P E R S O N A L D E V E L O P M E N T P O RT F O L I O ARC 652 - BA (Hons) Architecture
MA R LOW PAR K E R
P E R S O N A L D E V E L O P M E N T P O RT F O L I O BA (Hons) Architecture - ARC 652
MA R LOW PAR K E R
John Pardey Architects - Ruler House
CONTENTS
2
ARC 652 Personal Development Portfolio
1.00 - INTRODUCTION..................................................................................................................................
3
2.00 - JESSICA BRENNAN - Whose Opportunity Area? - Arts University Bournemouth - Guest Speaker..................
4
3.00 - MICHAEL GRUBB LIGHTING DESIGNER - Arts University Bournemouth - Guest Speaker.............................................
6
4.00 - SHUMI BOSE - British Pavilion - Venice Biennale 2016 - Arts University Bournemouth - Guest Speaker........
8
5.00 - RESEARCH BY MAKING EXHIBITION - SWAY - Arts University Bournemouth - ARC650 Unit Work.................
10
6.00 - BERRY COURT - SITE VISIT - ARC652 - Dialogues in Practice..................................................................
12
7.00 - JOHN PARDEY ARCHITECTS - MENTORING VISIT - ARC652 - Dialogues in Practice...................................
14
8.00 - OLA-DELE KUKU - Arts University Bournemouth - Guest Speaker.............................................................
16
9.00 - MATTHEW BUTCHER - Architectural Designer - Arts University Bournemouth - Guest Speaker....................
18
10.00 - DR STEVEN FEEK - Anthony Caro Sculpture - N.A.C - Arts University Bournemouth - Guest Speaker..........
20
11.00 - PAUL KELLY - Planning Application Drawings ......................................................................................
22
12.00 - CONCLUSION....................................................................................................................................
24
Marlow Parker
1.00 IN T R OD U C T ION This document presents relevant external curricular activities undertaken within the third year BA (Hons) Architecture. Each entry holds a description element of the activity undertaken with suitable imagery to aid in the communication. A reflective analysis has been applied to each entry allowing an expression of thoughts and feelings surrounding the various activities done. The majority of entries in this Personal Development Portfolio are from guest speakers, giving lectures at the Arts University Bournemouth. Other entries have been submitted which include a site visit to a construction project by Morgan Sindall named Berry Court, The mentoring scheme procedure where by a visit to an architects firm was required along with another external job having to produce a set of drawings for planning permission. All entries will add to the ongoing collection of Personal Development Entries within the PDP format of previous Units Fig 1 - AUB Research by Making Exhibition, Sway - Central Space
3
ARC 652 Personal Development Portfolio
Marlow Parker
2.00 - JESSICA BRENNAN - Whose Opportunity Area? - Arts University Bournemouth - Guest Speaker 4
Fig 2 - R.H.G Graphite floor rubbing’s
Fig 3 - R.H.G Photograph ‘Changed priorities ahead’
DESCRIPTION
Fig 5 - Cyanotype of vegetation from common ground
REFLECTIVE ANALYSIS
Architect Jessie Brennan visited the Arts University Bournemouth, being the first guest speaker to present in 2017. Two projects Jessie recently undertook were discussed with multiple photographs and other imagery shown throughout the talk. The first project performed as an investigation into the current social and political feelings around the unique social housing complex, Robin Hood Gardens, London. Jessie explained her method of approach in interpreting the project was by collecting the thoughts and feelings through recorded dialogue from inhabitants of the housing block. Photography was utilised in the capture of social conditions to be interpreted through an architectural perspective of space and structure. This collection of nuances across the site played into how Jessie used the ethnography of inhabitants to re-enforce her findings around the weakening social and political narrative interwoven into the conversation of various occupants. Jessie spoke about the importance of the language and discourse of social cleansing within council owned properties, placing a heavy critique on the current neoliberal political and economic systems combined with the language used such as Regeneration or Redevelopment. The discussion continued with Jessie adding multiple quotes around the topic on the ownership of land, the complexities of property and how the interwoven factors of public and private, theory and practice can be applied in a social project. Jessie explained the 1972 Social housing block Robin Hood Gardens, designed by the Smithson architects, holds a brutalist concrete appearance. The stereotypical thoughts of the surrounding public were collected on how this brutalist architecture is interpreted. Jessie claims residents in surrounding areas believe the harsh concrete material holds an unmistakeable expressive quality linking to the welfare state which then produces a variety of stereotypical feelings towards the people not the politics.
ARC 652 Personal Development Portfolio
Fig 4 - R.H.G Crumpled Drawing
Marlow Parker
Examples of drawings produced by Jessie were shown throughout the talk as she described the activities undertaken. A number of Graphite rubbing’s (Fig 2) were collected from the entrance of each property in R.H.G. These rubbing’s were said to symbolise the multitude of human experiences within the residents of the housing complex. Highlighting for Jessie that each separate living space holds story, experience and life of people from the less well off end of society. The Crumpled drawing seen in Fig 4 performs as an analogous piece, expressing the ‘Fall of ordinariness’ amongst feelings toward the social housing complex. The drawing is exhibited in four stages with the drawing becoming more and more crumpled across the drawings. This ties the narrative of time and duration into the investigatory project with Jessie using the simple graphite drawing of the block to highlight how the change of social and political discourse are shifting within the twenty first century. Jessie also found whilst recording the area of the site, a road sign which was photographed adjacent to the complex (Fig 3) which reads ‘CHANGED PRIORITIES AHEAD’. Obviously the sign is used for traffic arrangements however Jessie sought the opportunity to show the irony and almost sarcasm of the sign positioning, The second project Jessie explained within her talk was one based in Peterborough. A town Jessie claims is one of the fastest developing towns in the UK at this point in time. The construction of timber sheds and tented spaces within a common green space of Peterborough was carried out by Metal, aptly named ‘Inside the Green Backyard’. Jessie visited this site through the Bartlett Visiting Research Fellowship, funded by the Arts Council England. The project again looks at land ownership with nuances toward the segregation of Public and Private land occupation. The space was said to be used for critical thought amongst vulnerable adults of the surrounding area. Jessie produced an array of Cyanographs (Fig 5) to materialise her investigation into an expressive visual communicative exhibition in London.
The talk by Jessie Brenann held a unique approach by approaching the architectural connotations through the dialogue of inhabitants positions the investigation into an extremely real situation. Jessie included multiple quotes and sources from which her research was derived. Her presentation was articulated well with strong contextual links back to the in depth analysis she had performed. The simple graphite rubbing’s of entrances within R.H.G although simple, effectively conveyed the direction of approach Jessie had chosen within the interpretation of thoughts from the social housing system. The monochromatic photographs included within the talk were again simple images if the external facade of R.H.G however the images effectively conveyed a certain atmospheric quality Jessie used to baluster her argument in the treatment and understanding of lower class society. The large drawing produced (Fig 6) was a beautifully crafted piece which through clean, crisp, well drawn imagery showed the complexities and nuances of social living conditions. The project being interwoven between social, economic and political issues did manifest plenty to think about when aligning the thoughts of Jessie’s to ones own thoughts and feelings about the current conditions of society. Nevertheless the project did cross over various polemics which are agreed upon, especially with the issue of land ownership and social integration through an architectural environment. The method of collecting and recording thoughts, feelings, imagery and drawings of the area, appeared as a new approach in the extrapolation of issues presented at the start. The project lacked visual interpretations of the architecture itself but effectively pulled the correct ideas from spoken narratives, written text and simple imagery. The cyanographs produced for the second project Jessie presented had not been witnessed before. The history of blueprints within design became a pleasant technique to to be understood as the historical practice has not been seen within ones design education thus far.
