppey as a whole and in relation to the Thames estuary. Over time the channels between the isles have silted up to make one continuous island.
London Isle of Sheppey
lucy pratt | year 3 final project
Personal response to the brief After doing initial research into the site and the environmental conditions it possesses, I decided to focus on the problem that is air quality. Between 1993 and 2003 the concentration of NO2 in the air within Sheerness has risen by almost double the initial value in 1993 and is still rising. As a result of this the amount of people suffering for air borne related illnesses has increased dramatically, conditions relating to asthma and allergies. Within my first project I looked at future change within the UK and how it may effect design, looking at how air filtering systems can be used after a volcanic eruption to filter out things such as ash and chemicals. It then moved on to designing an adaptable and resilient object in relation to future design. I focused on the idea of a portable closed plant system, that can be used to naturally purify air to help with symptoms of air related illnesses including asthma and allergies, (f.g 1, 2) inspired my terrariums. Specific plants are known for their filtering qualities and can be used within homes to help improve air quality and relieve symptoms from bad air pollution. The resulting program for this project is a health centre for patients suffering with airborne related illnesses. It will be a stay in centre offering a variety of treatments including oxygen therapy and salt rooms. Air filtration and circulation will be key within my design, and use both natural and artificial purification techniques. The main ‘hub’ of the building will be a large garden housing specific plants known for their filtering qualities, as well as allotments for patients and therapy areas.
fg 2
fg 1
lucy pratt | year 3 final project
Site location plan
匀挀愀氀攀㨀㔀 洀
匀攀挀琀椀漀渀 氀椀渀攀
㈀ 洀
㈀ 洀
Within the Isle of Sheppey my site is located on the South East corner of the Island, it is a relatively undeveloped area of the Island. With the only building within close proximity to my site being a pub called the Ferry Inn, which also provides the only access route to my site. The area I’m focusing on consists of a variety of land types, marsh land, flat grassland and the water’s edge.
lucy pratt | year 3 final project
Site section
Project site 20m
0m -5m
Scale1:1250 0m
50m
lucy pratt | year 3 final project
The South East area of the Isle of Sheppey mostly consists of flat lying mudflats and saltmarshes, meaning the site section is reasonably level, with a rise of 5m at the location of the project site
+ 3m
Site topography model:
N
lucy pratt | year 3 final project
lucy pratt | year 3 final project
Site analysis
Prevailing wind
Site Access
Sun path diagram
Current access route to site Project Site Prevailing wind
Old ferry crossing
This map shows the current access route to my site (shown in red) and also the previous ferry crossing from the Ferry House Inn, which was removed in 1946. There is only one access route to the site, the ‘Harty Ferry Road’. With the only parking being at the Ferry House Inn. The road does not receive a large amount of traffic as it only links to two farms and the Inn, however it is large enough to receive
Why is this relevant? My project is focusing on air and air filtrating, so it is important within my design to consider wind direction to make the organic shape as aerodynamic as possible. The building will have to orientate towards the South West to be favourable to the wind.
Why is this relevant?
Why is this relevant?
The building will take advantage of natural light to heat the internal spaces and create the right climate for plant growth, so it is important the building is orientated towards the sun. Also the bedrooms and restaurant must receive the evening light.
The site doesn’t currently have good transport links to the rest of the Isle of Sheppey, only the single road as there has never been much demand. The result is that my site will require a new road linking off to my site as well as utilizing the existing infrastructure. As my health centre does not house a large amount of people at one given time, the existing road will be enough to deal
lucy pratt | year 3 final project
Site History
1890s
1900s
1960s
In the 1980s the Harty Ferry was used to let foot passengers across the River Swale from the “Ferry House” Inn, and over to Oare on the other side. (green box) As late as 1893 the Ferry House was reported as being at the bottom of the road from Chapel Hill on the left hand side. The ferry to the mainland was Harty’s most important link of communication: the rights to the ferry were, and still are ‘held by the landlord of the “Ferry House” Inn.
The Ferry is still in order, soon to be closed in 1946 due to new foot bridges being built. The Ferry house inn still remained. (Digimap. edina.ac.uk)
1980s
How this relates to my project? The OS maps show that there has not been a drastic change in the landscape since the 1980s, there has been little to know redevelopment to the site. Therefore the building proposal will introduce a new interest to this area which has historically been undeveloped.
lucy pratt | year 3 final project
lucy pratt | year 3 final project
Precedent - Bioshere 2
Biosphere 2 virtually airtight environmental research facility located in Oracle, the atmosphere is circulated continuously throughout the entire Biosphere. As a closed system, Biosphere 2’s outer structure forms a series of defining boundaries that separate the internal (Biosphere 2) environment from the sur-rounding external environment. It remains the largest closed system ever created The Biosphere 2 facility serves as a laboratory for controlled scientific studies, an arena for scientific discovery and discussion, and a far-reaching provider of public education. Biosphere 2 was originally meant to explore the web of interactions within life systems in a structure with seven areas based on biomes, and an agricultural area and human living and working space to study the interactions between humans, farming, and technology with the rest of nature. The seven model ecosystems within the biosphere are: 1) 2) 3) 4) 5) 6) 7)
a mature rain forest with over 90 tropical tree species, a 2600 m3 ocean forested swamps dominated by mangrove trees a tropical savanna grassland a 1400 m2 coastal fog desert three desert hillslope grass-shrubland landscapes campus, and associated buildings and facilities serve as a 162,000 m2 model city and urban ecosystem.
