Academic Portfolio by Michael Chisholm

Academic Portfolio: Part 1.

Michael Andrew Chisholm MA(Hons) | Edinburgh School of Architecture and Landscape Architecture | 2009 - 2013

Academic Portfolio : Part 1.

Throughout my time as part of Edinburgh School of Architecture and Landscape architecture, I have developed many different skills and gained vast amounts of new knowledge regarding the field of architectural design. MA (Hons) Architecture, along with my time spent on placement at Messana Oâ&#x20AC;&#x2122;Rorke architects has helped deepen my appreciation of the profession. This portfolio aims to depict the full extent of this knowledge, exploring the many different themes and topics of study in chronological order.

Contents.

Year 1 [2009 - 2010]

Year 2 [2010 - 2011]

Year 3 [2011 - 2012]

Year 4 [2012 - 2013]

Semester 1

Architectural Design 1: Elements

Architectural Design 2: In Place

Architectural Design : Explorations

Architectural Design : Technical Review

Art & Design

Technology & Environment 2: Applications

Barcelona & Modernity

Architecture Placement : Reflection

Architectural History: Introduction to World Architecture

History of Science 1

Architectural Theory

Architecture Placement: Messana Oâ&#x20AC;&#x2122;Rorke

Semester 2

Architectural Design 2: Any Place

Architecture Placement : Working Learning

Architectural Design : Tectonics

Semester 2 Architectural Design 1 : Assembly Technology and Environment : Principles Architectural History : Revivalism to Modernism

Architectural History 2 : Culture & The City Technology & Environment 2 : Applications

Architecture Dissertation

Year 1.

Semester 1

Semester 2

Architectural Design 1 : Elements

| AD

Architectural Design 1 : Assembly

Ground, Wall, Frame Canopy

Material World | Brick, Timber, Stone, Concrete, Steel

Ground and Shelter / Group Renga

Digital Skin | Processing

Site Presentation

Case Study | Tomlinson Residence

Renga Art & Design

| AD

Strangely Familiar | House of a Potter | AR

Architectural History: Revivalism to Modernism

Around, Through and Beyond the Frame

Presentation | Frank Gehry

Beyond the Frame

Essay | Charles Rennie Mackintosh and Robert Lorimer

Architectural History: Introduction to World Architecture | AH

Material Systems Form and Performance | Essay

Technology and Environment : Principles Thermal Environment Assignment

Drawing Architectural History Technology and Environment Principles

| AH

| TE

AD1 : Elements

Year 1.

Architectural Design: Elements Ground, Wall, Frame, Canopy | 2009 In Collaboration with Rachael Coyle and Fergus Davis â&#x20AC;&#x153;The first four weeks of the semester work as a block of short exploratory tasks aiming to address fundamental architectural principles of light and dark, mass and void, space and enclosure, path and threshold, texture and surface, through the investigation of the material and spatial qualities of basic architectural elements of ground, wall, frame and canopy.â&#x20AC;? GROUND Our design for ground, concentrated on the layering of materials in an attempt to build a hill-like structure emerging from the ground. The layers were to emphasise the expanding height of the model. WALL The model for wall looked at the stacking of clay brick forms, while also exploring the themes of erosion, decay and the voids between the bricks and cracks. Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format. GENERAL CRITERIA

AD1 : Elements

Year 1.

Architectural Design: Elements Ground, Wall, Frame, Canopy | 2009 In Collaboration with Rachael Coyle and Fergus Davis â&#x20AC;&#x153;The first four weeks of the semester work as a block of short exploratory tasks aiming to address fundamental architectural principles of light and dark, mass and void, space and enclosure, path and threshold, texture and surface, through the investigation of the material and spatial qualities of basic architectural elements of ground, wall, frame and canopy.â&#x20AC;? FRAME The design uses wooden poles in an attempt to frame the area as well as drawing the individual about the site. CANOPY The differentiation in masses and size along the canopy create varying spatial experiences, altering shadow and the diffusion of light.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format. GENERAL CRITERIA

AD1 : Elements

Year 1.