As mentioned before the lecture by Jessie was a heavily researched investigation project. The unorthodox methods of information collection were refreshing to see and grounded the projects very much in society and the inhabitants. The amazing drawings, photographs and cyanogrpahs purvey a specialised narrative of Jessie’s and can be seen to be emotionally tied to the outcome of the social housing complex. Jessie did however use one example within her talk which could be seen to be slightly disconnected. The audio recording of a child younger than ten explaining the issues with removing a social housing system as she cannot see why the town needs more flats instead of R.H.G seemed to be slightly colloquial and that Jessie included this at the end to give a strong emotional link to the feelings of the R.H.G society. It is not the fact that Jessie used this as an emotional link but that a ten year old may not have the ability to fully comprehend the polemics of society within a shifting political discourse. The term ‘Social Justice’ used by Jessie toward the end was slightly uncomfortable with the term holding strong links to a selection of radical political movements around the political correctness in search for social justice. L IST OF F IGU RES Fig 2 - jessiebrennan.co.uk - https://static1.squarespace.com/static/52f240d3e4b03e1f2f572485/54be512fe4b054556ec42a64/557ad24de4b0d4d1d367c4c7/1434112655547/dalla_ Rosa_J_Brennan_Conversation_Pieces_(no_34)_2014_Graphite_on_paper_66x102cm_lowres. jpg Fig 3 - jessiebrennan.co.uk - https://static1.squarespace.com/static/549ea758e4b0bc51a11b7735/t/5799edfacd0f68519793b503/1469705831082/Jessie+Brennan+Robin+Hood+Gardens+(view+from+Naval+Row),+2014 Fig 4 - jessiebrennan.co.uk - https://static1.squarespace.com/static/549ea758e4b0bc51a11b7735/54a2de59e4b01290eb2e232f/54a2f24be4b0365c017f72e2/1419965004742/2_ Jessie+Brennan_A+Fall+of+Ordinariness+and+Light+(The+Scheme).jpg Fig 5 - jessiebrennan.co.uk - https://static1.squarespace.com/static/52f240d3e4b03e1f2f572485/54be512fe4b054556ec42a64/57d91add15d5db02330c4749/1473846144529/11_ Jessie+Brennan_Cotton+lavender_28-4+x+25-0+cm_for+K2+Screen.jpg Fig 6 - http://www.mariancramer.com/wp-content/uploads/2012/09/Jessie-Brennan-EverythingMeets-Here-2012-pencil-on-paper-42-x-297-cm.jpg Fig 7 - https://static1.squarespace.com/static/549ea758e4b0bc51a11b7735/57e31dcbd1758e2877dbcc7c/57e31f18893fc0b87d8f1b90/1474502428984/Jessie+Brennan_Inside+The+Green+Backyard+(Opportunity+Area)_2015-16_Installation_cyanotypes+and+oral+recordings_panel+1.jpg
Fig 6 - Whose Opportunity Area, Graphite Drawing, Jessie Brennan
Fig 7 - Cyanotype Exhibition, Jessie Brennan
5
ARC 652 Personal Development Portfolio
Marlow Parker
3.00 - MICHAEL GRUBB LIGHTING DESIGNER - Arts University Bournemouth - Guest Speaker 6
Fig 9 - Guinness Storehouse, Dublin, Ireland.
Fig 8 - Durdledor Lighting Installation, Dorset, UK.
DESCRIPTION
Fig 11 - Crowne Plaza Hotel
REFLECTIVE ANALYSIS
M ich ael G r ub b i s p ro mi n e n t l i g h t i n g d e s igne r ba se d in B ou r n e m ou t h , D o r se t . Hi s wo r k e n t a i l s t he de sign a nd in s t a lla tion o f v a r i o u s f o r ms o f l i g h t i n g in a rc hit e c t ur a l e n v iron m e n t s, a r t i n st a l l a t i o n a n d o c c a siona lly w it hin n a tu re. M icha e l v i s i t e d t h e A r t s U n i v e r si t y B our ne mout h to giv e a ta lk o n t h e re c e n t p ro j e c t s h e ha s unde r t a ke n. Ar r iv in g la te t h e we b si t e f o r h i s c o mpa ny w a s le ft on t h e lar ge s c re e n wi t h i t ro l l i n g t h rough ima ge s of p roject s in cl u si v e o f t h e t i t l e . On c e Mi c ha e l a r r iv e d t he s t u d io w as d i mme d t o a n a l mo st p i t c h bla c k light ing le v e l for h is p re s e n t a t i o n t o b e g i n . Mi cha e l disc usse d h is a c h ie v e m e n t s f ro m 2 0 1 6 wi t h a p l e t hor a of a w a rds s h ow n u p on t h e b i g s c re e n . Mi c h a e l b e ga n e xpla ining a s elect ion o f h i s p ro j e c t s f ro m 2 0 1 6 w it h ima ge r y a lon gs id e. F ig 8 d e p ic t s a n i m a g e o f D u rd l e d o re c liff for ma t ion loc a te d a lo n g t h e J u r a s si c c o a st of Dor se t . The p roject w a s p a r t o f a o n e d a y i n st a l l a t i o n w he re na t ur a l la n d m ar k s w e re i l l u m i n a t e d a l l a ro u n d t he B r it ish isle s. Th e p in k , o r a n g e a n d b l u e h u e s o f l i ght ing w e re not te s t e d or vis u a l i s e d b e f o re h a n d , wi t h t he inst a lla t ion b e in g a b e s t g u e s s sc e n a r i o i n l i g h t i n g a c liff fa c e from th e w at e r. Mi c h a e l a d d e d a t t h i s p o i n t t ha t t he proje c t w as m ad e a wa re t o t h e B BC wh o s e n t a film t e a m t o record th e gl o wi n g n a t u r a l f a c a d e . Mi c ha e l a dds a t t his p oin t th e id e a t h a t h i s c o mp a n y wa s n o t foot ing t he bill for th e p roje c t a n d so we n t a l l o u t wi t h t he me t hods a n d eq u ip m e n t f o r t h e n a t u r a l i n s t a l l a t ion light ing. An oth e r p ro j e c t Mi c h a e l d i sc u s se d wa s t he re de sign of all th e ar t i f i c i a l l i g h t i n g i n t h e Gu i n ne ss st ore house in Du b lin , Ire l a n d (F i g 9 ). T h e V i si t o r s c e nt re re quire d a n ew ligh t i n g s c h e me t o re e n e r g i s e t he br a nding of G u in n e s s . A t t h i s p o i n t Mi c h a e l ma de t he c ount e r in tu itiv e s t a t e me n t o n e m b r a c i n g v a r i e t ie s of da r kne ss w it h in ligh ti n g d e si g n a p p l i c a t i o n s . Cont inuing on M ich ael ex p l a i n e d t h e d e c i s i o n t o u s e j u st t hre e v a r y ing c olou r s of li g h t i n g . A p u re wh i t e l i g h t a t a round 4000 k e lv in w a s c h o s e n f o r i l l u m i n a t i n g i n f o rma t iv e a re a s, a w ar m er 2600 K e l v i n l i g h t i n g wa s c h o s e n for mov e me nt s p aces a n d f i n a l l y a n e v e n wa r m e r 2 0 00 K e lv in de e p or an ge ligh t f o r a n y Gu i n n e ss b r a n d i n g loc a t ions. The ret roact iv e li g h t i n g i n s t a l l a t i o n wa s a p plie d t hroughout th e b u ild in g t o e n h a n c e t h e st o r y o f Guinne ss t hrough
ARC 652 Personal Development Portfolio
Fig 10 - Arts by The Sea, Bournemouth, UK.
Marlow Parker
t he se nsor y e xpe r ie nc e s. The mot if of adm i ri ng qual i ti es of da r kne ss w it hin proje c t w a s fur t her el aborated on by Mic ha e l a s he e xpla ine d t ha t onl y obj ects s houl d be lit ( if only for sa fe t y re a sons) a nd that havi ng a dark spa c e w he re not hing loc a t e d, c a n be m ore appeal i ng to t he a t mosphe r ic qua lit ie s ge ne r a t e d through l i ghti ng. The light ing inst a lla t ion for The Garden of Li ght Fe st iv a l inc or por a t e d a sma ll st r ucture m odel l ed on t he hist or ic for m of a be a c h hut w it h the pi tched s hape a nd sur rounding pla t for ms be ing laced wi th bri ght c olour ful light ing. The illumina t e d c abi n unfol ded i nto a unique a rc hit e c t ur a l spa c e w he re s eati ng pos i ti ons w e re pre se nt e d a round a glow ing st ructure of l i ght. Mic ha e l G r ubb a lso unde r t a ke s projects of m ore what w ould be la be lle d a rc hit e c t ure . The li ghti ng s ys tem for t he Crow n Pla z a Hot e l in Ne w c a st le incorporated a ful l y int e gr a t e d light ing solut ion a mongst the archi tectural fa br ic . Mic ha e l e xpla ine d t he importance of fl ex i bl e light ing solut ions w hic h a ids t he a rchi tectural s pace be c oming more fluid in w ha t t he space can be us ed for. Mult iple ot he r proje c t s w e re shown wi thi n the pre se nt a t ion inc luding Light ing de sig n for the Mi neral House Spa , UK , Q ue e n E liz a be t h P ark, London and The Wonde r La b I nst a lla t ion loc a t ed i n the s ci ence muse um, London. Mic ha e l a lso inc luded photography of a w a re house w hic h w a s lit w it h a v as t array of i ntens e c oloure d light ing a nd e xpla ine d his tes ti ng proces s of ha v ing t o use re a l light t o fully unde r s tand how s paces c a n t r a nsfor m a s t he light ing c ondit i ons do.