It is effectively sealed and encloses five distinct natural biomes, rainforest, savannah, ocean, marsh and desert plus an agricultural area and human habitat within one airtight envelope (Fig. 1). Its initial closure experiment included a crew of eight humans for 2 years from September 1991 to September 1993. Sunlight through the glazed enclosure provides the energy for plant growth. The crew planted, raised, harvested and cooked their own food, recycled their own wastes, maintained their infrastructure, tended and studied the natural biomes and participated in scientific conferences and meetings via video during those 2 years. The arial view to the right shows the different sections of Biosphere two. The two large white circle structures are the two lungs (6 & 7) The two lungs serve as variable volume chambers able to expand or contract in response to temperature and barometric changes that affected the air volume within and without Biosphere 2. The lungs serve as volume-pressure compensators.
lucy pratt | year 3 final project
Precedent - Sustainable hothouse Precedent - Sustainable Hothouse Architect: C.F. Møller Architects Location: Denmark
An assortment of tropical plants, trees and owers lls the interior of the greenhouses transparent dome set on an oval base. A pond is located at the centre of the space, while an elevated platform allows visitors to climb up above the treetops. The design of the new hothouse is based on energy-conserving design solutions and on knowledge of materials, indoor climate and technology.
On the south-facing side, the cushions used were made with three layers, two of which were printed with a fritted pattern. Through changes in pressure, the relative positions of these printed foils can be adjusted. This can reduce or increase, as desired, the translucence of the cushions, changing the light and heat input of the building.
The organic form and the large volume, in which the public can go exploring among the tree-tops, present botany and a journey through the dierent climate zones.
The transparent dome is clad with ETFE foil cushions with an interior pneumatic shading system. The support structure consists of 10 tubular steel arches.
lucy pratt | year 3 final project
lucy pratt | year 3 final project
Exploring expanding and foldable structures, which might react to changes in air pressure.
lucy pratt | year 3 final project
Ground floor plan
Ground floor plan
8.
4.
5. 3.
7.
6.
1.
7.
10.
2.
8.
11.
12.
1. Airlock revolving door 2. Reception 3. Offices 4. Salt room 5. Gym 6. Changing rooms 7. Treament rooms 8. Yoga area 9. Picnic area 10. Allotments 11. Bedrooms 12. Primary roof structure 1. Airlock revolving door 2. Reception 3. Offices 4. Salt room 5. Gym 6. Changing rooms 7. Treament rooms 8. Yoga area 9. Picnic area 10. Allotments 11. Bedrooms 12. Primary roof structure
9.
lucy pratt | year 3 final project Scale 1:200
First floor plan
1.
3.
2. 5.
4.
6.
1. Stairs to balcony 2. Entertainment room 3. Bar 4. Kitchen 5. Balcony 6. Open air restuarant
1. Stairs to balcony 2. Entertainment room 3. Bar 4. Kitchen 5. Balcony 6. Open air restuarant
lucy pratt | year 3 final project Scale 1:200
Long section
Long Section
Scale 1:150
lucy pratt | year 3 final project
Short sections
A
A
Short Sections
Section AA
Section BB
Scale 1:100
Scale 1:100
A
B
A
B
Section BB
lucy pratt | year 3 final project
lucy pratt | year 3 final project
View 1 - Entering through the revolving doors to the reception, signing in and moving onto treatments
View 2 - Walking towards the medical side of the building for treatment. This side contains the treatment rooms, offices, gym, yoga area and salt room
View 3 - Outside the treatment rooms, showing the linking paths between the treatment rooms and offices, gym and salt room
View 4 - Looking over the yoga area to the exterior
lucy pratt | year 3 final project
View 5 - Heading towards the recreational and accomodation side of the building.
View 6 - View into the bedroom, with the window looking out towards the estuary.
View 7 - View from the open air restuarant, overlooking the gardens
View 8 - View from the upper balcony over the gardens
lucy pratt | year 3 final project
03
technical and professional practice
Design and Construction Team
A diagram showing the design team and the contractual/site team, showing their contractual relationships and design information links.
Contractual
Some specialist sub-contractors that may need to be bought in are: -
Ecologist Botanist Roofing expert specialising in ETFE Specialist electic and heating engineer
The client may bring in a specialist project board to supply specific information about these areas.
Timeline of plan of work in relation to my proposal:
Architect working for Client
Architect working for Contractor
lucy pratt | technical
Cost, Quality and Time
Choice of procurement route
As the Client is the NHS it means the funding for this project will mainly be from public costs. Therefore keeping the cost low is of top priority for this project. As it is using public funding and is intended to be a long term health care building, it is important that it is of a high quality standard. The deliverables of the building with the air filtration and circulation mean the building quality must be to a high standard as to not implement the quality of treatment and air quality.