Architectural Design: Elements Ground and Shelter | 2009 In Collaboration with Rachael Coyle and Fergus Davis â&#x20AC;&#x153;...create a constructed landscape setting for a Renga Platform. The place should shelter twelve people during the time of writing a renga. This invitation to inhabit is created through the disposition of ground, wall, frame, and canopy.â&#x20AC;? GROUP RENGA Our group renga platform aimed at combining all we had explored in the past 4 weeks, creating a renga platform set amongst a layered ground model. Wooden poles frame the landscape as well as providing places to sit. A large dominating canopy overshadows a platform space embedded within the site.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format. GENERAL CRITERIA

AD1 : Elements

Year 1.

Architectural Design: Elements Site Presentation | 2009

In Collaboration with Fraser Aitchison, Lauren Boal, Cashel Brown, Carl Baker and Rachael Coyle In this exercise, as a group we were to survey the site, and present our findings regarding a specific aspect of the location. In this case - Water. HERMITAGE OF BRAID | WATER The presentation looked at various characteristics and roles of water within the Hermitage of Braid, such as the Braid Burn, Marsh, Drainage, Freshwater and Human Interaction.

GENERAL CRITERIA

AD1 : Elements

Year 1.

Architectural Design: Elements Ground and Shelter | 2009

â&#x20AC;&#x153;...create a constructed landscape setting for a Renga Platform. The place should shelter twelve people during the time of writing a renga. This invitation to inhabit is created through the disposition of ground, wall, frame, and canopy.â&#x20AC;? INDIVIDUAL RENGA My individual renga explores the idea of the journey to the platform, creating seating moments throughout the site. The main platform sits over the river, while previous themes are revisited in the form of canopy, frame etc.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format. GENERAL CRITERIA

AD1 : Elements

Year 1.

GENERAL CRITERIA

AD1 : Elements

Year 1.

GENERAL CRITERIA

ART&DESIGN

Year 1.

Art & Design

Around Through and Beyond the Frame | 2009 In Collaboration with Rachael Coyle and Fergus Davis STAIRCASE, DOYLESTOWN BY CHARLES SHEELER Charles Sheeler was an American painter and photographer born in Philadelphia in 1883. He owned a farmhouse in Doylestown, Pennsylvania and made this the subject of many of his paintings and photographs. Sheeler had a very architectural style of photography and saw himself as a precisionist due to his precise linear style of painting. much like in his photography, Sheeler’s paintings often depicted structures and machinery, invoking everything about American Modernism, using realist things and taking an interpretation on them. ‘Staircase, Doylestown’ is an oil painting on canvas by Sheeler from 1925. he explores many of his artistic traits in this painting, the expressive and loud use of colour, the rigid staircase and the clever use of light. Careful use of light gives the painting an uplifting feeling. the bottom of the staircase is dark with the top ascending into the light, with light emerging from behind the stairs. Beyond the first landing, the staircase becomes indefinite, leaving it to the viewers interpretation. the staircase can be seen as a ‘stairway to heaven’, with the space at the top being filled with light

Original painting

Our physical representation of the painting

GENERAL CRITERIA

ART&DESIGN

Year 1.

Art & Design

Beyond the Frame | 2009

STAIRCASE, DOYLESTOWN BY CHARLES SHEELER Exploring various aspects and characteristics of the painting, through the use of different media.

Individual studies into painting

GENERAL CRITERIA

AH : Introduction to World Architecture

Year 1.

Architectural History: Introduction to World Architecture Drawing Architectural History | 2009 ROMAN TEMPLES Roman temples were first designed for worship by followers of the ancient religion of Roman paganism. In the design of these temples, the Romans were heavily influences by both Greek and Etruscan temples. Unlike Greek temples, Roman temples were designed to be located in an urban setting rather than an isolated structure on the outskirts of a city, much like the temples of the Hellenistic period or those of the Etruscans. For this reason, many temples can be found in the centre of cities such as Rome. Many Roman temples are very similar in structure, often placed upon a podium with a set of steps leading up to a colonnaded portico entrance. The main area of a Roman temple is known as the cella, which is where the religious statues would be kept in. Outside the temple was often an alter which would be used to carry out sacrifices for the gods as more spectators would be able to view the sacrifice in a more open space. Typical Roman temples are often designed with an axial approach and the walls constructed with concrete rather than marble. The ornamental frieze of the Corinthian order would often depict roman life. It is most common for a Roman temple to be basically rectangular in shape, and have a gabled roof. However, the Romans did take inspiration from the â&#x20AC;&#x2DC;beehive tombsâ&#x20AC;&#x2122; designed by the Greeks, and create circular ground plans for their temples. The most famous example of this is the pantheon, with its bold design and its accomplished construction, including a hemispherical roof dome which many Roman temples did not have.