M ichael G r ubb of f er ed som e excellent exam ples of light ing design im plem ent at ion acr oss a var iet y of pr oject s. His applicat ion of m ult i colour ed light ing allows illum inat ed spaces t o becom e f lexible and dynam ic dependant on t he st r engt h and colour of light applied. The innovat ion in LED t echnology has allowed light ing syst em s t o becom e br ight er , m or e ef f icient and hold m or e cont r ol over lux levels and hue. I t is clear t hat M ichael has an inher ent under st anding of light f r om t he sheer quant it y of pr oject under t aken. The init ial por t ion of t he t alk wher e M ichael r olled t hr ough som e of t he pr oject s com plet ed in 2016 highlight ed how light ing design can becom e a f lour ishing com pany when applied t o t he wor ks of ot her designer s. However M ichael did have an under lying t one of nihilism wit nessed t hr ough his const ant just if icat ion of t he essence of his wor k whilst sim ult aneously saying it wasn’t t he best t hing t o have done. The inst allat ion light ing t he clif f f ace of Dur dledor e in a pink and or ange colour schem e used a unique light ing syst em which is m ost ef f ect ive in t he illum inat ion and glor if icat ion of t he nat ur al landm ar ks, however M ichael again m ade som e unsavour y com m ent s on t hat he was not f oot ing t he bill and so t hey would spend as m uch as t hey possibly could. This included having t he clif f lit f r om a vessel in t he bay wit h high power ed halogen light ing. M ichael added t hat t his pr oject t ur ned int o a healt h and saf et y issue due t o t oo m any visit or s wit h not enough pr epar at ion wit hin t he sur r ounding ar eas. Yet he just br ushed it of f as if it wasn’t his pr oblem . The G uinness light ing schem e was applied ver y elegant ly using t he t hr ee hues of light ing t hr oughout t he visit or s cent r e. The ar chit ect ur al just if icat ion of r ender ing space wit h at m ospher e and dr am a could be seen f r om t he phot ogr aphs shown. I t could be im agined how t he dar k or ange light ing com bined wit h ot her sensor y st im ulus could allow int er nal spaces t o becom e m or e t han could be seen f r om a pict ur e. As M ichael r elat ed his pr oject in t he G uinness St or ehouse t o r egulat or s and r egulat ions ar ound light ing he again f ound a chance t o pr oject his dislike and unf avour able f eeling t owar d t his cont r ol syst em s of saf et y in light ing.
I t ’s believed M ichael has t he be s t in t e n t io n s f o r t h e pr oject s under t aken wit h st r o n g de s ign in t e n t io n s acr oss t he subject of light ing, n e v e rt h e le s s Mic h a e ls at t it ude t owar ds ot her cont r ac t o rs a n d pe o ple wit h in pr oject s seem s t hat of som eon e wh o t h in k s t h e y k n o w best . I t is unclear whet her t h is a t t it u de is in h e rit e d f r om t he discour se of t he capit a l c it y a s t h is ‘No t my Pr oblem ’ at t it ude appear s r if e wit h in L o n do n de s ign cult ur e. M ichael also wor ked on var io u s c h a rit a ble pro je c t s including one which t ook re du n da n t ligh t s o f pr evious year s and inst alled t h e m f re e o f c h a rge in ar eas which don’t necessa rily h a v e t h e f u n ds t o enjoy a new luxur y LED light i n g s y s t e ms . B u t be in g consist ent wit h his at t it ude t hro u gh t h e t a lk , h e t h e n m ent ioned he was t r ying t o ‘O f f -L o a d’ t h e c h a rit y wor k as it s becom e t oo m uch h a s s le . M ichaels com pany appear s a n e x c e lle n t mo de l f o r t he int egr at ion of light ing de s ign . T h e c o mpa n y st r uct ur e and pr oject s undert a k e n wo u ld s u it o n e as a f ield f or placem ent or e mplo y me n t h o we v e r M ichaels st r ange elit ist at t it ude wh ic h ble d t h ro u gh his f r iendlier nuances gave t h e c o mpa n y a s t ra n ge vibe which is not ed t o be war y o f wh e n s e a rc h in g f o r f ut ur e em ploym ent oppor t unit i e s .
L IST OF FIGU R ES Fig 8 - http://www.michaelgrubbstudio.com/wp-content/uploads/2016/02/Durdle_Michael_ Grubb_Robin_Goodlad_002-Trimmed.jpg Fig 9 - http://www.michaelgrubbstudio.com/wp-content/uploads/2015/04/Guiness_Storehouse_ Advertising_Michael_grubb_studio.jpg Fig 10 - http://www.michaelgrubbstudio.com/wp-content/uploads/2013/10/LIGHT-LOUNGE-3. jpg Fig 11 - http://www.michaelgrubbstudio.com/wp-content/themes/wurbo/img-fx/?src=http:// michaelgrubbstudio.com/wp-content/uploads/2016/02/Crowne-Plaza-1.jpg&w=1080&h=800 Fig 12 - (Opposite) http://www.michaelgrubbstudio.com/wp-content/uploads/2015/07/Bournemouth-pier-approach_Michael_Grubb_Studio_11.jpg
7
ARC 652 Personal Development Portfolio
Marlow Parker
4.00 - SHUMI BOSE - British Pavilion - Venice Biennale 2016 - Arts University Bournemouth - Guest Speaker 8
Fig 14 - Venice Architecture Biennale 2016 - British Pavilion - Days
Fig 15 - Venice Architecture Biennale 2016 - British Pavilion - Months
D E S CRIP T IO N
Fig 17 - Venice Architecture Biennale 2016 - British Pavilion - Decades
R EFLECTIVE ANALYSIS
Sh u m i B os e wa s p a r t o f t h e t e a m wh o c u r a t e d t he B r it ish p a v ilion for t h e 2 0 1 6 Ve n i c e b i e n n a l e a long w it h Ja c k Se lf, a q u alif i e d a rc h i t e c t a n d F i n n W i l l i a ms a spe c ia list in le gis lat ion , p ro c u re m e n t a n d f e a s i b i lit y. Shumi a nd th e t e a m c u r a t e d t h e e x h i b i t i o n Ho me Ec onomic s, t his e x h ib it ion w a s t o i n v e st i g a t e t h ro u g h a rc hit e c t ur a l m et a p h or s t h e i s su e s o f d o m e st i c l i f e . Shumi use d th e tr ad it ion a l t e a c h i n g o f h o m e e c o nomic s w it hin s econ d ar y e d u c a t i o n t o c o n t e x t u a l i se t he a spe c t s of th e d om es tic re a l m. S h u m i h a d p ro d u c e d a v a r ie t y of lite r at u re b e f o re t h e e x h i b i t i o n i n c l u d i ng a book t it le d R e a l E s t a te s - L i f e wi t h o u t d e b t a n d a progr a mme la b e lle d R ea l R e v i e w a l o n g wi t h a rc h it e c t Ja c k Se lf w h ich in evit a b l y b e c a me t h e f o u n d a t i on re se a rc h for th e ex h ib itio n . Th e ex h ib iti o n se e k s t o a d d re s s a shift ing soc ioc u ltu r al d is c o u r s e c o m b i n e d wi t h t h e polit ic a l t ur moil w h ich h as b e e n p re v a l e n t s i n c e t h e f i na nc ia l c r a sh of 2008. Sh u mi c o n t a c t e d n u m e ro u s p e ople t hroughout th e res e a rch p h a s e wh i c h i n c l u d e d i n div idua ls from a v a s t ar r ay o f p ro f e s si o n s s u c h a s Gr a phic de signe r s, Ar t is t s , Wr it e r s , Ch e f s a n d wi t h m a n y ot he r s. Shumi c la im s t h is b ro a d re se a rc h wa s i n o rd e r t o find t y pic a l liv in g s it u a t i o n s st u d y i n g t h e wa y i n w hic h pe ople in te r act w ith t h e d o m e st i c si d e o f l i f e . Sh u m i look e d a t a p p l y i n g i ma g e r y from t he fie ld of a rch it e c t u re wh i c h wa s n ’t n e c e ssa r ily pla ns or s ect ion s , d ue t o h e r b e l i e f t h a t o rd i n a r y pe r sons find it h a rd to d eci p h e r a rc h i t e c t u r a l d r a wi n g s . Th e 1 to 1 e x h i b i t i o n wh i c h wa s t h e f i n a l inst a lla t ion a t th e b ien n ale l o o k e d a t a p p l y i n g t h e s e l iv ing c ondit ions in a re a l fu l l sc a l e c o n t e xt a l l o wi n g t he me t a phor of th e w or k to b e c o m e p o we r f u l i n i t s c ommunic a t ion. Th e ex h ib itio n sp a c e wa s d i v i d e d u si n g t he univ e r sa l m eas u rem e n t o f t i me s o t h a t a n y o n e int e r na t iona lly c a n re la te t o t h e o r i e n t a t i o n . Ho u r s , da y s, mont hs, y e a r s a n d d e c a d e s we re a p p l i e d t o t h e Pa la dia n st y le B r itis h p avili o n a s s e e n i n (F i g 1 4 ). E a c h t ime se c t ion c on ta in e d a n a rc h i t e c t u r a l a p p ro a c h to w it hdr a w or e v ok e th ou g h t s a n d a c t i o n s p e r s o n s ma y unde r t a ke w h en occu py i n g t h i s d o m e st i c a rc h i te c t ure for t he tim es s ta te d .