As cost and quality are the most important factors within this building project, the client has decided to go with a traditional procurement route. Given the complex nature of the building skin structure, the traditional route allows a more open timeframe for design and developing detail, key for this building proposal. As a result of the time frame it will allow the design team to write a more specific brief for the contractor to minimise any compramises on the quality.
Implications of priorities:
The design team throughout the whole process are employed by the client.
Quality
Cost
X
Cost and Quality - (chosen priorities) more time for design development, meaning potential missed deadlines, which adds to cost but may improve quality. Normally resulting in a traditional procurement: Meaning less time pressure therefore a higher quality design. Cost and Time - The quility and design can suffer to improve time and cost requirements. Normally resulting in a Design and Build procurement: meaning fixed deadlines and fixed budget resulting in a shorter design period (quality can suffer) and the contractor introduced earlier.
Time
Time and Quality - potential for missed deadlines, therefore can increase cost and quality.
lucy pratt | technical
Planning
Magic Map
SSSI - Site of Special Scientific Interest
Legend
My site falls within an area of ‘Special scientific interest’, in this case biological. Reasons taken from ‘Natual England’ for this are:
Moorland Line (England) Sites of Special Scientific Interest (England)
• It includes the largest remaining areas of freshwater grazing marsh in Kent and is representative of the estuarine habitats found on the north Kent coast. • The area is particularly notable for the internationally important numbers of wintering and passage wildfowl and waders, and there are also important breeding populations of a number of bird species. Associated with the various constituent habitats of the site are outstanding assemblages of plants and invertebrates. (http://www.sssi.naturalengland.org.uk/citation/citation_photo/1003678.pdf)
My site
What this means for my project: Within the Natural England document outlining what operations will require premission from them, the main ones relating to my propsal are: • Erection of permanent or temporary structures, or the undertaking of engineering works, including drilling. • Use of vehicles or craft likely to damage or disturb features of interest. As my building would require these operations, it means I would first have to request permission directly from Natural England to develop this land, being considerate during construction of preserving natural land and habitats. Resulting in the least damage caused on protected sites.
(c) Crown Copyright and database rights 2016. Ordnance Survey 100022861.
(http://magic.defra.gov.uk/MagicMap.aspx?startTopic=Designations&activelayer=sssiIndex&query=HYPERLINK%3D%271000244%27)
lucy pratt | technical
Projection = O SGB36 xmin = 594800 ymin = 163600 xmax = 606100 ymax = 169400 Map produced by MAGIC on 20 March, 2016. Copyright resides with the data suppliers and the map must not be reproduced without their permission. Some information in MAGIC is a snapshot of the information that is being maintained or continually updated by the originating organisation. Please refer to the metadata for details as information may be illustrative or representative rather than definitive at this stage.
Planning objectives for Swale Council and the Isle of Sheppey Local Plan Objectives:
Coastal zone regulation
How this relates to my project:
(1) to minimise the consumption of the District’s natural resources;
The primary structure and other elements including the ETFE will be made artificially off site and bought on to site, the project is focused on sustainability therefore reusing many materials.
(2) to promote energy efficient development which maximises the use of sources of renewable energy.
My proposal is all about sustainability and recycling things such as air, wind farms are located very close to my chosen site and can act as a source of renewable energy. It will also be sustainably heated, utilising the suns heat through the ETFE and shutter system. It can also facilitate a reduction in requirements for artificial lighting.
(3) to secure the effective management and control of all sources of environmental pollution, and protect the environment as a natural resource and habitat.
The air is being naturally and artificially purified within the building structure, therefore when it is expelled it is improved external air quality and reducing pollution. It is also housing many plant species found within the natural habitat outside the building.
(4) to achieve sustainable forms of development and land use which will maintain and enhance the quality, character and appearance of the environment for the
My building proposal is one which encourages sustainability from the use of materials to protecting and planting new plants. However it is not a public building so may not follow this objective fully to ‘the benefit of all’.
(5) to safeguard the landscape quality of Areas of Outstanding Natural Beauty, Special Landscape Areas and Local Landscape Areas.
The organic form of the building skin will help blend the building into the landscape rather than stand against it.
(6) to protect Nature Reserves, Sites of Special Scientific Interest, Sites of Nature Conservation Interest and other wildlife habitats.
My site partly falls within the zone of special scientific interest, so more investigation on the regulations of the site will be needed to determine where and what can be built. (shown on following pages)
(8) to safeguard agricultural land wherever possible, and best and most versatile
My site falls within the boundary between coastal land and agricultural land, so would influence agricultural land but to a minimal amount.
(9) to promote new landscaping and planting where appropriate, to screen the intrusion of built-form and enhance the appearance of both town and country.
My project is focused around the filtering properties of plants, meaning a large amount of new planting would take place, landscaping would also take place to enhance the organic shape of the building skin.