Learning Outcomes: LO1

Demonstrate knowledge of the history and theories of architecture before c. 1800

LO2

Demonstrate appreciation of the significance of architectural precedent in the context of design

LO3

Develop verbal and visual communication skills on key aspects of the module

Section of Typical Roman temple

GENERAL CRITERIA

2 3

AH : Introduction to World Architecture

Year 1.

Architectural History: Introduction to World Architecture Drawing Architectural History | 2009 TEMPLE OF PORTUNUS The Temple of Portunus was originall built in c. 75 BCE in Rome, Italy and was then restored in the first century BC. The temple was built in honour of the god Portunus and was formerly known as the ‘Temple of Fortuna Virillis’. Along with the Temple of Hercules Victor, it is one of the two temples still present today on what is known as the ‘Forum Boarium’ (cattle market) where Portunus could watch over cattle barges as they entered Rome from Ostia. This location exists as the centre of modern Rome. Raised upon a podium, a rectangular cella makes up the main body of the temple with a portico at the front entrance built in a typical Etruscan tetra style by including four frontal columns, 2 columns deep. The podium is reached by a flight of steps leading up to the entrance of the temple. The Roman temple is seen as a very similar to that of the temples built by the Greeks due to its Ionic orders. However, while the columns of the portico are free standing, a closer examination of the side and rear elevations reveal these columns to be connected to the cella wall, unlike in Greek temples. Its Ionic order has been much admired, drawn and copied over the years. The temple is mainly constructed of the rocks tuff and travertine and covered with plaster named stucco, resembling marble. This original coating however, has now been lost over time. Apart from this, the temple has been preserved well, mainly due to the fact that in 872, it was converted into a church and became rededicated to Santa Maria Egyziaca.

Learning Outcomes: LO1

Demonstrate knowledge of the history and theories of architecture before c. 1800

LO2

Demonstrate appreciation of the significance of architectural precedent in the context of design

LO3

Develop verbal and visual communication skills on key aspects of the module

Plan GENERAL CRITERIA

2 3

AH : Introduction to World Architecture

Year 1.

Architectural History: Introduction to World Architecture Drawing Architectural History | 2009

TEMPIETTO OF SAN PIETRO IN MONTORIO The Tempietto is a small martyrium built in the courtyard of a roman church known as San Pietro in Montorio. It is seen as a martyrium as the site on which the church was built, bears witness to the Christian faith due to it being the former site of a church built in the 19th century in honour of St Peter. Built on a site known as Janiculum Hill, it commemorates the crucifixion of St Peter. The design is inspired by Early Christian temples and is therefore playing homage to antiquity. Similarly to other Early Chirstian martyriums, the Tempietto is circular in shape and is a prime example of the masterpieces designed during the High Renaissance period of architecture. Donato Bramante was architect of the Tempietto and is thought to of built the design around 1502 after his move from Milan to Rome, on the commission of Spanish monarchs at the time. The Tempietto is one of Bramanteâ&#x20AC;&#x2122;s earliest works and is seen as one of the most beautifully constructed pieces of design during the Renaissance period. The completed Tempietto consists of a 2 storey cylinder with a hemispherical dome as well as a Roman Doric colonnade containing entablature and balustrade surrounding it. The building is seen more as a piece of sculpture and a symbol of St Peters martyrdom, rather than a piece of design with a functional use as the interior is only 15 feet in diameter. The doorway leading into the building is slightly awkward as it seems to be located randomly in one of the column bays. Apart from this, the design is seen as perfectly proportioned and made up of clear simplistic columns.

Learning Outcomes: LO1

Demonstrate knowledge of the history and theories of architecture before c. 1800

LO2

Demonstrate appreciation of the significance of architectural precedent in the context of design

LO3

Develop verbal and visual communication skills on key aspects of the module

Part Elevation of Tempietto

GENERAL CRITERIA

2 3

AH : Introduction to World Architecture

Year 1.