ARC 652 Personal Development Portfolio
Fig 16 - Venice Architecture Biennale 2016 - British Pavilion - Years
Marlow Parker
The e nt r a nc e t o t he pa v ilion w as fi tted wi th an e nla r ge d door a kin t o t ha t of t e n downi ng s treet agai n se e king t o a ddre ss polit ic a l issue s wi thi n the as pects of dome st ic liv ing. E nt e r ing int o t he Hours s pace fi rs t, Shumi a nd t he t e a m a pplie d a rc hi tectural el em ents de r iv e d from t he ir re se a rc h w hic h bes t ex peri m ented w it h t he ir findings. Se e n in ( Fig 15) stands a l arge gl as s c upboa rd/displa y unit t ha t div ide s the s pace al ong a single a xis. The unit t he ir t o e xpre ss cri ti cal thoughts on t he ide a of sha re d ow ne r ship of i tem s wi thi n the c ont e xt of c ommuna l liv ing. O t he r item s s uch as very simple , c ompa c t sofa be ds w e re posi ti oned throughout a ga in inc e pt ing t hought s of sit t ing, perchi ng or l yi ng w it hin t he Hour s spe nt in t he home . The se c ond se c t ion la be lle d mont hs hol ds two l arge de c or a t e d Zor b infla t a ble s. The inflatabl es perform ed a s a n a na logy of t he v ir t ua l sphe re w e l ocate ours el ves in t hrough c onne c t iv it y t hrough v a ri ous devi ces . The lit e r a l bubble s w e re de c or a t e d in i m agery from the c ult ure of t he int e r ne t e .g. quot e s, m em es and other re le v a nt ima ge r y from t he c ont e mporary cul ture. The t hird por t ion of t he e xhibit ion, y ears l ooked at how mic ro liv ing sit ua t ions c ould be a ppl i ed wi thi n a l arge c ommuna l spa c e . The w indow a bov e the bed s een i n ( Fig 16) is t he sle e ping por t ion of thes e m i cro l i vi ng unit s. A t oile t , show e r a nd kit c he nette com pl ete the progr a mme of t he blue c ont a ine r, w hi ch hous es thes e e le me nt s in a spa c e no bigge r t ha n 2 0 s quare m eters . The fina l room ( Fig 17) inc or por a t es the i s s ues of a De c a de w it hin dome st ic liv ing w it h s peci al attenti on pa id t o t he issue s w it h w ha t a mortgage i s and can be . The se gme nt c ont a ins a t oile t fi x ed to the wal l w it h a sma ll ha nd ba sin, a lso ot he r s m al l anecdotes c omple t e d t he inst a lla t ion. The instal l ati on l ooked to giv e ironic a t t e nt ion t o t he st a nda rds a bank l ays out for a prope r t y t o be mor t ga ge a ble . The se gme nt s c ombine t o for m a strong narrati ve of issue s a nd ide a s w it hin t he dome s ti c real m . S hum i a dde d ma ny st or ie s a nd nua nc e s whi ch m ade the proje c t w ha t it is. The e xhibit ion was opened wi th st rong v isit or numbe r s e xpe r ie nc ing the ex hi bi ti on.
The t eam of cur at or s Shum i, Jack and Finn hold a var iet y of disciplines bet ween t hem , t his ensur ed t he exhibit ion f or t he Br it ish pavilion held st r ong r esear ch and lit er at ur e elem ent s cont ext ualising t he exhibit ion. Shum i also int er ject ed m or e per sonal t hought s on t he polem ics of dom est ic lif e wit hin her per sonal exper ience which aided in t he pr oject s appr oach t o r elat ing t he t r oubles of 21st cent ur y dom est ic living. The t alk by Shum i was dense wit h inf or m at ion, st or ies and im ager y which Shum i spoke of f or over an hour . The init ial por t ion of t he t alk which cover ed t he r esear ch and issues t o be addr essed was int er est ing and com m unicat ed well, however t he lit er at ur e Real Est at es - Lif e wit hout Debt was not expanded on. The wor ks of t he gr aphic design t eam whom cr eat ed t he unique gr aphic st yle f or t he pr esent at ion wer e int r oduced and expanded upon, along wit h all t he ot her cont r ibut ions t o t he pr oject . Cont r ibut ions acr oss t he var ious zones of t he pr oject included Ayr ; a gr oup of ar chit ect s who per f or m ed as ar t ist s, Dogm a a f ir m who concent r at ed on designing t he m ont hs sect ion, Julia King, anot her young em er ging ar chit ect looked at t he ur ban condit ions wit hin t he year s segm ent and f inally Hesselbr and who st udied t he decades por t ion of t he exhibit ion. I t was inspir ing t o see so m any gr oups of cr eat ives com e t oget her and wor k wit hin a lar ge scale exhibit ion pr oject . The exhibit ion it self was sim ple yet st r iking t hr ough it s var ious analogies and m et aphor s succeeding in br inging issues f r om hom e econom ics t o t he f or ef r ont f or int er pr et at ion and cr it ical evaluat ion. Each segm ent of t he exhibit ion did hold st r ong m et aphor s f or t he r esear ch under t aken however due t o t he t eam deciding on not having any sign- age or t ext wit hin t he exhibit ion it could of becom e har d t o under st and f or anyone who visit ed t he Br it ish Pavilion at t he 2016 Venice biennale. Af t er speaking wit h som eone who had visit ed t he pavilion t heir t hought s m ir r or ed t his uninf or m ed appr oach wit h t hem discussing t he lect ur e added layer s and layer s of cont ext which could of been m or e appr opr iat ely posit ioned wit hin t he exhibit ion.
Shum is appr oach t o t he t alk wa s u pbe a t , s ligh t ly inf or m al wit h Shum i being op e n f o r a n y o n e t o a s k quest ions or r aise issues ar ou n d t h e pro je c t . Due t o Shum i’s pace of speak in g h u ge qu a n t it ie s o f inf or m at ion being not necess a rily in a lin e a r o rde r needed t o be under st ood in f or a t ru ly c o mpre h e n s iv e under st anding of t he exhibitio n . T h e t a lk h o we v e r did give enough insight int o t h e pa v ilio n in s t a lla t io n s t owar d t he end wit h each sect io n h o ldin g s imple y e t ef f ect ive it em s which conveye d t h e me s s a ge . The m ost r elat e- able and w o rry in g ro o m o f t h e exhibit ion would be t he de c a de s po rt io n . T h e cr udeness of t he banks sp e c if ic a t io n t o ga in a m or t gage was exhibit ed in a t ru ly iro n ic ma n n e r wit h t he t oilet and had bas in be in g f ix e d t o t h e wall showed how pat het ic t he s y s t e m o f mo rt ga ge s can be highlight ing t he box t ic k in g c u lt u re we liv e in t oday. Discussions on is s u e s o f s o c ia l liv in g wer e also ext r em ely r elevant t o t h e o n go in g wo rk s of ARC 651 in designing a b u ildin g f o r re s ide n t ia l and com m er cial use. The soc ia l liv in g po le mic s will be int er pr et ed, discussed a n d a pplie d wit h in t h e ar chit ect ur al pr oject ensur ing a u n iqu e s y s t e m o f living can be pr oduced wit hin t h e c u rre n t t ro u ble s o f com m unal or social living.
L IST OF FIGU R ES Fig 14 - Henry - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/RESIZED_HOURS_room_Home_Economics_at_the_British_Pavilion_Venice_Archi_M4hNRun. jpg.940x528_q85_upscale.jpg Fig 15 - Zorbs - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/ RESIZED_DAYS_room_Home_Economics_at_the_British_Pavilion_Venice_Archit_FIuazUR. jpg.940x528_q85_upscale.jpg Fig 16 - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/RESIZED_MONTHS_room_Home_Economics_at_the_British_Pavilion_Venice_Arch_lC8UWjq. jpg.940x528_q85_upscale.jpg Fig 17 - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/RESIZED_ YEARS_room_Home_Economics_at_the_British_Pavilion_Venice_Archi_SnzdE5L.jpg.940x528_ q85_upscale.jpg Fig 18 - (Opposite) British Pavilion - https://venicebiennale.britishcouncil.org/sites/default/files/ styles/bc-landscape-300x169/public/british_pavilion_800pix.jpg?itok=fS_ghrTD
9
ARC 652 Personal Development Portfolio
Marlow Parker
5.00 - RESEARCH BY MAKING EXHIBITION - SWAY - Arts University Bournemouth - ARC650 Unit Work 10
Fig 19 - AUB Research by Making Exhibition, Sway - Central Space
Fig 20 - Research by Making Lighting Plinth
Fig 21 - Exhibition Space 2 - CODA Models on Plinths
Shelves were also installed to house smaller items around the perimeter of the gallery ensuring there was a variety of installation techniques to keep the exhibition exciting as you move around the space. All works printed on paper were fastened to the wall using adhesive Velcro tape. This tape had strong adhesion which was vital due to standard double sided tape losing its adhesive properties through the warmth generated from the under floor heating. This ensured any paper fixed to the wall would not only support its self weight but the Velcro also allows items to be moved and adjusted. All exhibited items required levelling or moving so that the geometry did not interfere with one another allowing the exhibition to become a synonymous entity. Once all the model, pictures and art works were positioned in their final layout the space required a full sweep and clean ensuring none of the surfaces were dusty. Patches on the walls around the spaces required sanding back and re painting due to a previous technician applying the incorrect paint colour, which left the space with bright white patches breaking the visual qualities of the space. Where items were hung and then removed when the exhibition was in flux left small dark holes over some of the wall space. These were again filled using a quick drying sand-able filler and then painted to blend with the surrounding walls. Small white labels with the students name and project titles were formatted and printed to be fastened next to exhibited work with the same Velcro adhesive tape. A poster was designed and printed by one of the team members to be put up not only at the exhibition space but at the university also.