3.45 At the coastline itself, the Council has a particular responsibility to safeguard and enhance what is the longest coastline of any Kent District, much of which is open and undeveloped. The undeveloped coast is protected to safeguard its unspoilt appearance, landscape, wildlife, and scientific value. The undeveloped coast is defined as that having no built-up area boundary adjoining. Policy E13, therefore, steers development away from these locations to encourage the restoration or physical regeneration of already developed areas.
As the building is currently a stand alone building, there is no immediate risk of the area becoming built-up. Special considerations will need to be made to safeguard the natural coastline
Choice of filtering plants Peace Lily Eliminates: formaldehyde, benzene, trichloroethylene, xylene, ammonia, and more Care: The peace lily thrives in both low and bright light.
Dracaena:
Chrysanthemum English Ivy
Eliminates: benzene, carbon monoxide, formaldehyde, trichloroethylene, and more
Eliminates: Eliminates: formaldehyde, xylene, toluene, benzene, trichloroethylene. Allergen Care: There’s a dracaena for every light situation.
Eliminates: formaldehyde, xylene, benzene, ammonia Care: Place the chrysanthemum in bright, indirect light.
Care: will grow in bright indirect light and low-light situations. When choosing plants to go within the building, the most important element is air filtration as it is a key componant to the scheme. The plants selected each remove different harmful chemicals from the air which contribute to symptoms to air related illnesses, and require the conditions provided by the building, either bright light or any light condition.
Bamboo Spider plant
Eliminates: formaldehyde, benzene, carbon monoxide, xylene, chloroform, and more
Eliminates: Nitrogen dioxide (NO2), formaldehyde and benzene molecules. Care: Likes bright, indirect light and lots of water while growing.
Areca Palm:
Eliminates: benzene, carbon monoxide, formaldehyde, trichloroethylene, xylene, and more Care: Grow in bright filtered light with shade from hot sun.
lucy pratt | technical
Care: Although this palm requires bright light to flourish, don’t place it in direct sunlight. Golden Pothos:
Eliminates: formaldehyde, xylene, toluene, benzene, carbon monoxide, and more Care: Golden pothos grows in any light situation except direct sunlight. (mnn.com)
Air filtration Process
Dirty air from the outside atmosphere
Partially filtered air, through the initial filtering material layer Clean air, finally filtered by the plants within the building, this air is then circulated around the building
lucy pratt | technical
Building skin structure
Construction sequence:
1.
2.
3.
ETFE cushion layer - regulates the internal temperature, light and ventilates the interior space by allowing air from outside through an initial air filtering layer before it enters.
4.
Primary Steel Structure and Supplemental Steel Structure Connecting directly to the ETFE, containing a steel gutter for drainage, also air pipes connecting to all the ETFE pillows.
Plinth, acts as the foundation structure
5.
6.
7.
lucy pratt | technical
Technical details
4.
2.
1.
8. 3.
Inside
Outside
1. Insulation
3. Steel fixing with steel anchorage bolts
5. Finished timber interior
5. Timber interior 6. Concrete 7. Insulation
5
6. Joist
3.
9.
8. Glazing
7.
10.
2.
2.Base slab 3.pile found ation 4.Floor spacer 5.Insulation
9. Ceiling finish
2.
1.
4.
1. Concrete
7. Window sill
6.
6. 1.
4.
4. Timber floor
3.
6.
5.
2. Steel support I beam
4. Concrete roof finish
Outside
5.
2. Insulation 3. Floor spacer
Inside
Outside
7.
1. Concrete
Inside
10. Air pipes leading to ETFE cushions
lucy pratt | technical
6.Finished floor level
2. Ground
3.
ETFE details:
ETFE cushion - Three layers, supplied with air from the air pipe connected to the Primary structure.
Secondary structure - Connects directly to the ETFE cushion, contains a steel gutter to collect rainwater to be reused.
Primary Structure - Steel tube structure, air pipe connects to the bottom side of the tube, with a pipe linking to the cushions.
lucy pratt | technical
2
1
3
4
6
7
5 8 9 1 - Sealing strip 2 - Aluminium extrusion clamping strip 3 - 3 layer ETFE pillow 4 - Steel anchorage bolts
10
5 - Secondary steel structure 6 - Continuous stainless steel gutter 7 - Waterproof membrane
Single ETFE pillow detail:
8 - Steel anchorage bolts 9 - Supplemental steel structure 10 - Primary steel tube structure
11
Section cut-through
lucy pratt | technical
11 - High pressure air tube connecting to the etfe pillows, to pump the pillows.