Architectural History: Introduction to World Architecture Drawing Architectural History | 2009

BRAMANTE AND ST PETERS BASILICA Donato Bramante was an Italian architect known for introducing High Renaissance architecture to Rome. Bramantes ealier work is mainly found in Milan and includes many churches such as Santa Maria presso San Satiro. Bramante was also a skilled painted, but this is often overshadowed by his architectural work. St Peters Basilica is located in the Vatican City and has been repeatedly altered over the years. After a move to Rome, Bramante was asked by Pop Julius II to help work on St Peters Basilica after Michelangelo attempted work on a tomb dedicated to the Pope but could not fit in the ageing Basilica. It was decided that a completely new Basilica was to be designed. Bramanteâ&#x20AC;&#x2122;s idea for the new one was a Greek-cross design topped with a Pantheon like dome directly above the alter. Drawings by Bramante show that he designed the building to be surrounded in gardens and a colonnade.

Learning Outcomes: LO1

Demonstrate knowledge of the history and theories of architecture before c. 1800

LO2

Demonstrate appreciation of the significance of architectural precedent in the context of design

LO3

Develop verbal and visual communication skills on key aspects of the module

Perspective drawing of part of building detail

GENERAL CRITERIA

2 3

AH : Introduction to World Architecture

Year 1.

Architectural History: Introduction to World Architecture Drawing Architectural History | 2009 PERSPECTIVE DRAWING â&#x20AC;&#x2DC;Perspectiveâ&#x20AC;&#x2122; refers to the many graphic techniques for showing volumes, spaces and sizes. Linear perspective is a technique for depicting 3D volumes on a 2D surface through the use of lines. Perspective depicts how an object might appear to an observer looking in a specific direction from a particular point. Optics play a big part in how perspective works, with distant objects appearing smaller and closer together. What we see as modern Linear perspective is thought to be first created by Brunelleschi in 1413, through painting the outlines of Florentine buildings. The ideas of Brunelleschi continued to be developed over the years by people such as Renaissance artists Piero Della Francesca before resulting in the techniques we use today.

Learning Outcomes: LO1

Demonstrate knowledge of the history and theories of architecture before c. 1800

LO2

Demonstrate appreciation of the significance of architectural precedent in the context of design

LO3

Develop verbal and visual communication skills on key aspects of the module

Perspective drawing GENERAL CRITERIA

2 3

T&E : Principles

Year 1.

Technology and Environment: Principles Material Systems| 2011

(Unable to retrieve original work) â&#x20AC;&#x153;This gateway asks what are the fundamental components from which architecture is made. Starting from what we can mine and harvest, the creating of building components is explored and how these can be assembled together to start to make parts of buildings.â&#x20AC;? CREATION OF A COMPONENT In groups draw a storyboard of the process of the creation of the smallest building blocks of architecture, such as bricks, blocks, beams and posts. COMPONENT ASSEMBLY Trace wall, opening, floor, roof and foundation elements in order to gain knowledge about how components come together to create these elements.

Creation of Component

Component Assembly

Element Assembly

ELEMENT ASSEMBLY Show the sequence of which elements, such as plinths, walls, floor and roof meet and together form structures.

GENERAL CRITERIA

T&E : Principles Flatiron Building

Year 1.

Introduction When it comes to the design and construction of architecture, post-andbeam structures prove to be the most suitable form of support and are used in most building designs. Consisting of horizontal spanning elements which are supported by verticals such as walls and columns, post-and-beam structures are simple and cheap to create. Post-and-beam structures incorporate two different structure types – skeletal-frame structures and load-bearing wall structures often referred to as ‘panel’ structures. Load-bearing wall and skeletal framework are incredibly important in the structural support of buildings and are the most commonly used forms of structures in building construction. Both these structures have their advantages and disadvantages, each being more suitable to certain type of building designs. It is for this reason that during the design process of a building, it is important to ensure the right method of support is used in the construction.

Technology and Environment: Principles Form and Performance Essay | 2010

SKELETON FRAMWORK AND LOAD-BEARING WALLS Q. Make a comparison between skeleton framework and load-bearing wall type structures. Discuss the relative advantages and disadvantages of these two systems. Include in your essay descriptions of actual buildings in which the role of these systems are particularly well illustrated.