ARC650 WORK
D E S CRIP T IO N
The Research by Making exhibition produced by third year architecture students of BA (Hons) Architecture at The Arts University Bour nemouth is to be installed within a Tony Fretton intervention in the small village of Sway, Ha mpshire. The building incorporates three gallery spaces within a brick and timber structure with other amenity spaces such as kitchen and toilets. The exhibition was curated by four members of third year archit ecture students along with the course leader Simon Beeson. Initially a layout plan of the gallery was drawn to ensure the works that were being displayed had a more general location before the models and artwork were transported to the exhibition space. A few weeks prior to opening, all the items to be exhibited were stacked up at the university ready to then be transported by van to the gallery space. Due to the large quantity of items, a couple of trips were needed to take the remaining items. After all the items had been transported to Sway, the team of curators began moving and positioning individual items around the space. This technique of having the gallery in constant flux allowed items to be trialled in numerous positions ensuring the gallery works not only to exhibit individual items but to be perceived as a whole collection across all of the students work. Items were positioned on a random assortment of plinths, tables and other podiums that could be constructed from what was available in the architecture studios of AUB. This ranged from plywood tops, galvanised platforms and white MDF plinth. After arranging items floor based items into their probable locations, the items to be wall hung were to be fixed requiring a fixing point to the white MDF boarding fitted around the perimeter of the gallery spaces. Standard 35mm screws were used to either create a point for hanging framed pieces or to fix the brass picture brackets that had been screwed to various items. ARC 652 Personal Development Portfolio
Marlow Parker
As seen in (Fig 20) the light models produced in the Research by Making unit were positioned on a wooden plinth side by side. The lights required a power outlet so a suitable position within the exhibition was found. The lights were exhibited tur ned on giving the space its own lighting qualities. Other artworks within this space also incorporated lighting elements adding to the atmosphere of the space. CODA The space which housed the light models as previously mentioned was also used to exhibit the project work of the CODA Design team (Fig 21). A1 sheets with imagery were hung on the back wall with the 1:50 CODA model and other crafted elements from the project positioned on the galvanised tables within the centre space.
Fig 22 - 1:50 CODA Model - Close up of studio design
R EFLECTIVE ANALYSIS
The Research by Making exhibition in Sway was the first exhibition ever curated. Numerous aspects in curating artwork was lear nt through performing the various processes involved. The movement and transportation of the pieces was an opportunity to practice and apply the logistical qualities needed when moving multiple items with a small group of people all arriving from various locations and requiring differing transport throughout. W ith the initial use of a plan and then moving onto an in flux approach to curating the artwork proved useful as the sheer difference in items size, form and appearance had to be balanced within the space. The fixing, decorating and general building issues were again an opportunity to use my hand skills lear nt through the construction industry from previous years. Overall the experience of curating fellow students art work was challenging yet rewarding. The process was enjoyable and many new skills were lear nt whilst working as part of the team to curate the entire exhibition into one synonymous collection of student work. If the chance to curate artwork in the future comes up it is most certain that the opportunity will be jumped on. Its believed the curating team can be seen as a linking entity between artists and their artwork to persons of trades or construction needed for lifting, fixing and decorating of exhibition spaces. Although this was s small exhibition it would be a good experience to work on a large public exhibition. L IST OF FIGU R ES Fig 19 - AUB Research by Making Exhibition, Sway - Central Space - Authors Own Fig 20 - Research by Making Lighting Plinth - Authors Own Fig 21 - Exhibition Space 2 - CODA Models on Plinths - Authors Own Fig 22 - 1:50 CODA Model - Close up of studio design - Authors Own Fig 23 - (Opposite) - 1:50 CODA Model - Artsway Exhibition
11
ARC 652 Personal Development Portfolio
Marlow Parker
6.00 - BERRY COURT - SITE VISIT - Arts University Bournemouth - ARC652 - Dialogues in Practice 12
Fig 24 - Berry Court - Site Visit
Fig 25 - Berry Court - Visualisation
DESCRIPTION
REFLECTIVE ANALYSIS
As part of ARC652 Dialogues in Practice, a site visit was organised for third year architecture students. The visit was to a construction site where construction was underway through the main contractor, Morgan Sindall. The project is named Berry Court on which Bright Space had a design input within the earlier stages of the project. The project brief is to construct an apartment block which houses 1, 2 and 3 bedroom apartments. Next to the accommodation unit is to be built a ten storey multi storey car park, to ensure the transport planning procedures of Bournemouth borough council are complied with by reinstating the original car park which occupied the site before, only now with multiple levels. The scheme is to cost ÂŁ27 Million and is to be completed over a 22 month construction period. The full project development scope was initiated by Bournemouth Development Company alongside Morgan Sindall acting as the main contractor. Upon arrival the group made their way through the tur n style entrance of the site used for keeping track of contractors within the busy work area. The group was then briefed on the visitation activities along with a visitors induction. The group then collected, opened up and equipped the correct personnel protectiv e equipment before being led onto the site where the work was being undertaken. The group was taken onto a concrete slab platform that was p oured the previous day, to get a good full view of the entire site. The contractors and directors then began discussing various issues with const ruction sites along with the inclusion of safety a spects linking to various construction methodologies that can be applied to a project.
The site visit was an enjoyable experience that got the group of architecture students out in the fresh air away from their laptop screens and out of the shaded studio. It was comical to see the group putting on their site boots before entering the site as for some it was the first time and others worrying about how they look. As an Electrical contractor and having worked on numerous similar sites in the past, the procedures of this site seemed very similar with just slight nuances between the main contractors of sites visited. After hearing the induction something ones done hundreds of times, it was an exciting feeling to get back out onto a construction site after such a long time. Unfortunately due to extreme health and safety rules on sites now the group was almost shepherded up onto the plinth were we remained for the discussion. Talking to the management on site from the side of the designer did have a completely different feel as to when speaking to them as a contractor in the past. They issue you the same respect however, as a student you can see the willingness to teach aspects of their profession to young aspiring architects probably to ensure all the standard issues there is today between the two sides of construction can be ironed out through this intergenerational teaching. As a contractor you become part of the construction team so everything follows strict regime through the relevant procedures when carrying out construction work on site. Overall the experience was enjoyable, useful and interesting to not only oneself but what appeared to be, the rest of the group also. The biggest aspect that can be taken away from the visit was the discussion with the director on methods of delivering project which can be constructed in a safe manner through the integration of a safe construction methodology within the design development of a project.