04
extended essays
An essay looking into how Adolf Loos relates his views on ornament and elegance to his architecture in particular reference to the Looshaus’s interiors and exteriors The Looshaus is located on Michaelerplatz in the centre of Vienna opposite the imperial Hofburg, one of the most exclusive commercial streets in Vienna. It was made on request of Goldman & Salatsch, Leopold Goldman and Emanuel Aufricht. Originally a competition was launched but it was broken off to give the commission to Loos who refused to take part. (Architectuul.com, 2013) During its construction, many opposed Loos and his plans for the new building, arguing that it represented an extreme modern work of architecture built in the ancient heart of the metropolis. ‘the true target of the virulent criticism directed against the Looshaus was the simplicity of it’s architecture without ornament.’ (Adolf Loos: theory and works, p125) The Looshaus is made up of 3 storeys: a basement, ground floor, and mezzanine, with four apartment floors situated above. The ground floor consists of a men’s outfit shop and separate small shops for rent as well as a court with a glass brick floor. The upper floors are both made up of other stores and offices such as tailors. Ground floor: ‘I don’t like people calling me “architect”. Simply “Adolf Loos” is my name.’ (Adolf Loos, ‘On Thrift’, 1924) Adolf Loos was an Austrian and Czechoslovak architect and said to be a very important pioneer in the modern movement of architecture. His work was largely based on a few interior designs and a body of controversial essays which seemed ironic considering he played such a key role in the modern transformation of architecture. (Architect.architecture.sk, 2015) One of his key beliefs was the relationship between art and architecture. He wanted to limit the activity of the architect as an ‘artist’. When it came to architecture, he believed that ‘A building should please everyone, unlike a work of art, which does not have to please everyone’. (Adolf Loos, Works and projects, p27) Loos had very specific views on how architecture should be viewed, and published the book ‘Ornament and Crime’ in which he attacked the ‘Austrian ornamentalists’ and their middle class culture, but also the ‘avant garde’ culture that wanted to replace it. Therefore, throughout his life, he could be relied on for controversy, public disagreements, and massive scandals. (Ornamant and Crime, Adolf Loos, p2) One of his most talked about public controversy was the Goldman and Salatsch building in Vienna, the main concern being the ‘smooth, exterior, plaster façade with simple cut-out windows’. (Adolf Loos, Works and projects, p16) This project made Loos a byword even among people who were not interested in architecture. Nothing like this had been seen before and it went completely against the Viennese arts and crafts movement, and was mocked by an age in love with its decorative accessories. (Ornamant and Crime, Adolf Loos, p2)
Lower mezzanine floor:
Upper mezzanine floor:
The exterior of the Looshaus was the main talking point of the building, as he believed the language of the metropolis is the total absence of ornament, the lower floors being decorated whilst the upper apartment floors being stripped completely of ornament. He wished to have no ornament at all on the façade of the building, which people, including the council, believed ‘disfigured the face of Vienna-capital-of-the-arts’ (Adolf Loos: theory and works, p125) He was eventually forced to change his original plans for the façade with its simplicity, and in the end settled by designing in flower pots in the shape of bronze baskets to sit on the window sills of the apartment windows to add decoration. The lower levels of the Looshaus are considerably ornate, ‘chiefly through the rich, green Cipollino (Greek) marble.’ (Galinsky.com, 2015) Even though more ornate than the upper levels, the ground floor still follows a fairly simple design with straight lines and repetitive columns.
The columns of the Looshaus play a dual role: they close the volume of the building on a single story of the façade, but at the same time they allow the curved geometry of the windows to appear in the background (Adolf Loos: theory and works, p126) The columns also help to complete the look of the square with the glass sheets reflecting the curve of the Hofburg, as if a mirror. This was Loos’ way of helping incorporate the exterior into the already existing buildings in the square, whilst still keeping it modern. Ironically the columns are not load bearing, therefore their only purpose is aesthetical which would seem to go against his ornament beliefs. Another way it relates to the history of the city is the ‘good old limewash’ on the four lodging storyes, which was used on old Viennese houses. These small details demonstrate how Loos was able to incorporate different aspects of the city without simply replicating what had already achieved. When designing, Loos demonstrates that the relationship between location and architecture can mean more than just where a building is physically placed. Location can be understood as the ‘memory of a city, as a projection of the evolution of forms in the long history of a city onto an imaginary screen’. (Adolf Loos: theory and works, p125) All this means that a building does not have to physically fit in and represent the location in which it is placed but can have a more historical relation when it comes to its appearance. Buildings have the ability to adapt and become modernized without taking away all historical references. The interiors represent a more extravagant, elegant building with expensive wood lining the pillars and polished marble walls, even the staircases are a ‘masterpiece of skilled craftsmanship’. (Adolf Loos: theory and works, p131) Many said Loos’ chosen interiors demonstrate an unmistakable striving for English elegance: “smooth, reflective surfaces, concise forms, bare metal,” all referenced English craftsmanship, yet they were, in fact, original and distinctive. (The Looshaus,p30) One of Loos’ most recognizable trademarks was his geometries and modular construction of the furniture, with his original features showing his interest with the possibilities of radical simplification. ‘Instead of embellishment as a strategy for forging a modern aesthetic, he pursued a willful and considered reduction’. When designing objects and furniture he often referred back to a quote used by Leon Battista Alberti in his definition of beauty “An object is beautiful if it is so perfect that one cannot add or remove anything without in some way diminishing it” (The Looshaus,p30)