Conclusion Both skeletal-structures and load-bearing wall structures provide ideal solutions to various types of building construction. Both styles of structure have disadvantages as well as advantages, which mean it is ever important in the construction of a building for the most suitable structure system to be applied in order to hold the loads created by the building. The differences in materials used for these structures provide many different attributes to the structural system. I believe it is arguable which system provides the most benefit towards building construction, as it really depends on the overall design of the building which type of structure is most appropriate.

Villa Savoye

Learning Outcomes:

Monadnock Building

Selected Bibliography American-Architecture.info, Monadnock Block [online], Available: http://www.american-architecture.info/USA/CHICAGO/CHIC-LS/CHIC-LS-030.htm [accessed 7th March 2010] Curtis, W.J.R. (1996) Modern architecture since 1900. 3 , [Rev, expa, a resign ed. London, Phaidon. Fazio, M.W., Moffett, M. & Wodehouse, L. (2008) A world history of architecture. 2nd ed. London, Laurence King. Foster, J.S. (2000) Structure and fabric. 6th ed. Harlow, Longman. Macdonald A, Gateway 3 Orientation Lecture, 8th February 2010 Macdonald, A.J. (1997) Structural design for architecture. Oxford, Architectural Press. Mainstone, R.J. (1998) Developments in structural form. 2nd ed. Oxford, England ; Boston, Architectural Press.

LO1 Understanding of the key concepts in the physical behaviour of structural systems and their application in architecture. GENERAL CRITERIA

AD1 : Assembly

Year 1.

Architecture Design 1: Assembly Material World| 2011

Aim: To highlight the relationship between buildings and their materials, and in particular,

how the qualities and characteristics of certain materials influence the design choices made. To design to specific requirements and needs while exploring the use of space inside and outside in regards to the buildings site.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format.

GENERAL CRITERIA

AD1 : Assembly

Year 1.

Elevation 1 : 100

Plan

Architecture Design 1: Assembly Material World| 2010 BRICK MODESTY BOX Brief: Design a changing facility predominately made of brick, while considering the qualities and assembly of bricks as well as aspects of symmetry and the ritual of washing and changing. Section 1 : 100

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format

Approach: I decided to make symmetry a major concept in my design process to provide equal size changing rooms both men and women. I decided on my final design after investigating a variety of possible forms and plans. The male and female changing rooms are symmetrical with similar layouts. Between the two changing rooms is a communal area for teams etc. to gather. There are two glazed double door openings, one to allow access from the path, and one leading out to the playing fields. The entrance to the south of the facility is partially under cover, providing sheltered seating. As there are no windows in the design to provide privacy, I decided to add three roof lights which allow natural light to still flood into the changing rooms.

GENERAL CRITERIA

AD1 : Assembly

Elevation showing Brick detail

Year 1.

Section showing Brick detail

GENERAL CRITERIA

AD1 : Assembly

Year 1.

Plan

Architecture Design 1: Assembly Material World| 2010 STEEL FLOWER KIOSK Brief: Design a flower kiosk in an urban environment which has the ability to open and close while considering the assembly of steel framework, roof structure, and the possibilities of canopy.

Isometrics showing closed and open positions

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format.

Approach: I decided on the overall plan of the design basing it on the slightly awkward relationship between the two neighbouring buildings, trying to create a design which filled this gap and made more sense of the site. For the structure of the kiosk I used a portal frame structure with diagonal bracing elements to provide strength and rigidity. The plan allows for the manager to not only monitor what is happening in the front of the shop due to the positioning of the desk, but also have a clear view outside the kiosk due to the large amount of glazing present. The display units which includes a number of shelves supported by strong wire, are also a steel frame which is attached by hinges to the main portal frame, allowing the units to open and close. The smaller display case also acts as the main entrance to the kiosk. The display units are glazed and when closed are sheltered by the building and its slight timber clad canopy. GENERAL CRITERIA

AD1 : Assembly

Year 1.

Model showing steel framework

GENERAL CRITERIA

AD1 : Assembly

Section 1 : 100

Year 1.

Plan 1 : 100

Architecture Design 1: Assembly Material World| 2010 TIMBER TEAHOUSE Brief: Design a small timber teahouse in a location with incredible views. Make the most of these views, which are at their best over 3 metres above ground level. Consider the ritual and enjoyment of both sitting and enjoying food as well as the preparing of tea and coffee. The teahouse must be made entirely of timber. Plan 1 : 100

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format.