ARC 652 Personal Development Portfolio
Marlow Parker
Fig 26 - Berry Court Concept Sketch (Annotated)
Fig 27 - Berry Court - Bright Space - Visualisation
L IS T OF F IGU RES Fig 24 - Site Visit Image - Authors Own Fig 25 - http://www.livelikesmart.co.uk/wp-content/uploads/2016/07/BerryCourt_EndView_Compressed-1140x600.jpg Fig 26 - http://www.brightspacearchitects.com/images/resize/upload/566fdbf797721Berry_Court_ Sketch_1_BrightSpaceArchitects.jpg?h=450 Fig 27 - http://www.brightspacearchitects.com/images/square/upload/56703511bad53Berry_Court_Visual_1_BrightSpaceArchitects.jpg?w=620&h=323 Fig 28 - (Opposite) Berry Court Scope Plan - http://static.wixstatic.com/media/988eed_8f012913bafe4224bd1735e4d0183ec7.jpg_srz_10041_7188_85_22_0.50_1.20_0.00_jpg_srz
13
ARC 652 Personal Development Portfolio
Marlow Parker
7. 00 - J OH N PA R D EY A R C H I TEC TS - M E NT ORING V IS IT - A RC6 5 2 - D ial og ues i n P ra cti ce 14
Fig 29 - John Pardey Architects Offices
Fig 30 - Cheeran House - John Pardey Archietcts
Fig 32 - Trewarren House - John Pardey Architects
REFLECTIVE ANALYSIS
DESCRIPTION John Pardey is a prominent British Architect who undertakes mostly one off houses with rural settings on England. John’s style of design follows that of a contemporary modern application of architecture inspired by architect Jorn Utzon. John seeks to create unique spaces of inhabitation with a few principles that were mentioned in the lecture which are that there is nothing wr ong with the first idea. John explains that leaning on experience and not over thinking design connotations can often produce strong designed architecture which is both functional and expressive. A second point John made within his lecture was don’t be afraid to use a singular material throughout the project in a monolithic application of brick, stone or timber. The final aspect John implements into his work which can be seen in Jorn Utzons own house is the idea that the building sits upon a plinth, Raised above the ground for all to see. The architects firm has twelve personnel ranging from Directors, Associate directors, Architectural draughtsmen and Part 2 architectural assistants. All members work across the on going live projects. The photos above and to opposite show various projects John Pardey has undertaken or is currently being worked on. The Cheeran House and Trewarren house are both completed with the Griffiths house in the detailing stages and the Ruler house undergoing various parameters for planning d ue to the project being built within the paragraph 55 clause of the planning regulations. Paragraph 55 is applied to residential projects built within the countryside which seek to have ‘Exceptional and innovative design and construction within open countryside.’ The imagery shown are computer generated visualisations of the projects which are created out of office by an independent CGI specialist. ARC 652 Personal Development Portfolio
Fig 31 - Griffiths House - John Pardey Architects
Marlow Parker
As part of ARC652 Dialogues in Practice a mentoring scheme was initiated with a visit to an architects firm. Being selected for John Pardey Architects along with one other student was exciting, as John had given a lecture in the first year of studying of architecture. Contact was made via email with John to arrange a suitable date and time for visitation. The office itself is located just outside Lymington a small village on the edge of the New Forest. After driving to the office an Adam Jundi an associate director greeted us and explained that John was unwell and that he wouldn’t be in on that day. The two of us then sat with Adam and discussed various tasks an architect does within their office and how projects run through a certain procedure of the office. He showed the documentation for a project that had just been completed and sign off. The documents were dense a3 reports on the varying aspects of the architectural application within the profession. Adam then moved onto showing a project (located on the site opposite that of the site in ARC651 Comprehensive Design Project) that has just been submitted for planning permission. After that Adam took the two of us on a small tour around the office to introduce us to each member of staff and had each show us what they were busy working on. All workstations had Mac’s on nice sized tables all within the light open space of the converted Victorian farm building. Each member was working on a different project at a different stage. All personal had a detailed sketchup model of the various buildings, for reference when drafting details or pricing units. We discussed with the architects and architectural designers what it is like to work in the industry with most comments shifting the idea that there’s a lot of work to do but it can be extremely rewarding as a career.
Having never been to an architects office before, it was unknown what to expect from the visit to John Pardey Architects. It was a real shame John couldn’t be there on the day we visited as we had prepared a few things to discuss around the lecture he gave at AUB in 2015. Being shown around the office by Adam Jundi may of even been more beneficial as you could tell his roles were across multiple project being and associate director. His explanation when showing us the work being done on various projects was extremely useful in understanding what the working day of an architect was like within their particular office. Adam also discussed many other duties the architect performs including meeting with clients, site visits, liaising with contractors and producing technical and design documentation. It was interesting to see all personal working on different projects but through the same office methodology just at altering stages. It can be said that with the office using macintosh computers John is allowing his staff to work on equipment which although holds more costs initially compared to windows performance comparison but the usability of macs applying design software is most certainly more beneficial than any windows system. After spending a few hours at the office we then sat down with Adam and discussed various aspects of our project. His comments of good productivity and clear imagery on what appears like exciting projects was a good confidence boost as opinions like this are rare to come by within university education. Just having this slight nod saying well looks alright, keep going is extremely beneficial and promotes productivity in the work undertaken knowing that it is of suitable quality for a training architect.
LI S T OF FI GURES Fig 29 - John Pardey Architects Office - Authors Own Fig 30 - Cheeran House - John Pardey Architects - www.johnpardeyarchitects.com/ Fig 31 - Griffiths House - John Pardey Architects - www.johnpardeyarchitects.com/ Fig 32 - Trewarren House - John Pardey Architects - www.johnpardeyarchitects.com/ Fig 33 - (Opposite) - (Cover Image) - Ruler House - John Pardey Architects - www.johnpardeyarchitects.com/
15
ARC 652 Personal Development Portfolio
Marlow Parker
8.00 - OLA-DELE KUKU - Arts University Bournemouth - Guest Speaker
Fig 34 - Ola-Dele Kuku - Timber Circular 13 Reading Instrument
Fig 35 - Ola-Dele Kuku - Reading Instrument - Development Drawing
Fig 36 - Ola-Dele Kuku - Timber Storage Unit - Fibonacci Sequence
Fig 37 - Ola-Dele Kuku - Cylindrical Timber Storage Unit - Mechanical Lock
32
DESCRIPTION
REFLECTIVE ANALYSIS
Ola-Dele Kuku is an Nigerian Artist/Architect who gave a lecture at AUB that was based on the theme of drawing and built images. He began his lecture talking of his education and places of work of America, Switzerland, Milan and Berlin. He founded his own practice in Milan in 1991 where he displays his artworks which focus on conceptual interventions within the field of architecture. The items and drawings he showed were created for the Nigerian exhibition at the 2016 Veni ce architecture biennal e. He talked through the inspiration of historic design linking to various drawings and designs done by Agostino Ramelli an Italian engineer in the 16th century. The round wooden storage piece (Fig 34) was developed through various stages and iterations of design drawings seen in (Fig 35). Ola-Dele expressed the artistic freedom in the link between drawing and thinking. His drawings were said to communicate his though process in the design on the wooden contraption. His push for the human element to be present within his work is derived from the methods of architect Le Corbusier and his measuring system of Le Modular. The application of the human element is present within his works often featuring a human figure behind, alongside or within the vicinity of items drawn. Fig 3 is an item designed for the intention of storing multiple items. W ith application of the Fibonacci sequence along with the human scale (Items which overlap often) a unique timber item has been c reated with a huge range of draw sizes something Ol-dele did intentionally so that the unit can store objects of all sizes with a more comprehensible understanding of where they would be if looking in the future. The third piece is a wooden, mechanically opening cylindrical storage system (Fig 37), that holds a series of combination movements like that of a lock or safe which are put into various positions to gain entry.
The drawings and items shown by Ola-Dele were inspirational and awe inspiring. The drawings themselves appear to be homogeneous with the thoughts of the artists throughout the different iterations. The drawings taking hours and hours to complete work both as a communicative technical application and also hold expressive artistic qualities. The craft and control of timber across the pieces is truly enviable as the time needed for this perfection of craft and persistence of patience can often at times feel like something one can’t achieve at the present time. This being due to the constant upkeep of university coursework and other items of study and life, without having the free time to sit and spend a week on a drawing or collection of drawings. It’s hoped that after completing the BA (Hons) in Architecture more portions of free time will become available to undertake a project with such tenacity and patience seeking to create a truly beautiful design which works within the world of design with function and expression. The use of Le Corbusier Le modular along with applications of Fibonacci are always interesting to witness as these artistic qualities were trialled and tested within the earlier study of Architecture Through various attempts it was tricky to keep the Fibonacci ratio when applying to architectural projects as the built environment holds many restrictions within the regulations or function of spaces. The drawings done by Ola-Dele were truly remarkable with the passion and motivation for drawing becoming present within the lecture. Overall the lecture was an interesting application of art and architecture, with many aspects being taken from the artists especially the need for drawing within design decisions.
33
10
11
L IST OF F IGU RES Fig 34 - Ola-Dele Kuku - Timber Circular Reading Instrument Fig 35 - Ola-Dele Kuku - Reading Instrument - Development Drawing Fig 36 - Ola-Dele Kuku - Timber Storage Unit - Fibonacci Sequence Fig 37 - Ola-Dele Kuku - Cylindrical Timber Storage Unit - Mechanical Lock Fig 38 - (Opposite) - Ola-Dele Kuku - Cylindrical Timber Storage Unit - Drawing All drawings from www.ola-delekuku.com
16
ARC 652 Personal Development Portfolio
Marlow Parker
17
ARC 652 Personal Development Portfolio
Marlow Parker
9.00 - MATTHEW BUTCHER - Architectural Designer - Arts University Bournemouth - Guest Speaker
Fig 39 - Historic Pill Box Section Drawing
Fig 40 - Floating Weather station Line Drawing
DESCRIPTION
REFLECTIVE ANALYSIS
Matt Butcher visited the Arts University Bour nemouth to give a lecture on various project he had undertaken throguhout his career as a designer. Matt teaches at the Bartlett school of architecture and has received severa l commissions for projects to be realised through construction. Matt expressed his desire for an increase in cross collaborative practices to produce projects which is classified by Matthew as type of performance in design. Matthew showed heavily contrasted drawn and montaged imagery from his previous projects and explained in brief a few of his earlier works he had undertaken. The Pillbox section seen in (Fig 39) served as inspiration for a project Matthew had undertaken in designing a floating weather station which has the ability to be moved around shallow waters. The project was to create a floating weather station for the Thames estuary which also had the ability to be transported. The drawings and development for this project were shown along with comments on various problems which arose in the design. Matthew later interjected architec tural theories from the works of Superstudio and Ber nard Tshumi to add context to the design of the weather station. Another application Matthew added was the issue of adding anthropomorphic nuances to the designed works insisting that architecture could become something we have a stronger connection to through it human presence and scale. Seen in (Fig 40 + 41), can be seen the finalised constructed design for the floating weather station, built on a large floating platform. Matthew also covered a few other projects like the one seen in (Fig 42) and on the page opposite however he did not create a clear description for these projects and they remain blurry in their architectural application.