Loos wanted to create something new and modern, he believed that imitating an antique and creating a new, modern object had completely different solutions. He knew well that the modern bad is only a mirror image of the antique bad, both of which require the absence of thought. (Adolf Loos, Works and projects, p128) That ornament was just a way in which to ‘make up’ an object, rather than to design one for a purpose. The Looshaus is one of the first examples of how a city could look past beauty in architecture as just ornament and physical asthetics, but rather how it draws links to the individual characters of the architecture of the city. The most fitting way of describing how Loos has succeeding in making the Looshaus’s modern design fit with a city known for its historical beauty is said by Loos himself: “Any words that one may happen to read in praise of our old city, advocating the preservation of its rapidly disappearing image, find a considerably deeper echo in me than in many others…..I have designed the house to fit into the Square as well as possible. I have always been under the illusion of having solved this problem in the manner of the old Viennese masters” (A. Loos, Samtliche Schriften) Loos had many influences when it came to his designs, many of these from the ‘Art Nouveau’ style. For example ‘the elegant chromatic fusion between the marble of the walls or columns and the glittering brass of the dense squares of the bow window frames’ (Adolf Loos: theory and works, p130) The design of the stories was in fact reworked of the model of the skyscraper, a very modern design at this time. His experience of the American Metropolis showed him that the lower floors of a building are always favoured by people that are walking on street level, while the upper levels are less easily noticed, and had the greatest richness of form. (Adolf Loos: theory and works, p128) This can been seen when the Looshaus is split into three distinct parts, tripartition, like in the designing of skyscrapers: 1) 2) 3)
The base The shaft The capital
The Looshaus also bears reference to the ancient culture of the Romans and the Viennese tradition by using such features as natural stone, cornices, special corner details, and columns. Also the choice of marble is the exact stone which was used by the Romans. (Adolf Loos, Works and projects, p126,127)
Bibliography Websites: -http://architect.architecture.sk/adolf-loos-architect/adolf-loos-architect.php -http://architectuul.com/architecture/loos-haus-vienna -http://architektonator.blogspot.co.uk/2013/04/adolf-loos-looshaus-dom-towarowy.html -http://www.galinsky.com/buildings/michaelerplatz/ Books: Ralf Bock, 2007 Adolf Loos: Works and Projects Adolf Loos, 1908 Ornament and Crime, Selected Essays Benedetto Gravagnuolo, 1995 Adolf Loos: theory and works Christopher Long, 2012 The Looshaus Adolf Loos, 1962 Samtliche Schriften
An essay looking into the psychoanalysis of women within the modern city, in particular reference to anxieties and phobias such as agoraphobia. All of these factors can be seen within the modern city, so it begs the question ‘is the rise of agoraphobia in women as a result of the designing of the modern city? With the increasing number of larger buildings and more public spaces, people with this anxiety of large crowded spaces are finding it increasingly difficult to live within the City. Some psychologists, including Freud, believe that the streets were only threatening to those, like affluent or middle-class women, who led a sheltered or repressed life because they held out promises of temptation, sexual fulfillment and escape from home, so therefore felt the need to walk with a companion or the influence of walls of a house. (Agrest, 1966, p145) This may help the argument that it is the people inhabiting the city and their upbringing, rather than the cities design itself that brings on peoples anxieties within agoraphobia.
f.g. 1 In recent years women within architecture has become an increasingly talked about topic, with the rising equality between genders within the architectural world. Outside of the working world, how do women experience the modern city? In the male dominated profession of architecture, have women been overlooked within the design process? Within this essay I will look at many issues that have arisen in the modern city for women, with particular reference to the psychology of spaces and how women experience different types of spaces. The link with the modern city and different anxieties for women is a largely talked about topic, and many phobias have become increasingly evident in modern life. For example agoraphobia, which is the fear of open spaces and the fear of no escape or help being available, which has increased by more than 50% with 85% of the people affected being women. (Agrest, 1966, p141) Agoraphobia is an anxiety condition that has increased significantly in recent years, which may be linked to the modern city. Malcolm H. Lader and Thomas W. Uhde. describe agoraphobia where ‘a person articulates a fear of being in places or situation from which escape might be difficult or impossible in the event of sudden incapacitation. Some specific fears associated are: • Being in a strange place • Crossing streets • Crowded places such as supermarkets • Elevators • Journeys away from home, mostly on underground trains • Open spaces’ (Malcolm H. Lader, Thomas W. Uhde, 2006, p12,13)
The link between phobias within the cities, including agoraphobia, and women can be said to be linked back to the traditional values of men and women. Starting with the man being expected to go out and work without choice so even if anxieties occur they are often overlooked because they must be. While a woman can be seen to have a fulfilled life within her own home to a ‘greater extent’ than her husband who would eventually get bored. (Murial Frampton, 1984, p19) Femininity and masculinity within design are still very evident within the modern world spaces – most recognisable within the home, workplace and community. This makes it very difficult for women and men to live in harmony within the modern city and that initial status differences between men and women create certain types of gendered spaces that institutionalised spatial segregation then reinforces prevailing male advantages’ (Daphne Spain, 1992, p6) This may help to explain why women still feel inferior within the modern world as much of society is still orientated on the man being dominant over women. Social relations between genders has had a large influence of the design of buildings over the years, which can still be seen even if not utilised within the modern society. All of these factors contribute to how women may feel inferior and perhaps uncomfortable in a city designed around men’s dominance.