Approach: I based my design around making the best use of the spectacular site and views. Guests enter from the ground floor where they can be greeted my the runner of the teahouse, the entrance being in direct view of the staff area. Seating is provided for waiting/enjoying the view over the lake. Tea is served upstairs around a circular table, with windows providing views in various directions. As the guests walk upstairs, they enter a double height glazing area, creating a closeness to the trees and surrounding nature. A Balcony area to allow guests to walk out and further experience the fantastic views in all directions. GENERAL CRITERIA

AD1 : Assembly

Year 1.

GENERAL CRITERIA

AD1 : Assembly

Year 1.

Blackness Castle visit - an investigation into stone design

Plan

National Museum of Scotland - and investigation into poche space

Architecture Design 1: Assembly Material World| 2010 STONE BOTHY Brief: Design a small stone shelter providing a space for rest and sleep while considering the various qualities of stone as well as a selection of solid, void and pochĂŠ space.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format

Approach: On a visit to Blackness castle, I took note of how stone is used as a building material and the aesthetic it produces. I also went to the National Museum of Scotland in order to further understand the idea of pochĂŠ space. I decided to go for a much smoother, cleaner looking aesthetic so decided on Ashlarstone facing masonry. This allows for a less rough looking stonework yet is not too expensive as rubble stonework is still used for the majority of the masonry. My design is three circular structures of different sizes connecting to each other. A combination of flat and sloped slate roofs is present, with the largest area incorporating a large glazed area. Throughout the design I have created spaces which indent into the stonework to accommodate sleeping, sitting etc. GENERAL CRITERIA

AD1 : Assembly

Year 1.

Elevation

Section

GENERAL CRITERIA

AD1 : Assembly

Year 1.

Section First Floor Plan

Architecture Design 1: Assembly Material World| 2010 CONCRETE BOATHOUSE Brief: Design a small boathouse for a rowing club. Include an area for members to eat, drink, socialise and view the river. Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format Ground Floor Plan

Approach: I first did research into concrete and its qualities before starting my design process. My final design incorporates a solid in situ concrete walled boat storage area, with poured concrete steps leading up to a clubhouse which sits at an angle allowing the occupants to look over the river in two different directions through large glazed walls. A sheet metal cover creates a sheltered outdoor area outside the clubhouse. The choice of metal was down to its reflective quality which I believe mimic the river. A concrete slipway was required to be embedded into the slope of the site. GENERAL CRITERIA

AD1 : Assembly

Year 1.

Isometric 1 : 100

GENERAL CRITERIA

AD1 : Assembly

Year 1.

Digital Skin Project 2010

PROCESSING Brief: In groups, create a video piece which responds to the idea of a buildings skin.

Approach: My group experimented with the idea of a skin being something made up of various layers. For our project we wrapped a box in layers of various types of materials with differing colours, textures and patterns. We then filmed as we unwrapped these layers one by one, revealing a new material each time. This was then projected onto the screens, creating the idea that a buildings skin is made up of many layers and not what is just visible to the eye at first.

GENERAL CRITERIA

AD1 : Assembly

Year 1.

Architecture Design 1: Assembly Strangely Familiar| 2010

Aim: To gain more understanding of the what a â&#x20AC;&#x2DC;homeâ&#x20AC;&#x2122; actually represents. Investigate the various arrangements and uses of rooms as well as how circulation in a house works. Realise that people as individuals each have their own individual needs, and how this can alter how the design of a house functions. To carry forward knowledge learnt from the Material World project in order create an appropriate expression of the desired design.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format GENERAL CRITERIA

AD1 : Assembly

Year 1.

Architecture Design 1: Assembly Strangely Familiar| 2010 TOMLINSON RESIDENCE Brief: â&#x20AC;&#x153;The first week of the project will be spent undertaking research, drawing and modelling examples of private houses. The aim is to look very carefully at the plans, sections, elevations and photographs and to read reviews or commentaries on the building in order to understand the way in which the house relates to the site, the internal spaces relate to each other and to the spaces externally.â&#x20AC;?

Graphic depicting wall

Plan showing programme

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format

Section showing programme GENERAL CRITERIA

AD1 : Assembly

Year 1.