The talk by Matthew held was packed with information around a plethora of projects. The initial part of the talk was interesting seeing the vast array of drawings Matthew had produced as a designer. The monochromatic drawings produced in pencil, graphite and print were more expressive than technical or communicative of architecture. The floating weather station had good contextual application and Matthew was honest about how the project shifted away from piled construction due to cost with the project then becoming a floating structure. As previously mentioned Matthew showed a lot of images and gave huge swathes of information around the projects. each project couldn’t necessarily be understood in its full appreciation due to the constant shifting of projects being shown. With Matthew being an architectural designer and not an architect almost seemed to allow him to have more control and expression in the designs he produced without having to meet vigorous parameters when designing buildings for inhabitation or function. His designs certainly embody an arbitrariness through his expressive drawings with the issue of arbitrary design still one that as a designer is hard to get a grasp of as some designers say no design should be arbitrary. However progressing through the architectural education it is clear that arbitrary design can be seen as synonymous with works which have a weak context or narratives have not been expressed clearly. I can see why there are issues with arbitrary design nevertheless it would be extremely enjoyable one day to design something from a pure arbitrary position without having to think monstrously hard about every line being drawn and its justification in the architectural discipline.
Fig 41 - Floating Weather Station
Fig 42 - Architectural Structure - South Shields
LIST OF FIGURES Fig 39 - https://s-media-cache-ak0.pinimg.com/736x/42/e6/f3/42e6f3101d3c6c336c6b0c79ec61e32b.jpg Fig 40 - https://static.dezeen.com/uploads/2016/05/flood-house-matthew-butcher-southend_dezeen_1.gif Fig 41 - https://static.dezeen.com/uploads/2016/05/flood-house-matthew-butcher-southend_ dezeen_936_1.jpg Fig 42 - http://images.adsttc.com/media/images/5746/6b2e/e58e/cebb/9600/00c3/large_ jpg/160228_Mansio_Model_Iso.jpg?1464232725 Fig 43 - (Opposite) - http://images.adsttc.com/media/images/5746/6a7e/e58e/cebb/9600/00bf/large_jpg/Southshields04.jpg?1464232551
18
ARC 652 Personal Development Portfolio
Marlow Parker
19
ARC 652 Personal Development Portfolio
Marlow Parker
10.00 - DR STEVEN FEEK - Anthony Caro Sculpture - N.A.C - Arts University Bournemouth - Guest Speaker 20
Fig 44 - Anthony Caro - Early Steel Sculpture
Fig 45 - Anthony Caro - Early Steel Sculpture
DESCRIPTION
REFLECTIVE ANALYSIS
Dr Steven Feek arrived at the Arts University Bournemouth to give a talk on the famous sculptor Anthony Caro. The talk would cover the restoration of Caro’s Sea Music sculpture the only site specific sculpture in the UK (Fig 47). Dr Feek began by explaining the education and practice of Anthony Caro from when he was alive. The sculptures seen in (Fig 44+45) are images of sculptures from his earlier collection. The steel artworks often created from collected scrap pieces were created by Caro as a method of expression. Caro was claimed to of never drawn and mostly worked sculpting and crafting m aterials with his hands. Caro sought to apply improvisation to his works, with the use of basic tools and limited experience, he would express sculpture and figure through various forms of abstraction. Caro was influenced by the artist Henry Moore after working on several commissions with him as a young adult. Dr Feek then moved on to explaining the format of the New Arts Centre located at Roche Court Salisbury and quickly explained the history of the commercial gallery along with how it eventually settle at the site of Roche Court where it remains today. The sculpture Sea music had been subject to corrosion from the marine environment of Poole so was in line for a restoration project that Dr Feek was overseeing. The money would be public money from the Heritage conservation bodies within the UK. The sculpture itself sit upon the old harbour pumping station and has had polarised opinions from the local community on its application. Dr Feek is applying multiple strategies in order to renovate and restore this sculpture especially by promoting the works within and amongst the local community. The talk ended on Dr Feek saying one of Caro’s favourite descriptions of his work C ould be called ‘Sculpitecture’
Although Dr Feek had lots of information to convey and talked rather rapidly throughout, did not stop the experience from highlighting the value of sculpture as an expressive art form. The methods in which Caro worked were that of constant experimentation. Testing, trialling, whilst working here, there and everywhere.
ARC 652 Personal Development Portfolio
Marlow Parker
Fig 46 - Anthony Caro - Earlier Sculpture of Sea Music
Fig 47 - Anthony Caro - Sea Sculpture - Poole
Its worth asking at this point ‘Can this experimentation-al life occur today within a culture which requires huge amounts of constant paid labour to be performed just to pay the basics of shelter, food and water and was it easier for artists to spend time experimenting with art in a constant unknown of how to provide wealth for survival during previous decades? It was interesting to be shown Caro’s earlier sculptural works as only recent items had been seen to this point. The small gold sculpture in (Fig 46) was an earlier, smaller version of Sea Music and personally held a certain beauty that was lost when the design was applied to Poole quayside. The small free-standing sculpture being a lot smaller than sea music and without all the business of the railings and platform, allowed the piece to be truly expressive of material, form and flare. The New Arts centre, Roche Court was one of the most enjoyable visits of the previous term. The photography album of ARC650 collates most of the sculptures at Roche Court with the image on the opposite page capturing Caro’s large steel sculpture. The art of sculpture has always been fascinating and will certainly be explored in more depth within the future studies of architecture.
L IST OF F IGU RES Fig 44 - https://abstractcritical.com/wp-content/uploads/2013/11/T00805_10.jpg Fig 45 - https://abstractcritical.com/wp-content/uploads/2013/11/Sculpture-Seven.jpg Fig 46 - https://3rd-dimensionpmsa.org.uk/features/2017-01-22-anthony-caros-sea-music Fig 47 - http://sculpture.uk.com/programme/other/Anthony%20Caro,%20Sea%20Music%20 for%20web%207.850x572.jpg Fig 48 - (Opposite) - New Arts Centre - Anthony Caro Steel Sculpture - Authors Own
21
ARC 652 Personal Development Portfolio
Marlow Parker
11.00 - PAUL KELLY - Planning Application Drawings
Fig 49 - Steel Structure - Paul Kelly
D E S C R I P T ION
REFLECTIVE ANALYSIS
The drawings on the opposite page were created for the client Paul Kelly. Paul required a set of planning application drawings for his existing steel structure located in the front garden of his property. The council initially asked Paul to remove the structure however due to it being erected for four years it only required building certification. Paul contacted a lecturer at the Arts University Bournemouth querying about the drawings. The contact details were passed on and a site meeting was organised. Upon visiting site, the client explained his situation with regard to the planning and defined the drawings he required. The structure was measured across all dimensions ensuring an accurate depiction of the structure could be drafted. Paul required a Site location plan accompanied by a floor layout plan and an array of elevations. Varying line weights were applied within the drafting process ensuring various elements of the structure could be easily distinguished. The images were then edited within alternative software, adding text and tweaking the opacities and thickness of the lines within the drawing. After the drawings were drafted and printed they were then handed over to the client. Paul will submit the drawings produced and hopefully acquire the correct certification for the structure.
This small job for Paul Kelly offered a suitable opportunity to not only enhance the skills of drafting but to experience the process of meeting and liaising with a client. The simple line drawings were completed for Paul who was extremely happy with what was produced. The drawings are simple line drawings but will effectively communicate aspects of the structure to the planning department of Bournemouth borough council. Any other small jobs similar to this one will not be missed as they can inform crucial steps within the architecture discipline.