domestic and public spheres. The city started changing physically as well with the evolution of skyscrapers, factories, warehouses, working class districts, middle-class suburbs, cars and highways. (Nan Ellin, 1997, p19) I believe that this, along with the typical roles for women at the time being within the home, made the city a very inaccessible place for women and somehow they were less welcome. All meaning the city became an increasingly more intimidating place for women. In more recent years there has also been a large push on society to break the barriers between genders, social classes, ethnic groups and generations. This meant there was a very rapidly changing environment, which many people struggled to cope with. One of the main symptoms of agoraphobia and other city anxieties is a fear of open spaces, which to the modern day buildings is very hard to cope with. With an ever-growing emergence of large glass faced facades with continuous open spaces as well as things such as roof gardens, it has opened the city up compared to the enclosed walls and steel structures people have been previously accustomed to. Along with the outer façade of modern buildings there is the idea that buildings are linked to spatial relations. Spaces that are defined by social behavior at that particular point in time, they also leave a legacy to help shape the behavior of future generations. (Daphne Spain, 1992, p6) This helps suggest that it is not just new developments that influence the city but also past spaces, if a particular place is linked to a social problem or experience it can have a negative impact on that place in the future. The figure below shows the Leadenhall building in London, designed by Rogers Stirk Harbour and Partners. (Dezeen, 2011) It shows a good example of how new buildings are far more open and spacious than in the past with glass facades and open interiors with a lack of internal walls.
So where does this fear of the modern city come from? Nan Elllin in the book ‘Architecture of fear’ describes that he believes it can be linked all the way back to the French revolution, which marked the emergence of new social and power structures and also new ways of perceiving the world. It introduced the notion of change. (Nan Ellin, 1997, p13,14) The root of the fear in the early parts of the twentieth century changed drastically with the industrialization and urbanization of cities. This then caused the change in the relationship between
f.g. 2
It has also been talked about that one of the main responses to the accelerated change is nostalgia, ‘a desire to return to an apocryphal rosy past in reaction to high modernisms clean break from the past’ (Nan Ellin, 1997, p26) This may help us to understand why many women prefer to be in a place that they are familiar with and have an emotional attachment to, rather than the derived City we now live in. Cities always have a much higher crime rate than more rural places and crimes against women are not unusual to hear about. The association of places to a specific crime or attack can make it have a reputation as somewhere to avoid. This may help us to prove that a woman’s confidence within a city can improve over time as women learn the city well enough to choose their own routes. (Helsinki.fi) The city at night is also a daunting prospect for many women. Spaces can change drastically at night, with places such as parks, and children’s play areas, which are focused on women during the day but become an intimidating place at night. Julie Boyle, Dr Catherine Findley and Leslie Forsyth conducted a survey with women to find out which spaces they are most comfortable with, the table below shows some of their findings:
Matrix was a feminist design co operative set up in 1980 (Spatialagency.net) and was made up of thirty five women. They were one of the first architecture practises to start challenging the issues between women and the built environment. Within their book Making Space: Women and the Man Made Environment, they explored the socio-political context of designing the built environment. One of their main principles within their work was that ‘because women are brought up differently in our society we have different experiences and needs in relation to the built environment’. (Matrix, 1984, p7) The image below shows the front cover of a leaflet describing their works for client organizations.
at home has now changed. Also the design of buildings in the city now compared to the past has shifted, with the increase of glass facades and less enclosed spaces it means it is harder for people to feel safe and as though they can escape. Also the stigma attached to different spaces including reputations and people who reside there have a large impact, so more focus should be aimed on making these areas safer to the public. Rather than producing new buildings that address these issues, we must focus on what already exists and how we can improve those spaces. I believe that with the ever increasing number of women within the architectural world, the design process should involve and consider women from the outset and throughout. Rather than women just imposing a design, it is important that the design process looks at aspects of safety and accessibility within the public and domestic realms. (C. Greig Crysler, Stephen Cairns and Hilde Heynen, 2012, p87) Women’s experience of the city is very different to a man’s experience, in a way that is perhaps overlooked. It is important to consider how a woman experiences a space rather than just what is the cheapest, most effective way of producing a space. Bibliography Books: Agrest, 1966 The Sex of Architecture
f.g 4
f.g. 3 One of the main factors they noticed when asking women why specific places were more intimidating was the amount of people present in that area. Throughout the interview people referred to the presence of people in each scene, and whether it was a ‘pedestrianised space’ (open spaces PDF) This helps show that fear for women within the city can be the people residing and working in specific areas. One of the most noticeable factors in women’s psychological anxieties is safety, and escapism (also a symptom of agoraphobia) as described in the previous paragraph. This comes back to my original point of how the city is physically designed, and if it has an influence having a male dominated profession and design process. This is one of the main points that is addressed by Matrix architects.