Site Plan

Section showing relationship to castle

Architecture Design 1: Assembly Strangely Familiar| 2010 HOUSE FOR A POTTER Brief: Design a house to fit a small family which fits the needs of a Potter who works from home. Include a Studio and a sales area.

Learning Outcomes: LO1

Awareness of principles of assembly, materiality, specific constructional and environ mental logics and how they inform the design of architecture

LO2

Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format

Approach: The concept for my design took a lot of inspiration from the castle and other nearby buildings. The two forms act like rocks, embedded into the landscape. I chose a concrete wall, clad in ashlarstone masonry for the design in order for the building to appear somewhat historic, fitting into its environment. This structure would also help retain earth. The roof structure is copper clad. As the copper reacts with oxygen over time, the green colour will help the building to blend into the site. I decided to have the studio and the house as two separate buildings, connected by a courtyard. The reason for this was I believe that the client would prefer to have a distinction between work and home life. The house is made more private by being 3 metres higher up the slope along with a 1 metre high courtyard wall which also provides privacy. The design includes large glazed facades, maximising views. The studio is angled directly toward the castle, while also facing towards the Grassmarketto attract buyers and tourists. On the first floor of the house, a balcony area is attached to the family room in order to comply with the preference for the room to have access to an external area. GENERAL CRITERIA

AD1 : Assembly

Year 1.

Room Assembly and Circulation Customers enter via the pathway which leads to the shop area. The Potter can either go through the shop into the studio and upstairs to exit into the private courtyard area where the house is sited, or down by the steps behind the house which also leads into the courtyard. Second Floor Plan

First Floor Plan

Ground Floor Plan GENERAL CRITERIA

AD1 : Assembly

Year 1.

Section

Section GENERAL CRITERIA

AD1 : Assembly

Year 1.

GENERAL CRITERIA

AH : Revivalism to Modernism

Architecture History: Revivalism to Modernism Seminar Presintation| 2010

FRANK GEHRY AND THE GUGGENHEIM MUSEUM BILBAO Brief: “Each student will choose a topic and deliver a short presentation followed by a discussion with the group. The idea is to develop your verbal powers of communication. You will be given constructive feedbackby other group members and by the tutor.” Key Points Born in Toronto moved to LA where he was based for most of his career. Influences - South Carolina culture, painters, sculptors, conceptual artists. Saw fish as perfection of beauty. Like Russian Constructivism, ideas mimicked in own house. Interest in Deconstructivism Examples of Works Fishdance Restaurant Gehry House The Dancing House Walt Disney Concert Hall

Year 1.

Key Points continued

Conclusion

Guggenheim Museum Bilbao Museum and Gallery for the Soloman R Foundation 1991-97 First step in the redevelopment of former trade and warehouse district along the south bank. At centre of cultural triangle – old town hall, University and museo de bellas artes. Boat like structure mimics surrounding harbour. Dynamic interpretation of walls and floors etc Comparisons to the Guggenheim Museum in New York designed by Frank Lloyd Wright. Puenta de la Salva Bridge, running over east side of building, a gateway to city. With the tower on the opposite side of bridge looking over. A look at initial sketches. Assessment of structure. Developed his own computer programmes with Gehry Technologies based upon CATIA to explain complicated design forms. Titanium clad Tower. Plan Required 300 seat auditorium, restaurant, and retail spaces Atrium Auditorium Vestibule Salle Éducative – Education room. Meeting and workshop areas. Main entrance Into large central atrium Atrium – connects auditórium and galleries.

The Guggenheim Museum Bilbao does have its criticisms such as it being claimed to be a waste of resources with all its the empty space within its purely sculptural elements. However the building may also be seen as a highly successful design, bringing tourists to the area. I personally like it as it is distinctive and evokes many different themes in an expressive manner that a lot of modern architects fail to possess. Gehry has influenced many in his expressive way of designing and is one of the most famous figures in the deconstruction movement in contemporary architecture. And is still arguably one of the most famous and inspiring mode

Learning Outcomes: LO2

Skills in research and presentation. GENERAL CRITERIA

AH : Revivalism to Modernism

Year 1.