L IST OF F IGU RES Fig 49 - Steel Structure - Paul Kelly - Authors Own Fig 50 - (Oppoite) - Planning Application Drawings - Paul Kelly - Authors Own
22
ARC 652 Personal Development Portfolio
Marlow Parker
EXISTING GARDEN STORE
Client - Paul Kelly
17 SANCREED ROAD, POOLE, DORSET, BH12 4DZ
Drawn By - Marlow Parker Date - 9 January 2017 Scale - 1:50 / 1:500 / 1:1250
1:50 Front Elevation
1:50 Rear Elevation
New
lyn
1:50 Side Elevation
Way
SaNCREED Road
Structure Location
1:50 Existing Structure Plan
1:500 Site Location Plan
1:1250 Site Location Plan 23
ARC 652 Personal Development Portfolio
Marlow Parker
1:50 Side Elevation
C ON C LU SION The entries within this personal development portfolio have allowed a variety of experiences to be analysed and documented for future reading and reference. The quantity and variety of experiences undertaken has increased throughout BA (Hons) Architecture within the study at the Arts University Bournemouth. The guest speakers who presented at AUB during this term held unique, motivational and inspiring qualities when discussing their creative projects across a wide variety of disciplines. All the entries within this document, allow the continual development of varying skills within the study of Architecture.
Fig 37 - Ola-Dele Kuku - Cylindrical Timber Storage Unit - Mechanical Lock 32
24
33
ARC 652 Personal Development Portfolio
Marlow Parker
LIST OF FIGU RES Fig 2 - jessiebrennan.co.uk - https://static1.squarespace.com/static/52f240d3e4b03e1f2f572485/54be512fe4b054556ec42a64/557ad24de4b0d4d1d367c4c7/1434112655547/dalla_ Rosa_J_Brennan_Conversation_Pieces_(no_34)_2014_Graphite_on_paper_66x102cm_lowres. jpg Fig 3 - jessiebrennan.co.uk - https://static1.squarespace.com/static/549ea758e4b0bc51a11b7735/t/5799edfacd0f68519793b503/1469705831082/Jessie+Brennan+Robin+Hood+Gardens+(view+from+Naval+Row),+2014 Fig 4 - jessiebrennan.co.uk - https://static1.squarespace.com/static/549ea758e4b0bc51a11b7735/54a2de59e4b01290eb2e232f/54a2f24be4b0365c017f72e2/1419965004742/2_ Jessie+Brennan_A+Fall+of+Ordinariness+and+Light+(The+Scheme).jpg
Fig 30 - Cheeran House - John Pardey Architects - www.johnpardeyarchitects.com/ Fig 31 - Griffiths House - John Pardey Architects - www.johnpardeyarchitects.com/
Fig 33 - (Opposite) - (Cover Image) - Ruler House - John Pardey Architects - www.johnpardeyarchitects.com/ Fig 34 - Ola-Dele Kuku - Timber Circular Reading Instrument Fig 35 - Ola-Dele Kuku - Reading Instrument - Development Drawing
Fig 6 - http://www.mariancramer.com/wp-content/uploads/2012/09/Jessie-Brennan-EverythingMeets-Here-2012-pencil-on-paper-42-x-297-cm.jpg
Fig 37 - Ola-Dele Kuku - Cylindrical Timber Storage Unit - Mechanical Lock
Fig 8 - http://www.michaelgrubbstudio.com/wp-content/uploads/2016/02/Durdle_Michael_ Grubb_Robin_Goodlad_002-Trimmed.jpg Fig 9 - http://www.michaelgrubbstudio.com/wp-content/uploads/2015/04/Guiness_Storehouse_ Advertising_Michael_grubb_studio.jpg Fig 10 - http://www.michaelgrubbstudio.com/wp-content/uploads/2013/10/LIGHT-LOUNGE-3. jpg Fig 11 - http://www.michaelgrubbstudio.com/wp-content/themes/wurbo/img-fx/?src=http:// michaelgrubbstudio.com/wp-content/uploads/2016/02/Crowne-Plaza-1.jpg&w=1080&h=800 Fig 12 - (Opposite) http://www.michaelgrubbstudio.com/wp-content/uploads/2015/07/Bournemouth-pier-approach_Michael_Grubb_Studio_11.jpg Fig 14 - Henry - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/RESIZED_HOURS_room_Home_Economics_at_the_British_Pavilion_Venice_Archi_M4hNRun. jpg.940x528_q85_upscale.jpg Fig 15 - Zorbs - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/ RESIZED_DAYS_room_Home_Economics_at_the_British_Pavilion_Venice_Archit_FIuazUR. jpg.940x528_q85_upscale.jpg Fig 16 - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/RESIZED_MONTHS_room_Home_Economics_at_the_British_Pavilion_Venice_Arch_lC8UWjq. jpg.940x528_q85_upscale.jpg Fig 17 - http://design.britishcouncil.org/media/thumbnails/uploads/slideshow/RESIZED_ YEARS_room_Home_Economics_at_the_British_Pavilion_Venice_Archi_SnzdE5L.jpg.940x528_ q85_upscale.jpg Fig 18 - (Opposite) British Pavilion - https://venicebiennale.britishcouncil.org/sites/default/files/ styles/bc-landscape-300x169/public/british_pavilion_800pix.jpg?itok=fS_ghrTD Fig 19 - AUB Research by Making Exhibition, Sway - Central Space - Authors Own Fig 20 - Research by Making Lighting Plinth - Authors Own Fig 21 - Exhibition Space 2 - CODA Models on Plinths - Authors Own Fig 22 - 1:50 CODA Model - Close up of studio design - Authors Own Fig 23 - (Opposite) - 1:50 CODA Model - Artsway Exhibition Fig 24 - Site Visit Image - Authors Own Fig 25 - http://www.livelikesmart.co.uk/wp-content/uploads/2016/07/BerryCourt_EndView_Compressed-1140x600.jpg Fig 26 - http://www.brightspacearchitects.com/images/resize/upload/566fdbf797721Berry_Court_ Sketch_1_BrightSpaceArchitects.jpg?h=450 Fig 27 - http://www.brightspacearchitects.com/images/square/upload/56703511bad53Berry_Court_Visual_1_BrightSpaceArchitects.jpg?w=620&h=323 Fig 28 - (Opposite) Berry Court Scope Plan - http://static.wixstatic.com/media/988eed_8f012913bafe4224bd1735e4d0183ec7.jpg_srz_10041_7188_85_22_0.50_1.20_0.00_jpg_srz
ARC 652 Personal Development Portfolio
Marlow Parker
P E R S O N A L D E V E L O P M E N T P O RT F O LIO BA (Hons) Architecture - ARC 652
Fig 32 - Trewarren House - John Pardey Architects - www.johnpardeyarchitects.com/
Fig 5 - jessiebrennan.co.uk - https://static1.squarespace.com/static/52f240d3e4b03e1f2f572485/54be512fe4b054556ec42a64/57d91add15d5db02330c4749/1473846144529/11_ Jessie+Brennan_Cotton+lavender_28-4+x+25-0+cm_for+K2+Screen.jpg
Fig 7 - https://static1.squarespace.com/static/549ea758e4b0bc51a11b7735/57e31dcbd1758e2877dbcc7c/57e31f18893fc0b87d8f1b90/1474502428984/Jessie+Brennan_Inside+The+Green+Backyard+(Opportunity+Area)_2015-16_Installation_cyanotypes+and+oral+recordings_panel+1.jpg
25
Fig 29 - John Pardey Architects Office - Authors Own
MA R LOW PA R KE R
Fig 36 - Ola-Dele Kuku - Timber Storage Unit - Fibonacci Sequence
Fig 38 - (Opposite) - Ola-Dele Kuku - Cylindrical Timber Storage Unit - Drawing Fig 34 to 38 from www.ola-delekuku.com Fig 39 - https://s-media-cache-ak0.pinimg.com/736x/42/e6/f3/42e6f3101d3c6c336c6b0c79ec61e32b.jpg Fig 40 - https://static.dezeen.com/uploads/2016/05/flood-house-matthew-butcher-southend_dezeen_1.gif Fig 41 - https://static.dezeen.com/uploads/2016/05/flood-house-matthew-butcher-southend_ dezeen_936_1.jpg Fig 42 - http://images.adsttc.com/media/images/5746/6b2e/e58e/cebb/9600/00c3/large_ jpg/160228_Mansio_Model_Iso.jpg?1464232725 Fig 43 - (Opposite) - http://images.adsttc.com/media/images/5746/6a7e/e58e/cebb/9600/00bf/large_jpg/Southshields04.jpg?1464232551 Fig 44 - https://abstractcritical.com/wp-content/uploads/2013/11/T00805_10.jpg Fig 45 - https://abstractcritical.com/wp-content/uploads/2013/11/Sculpture-Seven.jpg Fig 46 - https://3rd-dimensionpmsa.org.uk/features/2017-01-22-anthony-caros-sea-music Fig 47 - http://sculpture.uk.com/programme/other/Anthony%20Caro,%20Sea%20Music%20 for%20web%207.850x572.jpg Fig 48 - (Opposite) - New Arts Centre - Anthony Caro Steel Sculpture - Authors Own Fig 49 - Steel Structure - Paul Kelly - Authors Own Fig 50 - (Oppoite) - Planning Application Drawings - Paul Kelly - Authors Own
ARTS U N IV E R S ITY B OU R N EMOU TH