Malcolm H. Lader, Thomas W. Uhde, 2006 Fast Facts: Anxiety, Panic and Phobias
One project they worked on to address the issue of women’s and the vulnerable individual’s safety was a block of eighteen new flats in South London. They achieved this by having the flats grouped around three staircases, so the residents would only have to directly deal with five neighbors at a time within the everyday life. As well as this the communal interior spaces were designed to be spacious and generously lit to allow privacy when needed. Within the interiors there were two main rooms, meaning the spaces were able to be allocated by the resident themselves. Matrix encouraged the design to include an outdoor area with access from all flats, such as a garden or balcony to help encourage chance meetings and spatial appropriation. (Petrescu, 2006, p51)
Muriel Frampton, 1984 Agoraphobia: coping with the world outside
In conclusion I believe that the reason women struggle so much within the modern city is not purely down to the physical design of the city but should also be linked back to the history of the relationship between men and women. The fact agoraphobia has increased so drastically within recent years, may help support the idea that with the rising equality of men and women in recent women has had an effect on women within the city. Women have not become as well accustomed to the city over the years as their traditional role of being
-http://www.spatialagency.net/database/matrix.feminist.design.co-operative -http://www.dezeen.com/2011/01/27/the-leadenhall-building-by-rogers-stirk-harbour-partners/ -http://www.helsinki.fi/lehdet/uh/499c_l.html -http://www.openspace.eca.ed.ac.uk/conference/proceedings/PDF/Forsth.pdf
Daphne Spain, 1992 Gendered spaces Matrix, 1984 Making Space: Women and the Man Made Environment Nan Ellin, 1997 Architecture of fear C. Greig Crysler, Stephen Cairns and Hilde Heynen, 2012 The SAGE handbook Diona Petrescu, 2006 Altering practices: Feminist politics and poetics of Space Websites:
Images: f.g. 1 - http://austinkleon.com/wp-content/uploads/2010/01/agoraphobia-detail.jpg f.g. 2 - http://static.dezeen.com/uploads/2011/01/dzn_The-Leadenhall-Building-by-Rogers-StirkHarbour-and-Partners-4.jpg f.g. 3 - http://www.openspace.eca.ed.ac.uk/conference/proceedings/PDF/Forsth.pdf f.g. 4 - http://www.spatialagency.net/2009/09/01/matrix_4-960x1200.jpg
05
A level photography
lucy pratt | photography
lucy pratt | photography
06
Professional projects
PROJECT Copper Beech Residential extension, Wells Orme Architecture 2016-2017 The brief for this project was for two modern extensions to a traditional house in Wells, within a conservation area. The design encorporated crittall windows and stained timber cladding, for a kitchen extension with circular roof light and new entrance hall with double height spaces. My involement in this project was to carry out a full survey of the building, the creation of the 3D model and visuals, CAD drawings and relevant planning documents. The building is currently in planning.
Initial sketch Proposed plans
Initial sketch
Proposed 3D perspective
PROJECT Grain Store
Agricultural barn conversion, Blackford Orme Architecture 2016-2017 The brief for this project was for the conversion of an old grain store into two residential properties in Blackford, offering open plan living comtemporary living. This gave a good insight into the process of how previous agricultural buildings can become residential dwellings and the planning process and restraints this involves. Opposite is two visuals taken from the initial 3D proposal model I created.
Proposed 3D perspective
Proposed 3D perspective
PROJECT Blackford New Dwelling Residential new build, Blackford Orme Architecture 2016-2017 Orme architecture was asked to design a comtemporary new build in keeping with the surrounding area and residential houses. The brief was for a 5 bedroomed main residential dwelling with a connected space with additional bedroom and garage spaces. I was tasked with adjusting original proposed plans in accordance to client feedback, also creating a 3D model, used for planning elevations as well as visuals.
Proposed 3D perspective
Proposed GF plan
Initial sketch
Proposed elevations
PROJECT Cutty Brae Residential extension, Charmouth Orme Architecture 2016-2017 The brief for this project was for an open plan living/dining area extension, with full length oak framed glazing and sedum roof, enchancing the highly steeped site and views across the valley in Charmouth. I was tasked with carrying out the initail survey, creating the planning drawings, design and access statement and planning application forms. It has since been granted full planning permission.
Initial sketch
Site analysis
Initial sketch
PROJECT The Doles Residential extension, Badgworth Orme Architecture 2016-2017 The brief for this project was for a large double storey extension as a seperate addition to the original house, connected by a contemporary glass link. The design encorporates glazing to enhance and capture the surrounding views to the rear of the building. My involvement in this project included creating 3D visuals throughout the initial design process, and creating CAD drawings for planning. This building is currently in planning.
Proposed 3D perspective
Proposed plans
Initial sketch
Initial sketch
lucy pratt | professional
lucy pratt | portfolio
Lucy Pratt 01
part I design projects University of Greenwich, BA Architecture
02
part I final year project University of Greenwich, BA Architecture
03
technical University of Greenwich, BA Architecture
04
extended essays University of Greenwich, BA Architecture
05
photography Richard Huish College, photography A level
06
professional portfolio Orme Architecture, 2016 - 2017 (images owned by Orme Architecture)
lucy pratt | portfolio