Introduction During the late 19th century and early 20th century both Charles Rennie Mackintosh and Robert Lorimer were highly influential architects in the development of Scottish architecture. They had similar approaches and inspiration when it came to creating new and innovative architecture in Scotland, yet still had differences in their design process and the ideas in which they developed their deep individual responses to Scotland’s landscape. While Mackintosh’s most famous works such as the Glasgow School of Art can be found in Glasgow, Lorimer spent most of his career in Edinburgh. Both architects believed in the practice of traditional design but were against the revivalism of historic styles such as Greek and Gothic. It was this belief which strongly tied Mackintosh and Lorimer to the Arts and Crafts movement which was thriving at the time.

Conculsion

Conclusion

Architecture History: Revivalism to Modernism Essay| 2010

CHARLES RENNIE MACKINTOSH AND ROBERT LORIMER Q. Compare and contrast the responses to Scottish architecture by Charles Rennie Mackintosh on the one hand, and Robert Lorimer, on the other.

Learning Outcomes:

Both Lorimer and Mackintosh provided a deep response to Scottish architecture during their time as architects, sharing many similar ideas on traditional design and forms. The cities of Edinburgh and Glasgow were altered greatly by these two architects, who believed strongly in the ideas of the Arts and Crafts movement. Lorimer and Mackintosh became highly influential architects in Scotland, with Mackintosh in particular creating a new style of architecture based on the ideas of Art Nouveau. Having left their individual marks on Scotland’s landscape with traditional and creative designs, these two architects have proved to be important figures in the history of Scotland’s architecture.

Selected Bibliography Paco Asensio ed. Charles Rennie Mackintosh. (2001) London: teNues UK Publishing Ltd. Fanny Blake (2001). Essential Charles Rennie Mackintosh. Bath: Parragon Alan Crawford (1995). Charles Rennie Mackintosh. London: Thames & Hudson Ltd William J. R. Curtis (1996). Modern Architecture Since 1900. 3rd ed. London: Phaidon Press Limited. Michael Fazio et al. (2008). A World History of Architecture. 2nd ed. London: Lawrence King Publishing Ltd. Kenneth Frampton (2007). Modern Architecture: A Critical History. London: Thames & Hudson Ltd. Peter Savage (1980). Lorimer and the Edinburgh Craft Designers. London: Paul Harris Publishing. Margaret Stewart. Lecture 12: Charles Rennie Mackintosh. 4th February 2010

LO3 Development of critical faculties in relation to works by themselves and by others GENERAL CRITERIA

T&E : Principles

Year 1.

Technology and Environment: Principles Thermal Environment Assignment| 2010

Brief: â&#x20AC;&#x153;You will be asked to design a simple home on a real site in Edinburgh. You will then research the properties of the materials systems and element assemblies you have selected and specified and also calculate some areas and sizes of key Original Sheets showing design, site plan and spreadsheet working out U-Values building elements. Following this, you will be able to calculate (with the aid of our thermal performance spreadsheet) your building!s energy consumption over a year, its projected heating costs and its carbon footprint. Finally you will be asked to reflect on your design strategy and demonstrate quantitatively After assessing the thermal properties of my initial dehow to improve the thermal performance of your building.â&#x20AC;? sign, I then went on to make alterations. I positioned the new design in such a way which made better use of the site to maximise solar gains I also adjusted the material make up of the construction elements, maintaining a similar thickness, however using more thermally effective materials. Learning Outcomes: LO1

Appreciation of the integral nature of material assembly and environmental systems to the development of architectural designs

Through altering the design, I managed to reduce the buildings CO2 emissions by over 10%.

GENERAL CRITERIA

Year 2.

Semester 1

Semester 2

Architectural Design 2: In Place

| AD

Architectural Design 2 : Any Place

From Object to Abstraction

| AD

Reading Into Place - Case Study

Chair Museum - Body Survey - Design a Place to Sit

Dance Centre - Site Survey

- Survey a Site

- Dance Centre

- Design a Room to Sit on Site - Design a Chair Museum Technology & Environment: Applications Ecology & Environment - Case Studies

- Studio

| TE

Architectural History: Culture & The City

| AH

- Presentation - Essay

- Location, Condition, Response 1 - Location, Condition, Response 2 History of Science Short Essay

| HS

Technology & Environment 2: Applications Timber Frame Design - Duddingston Loch Jetty Building Fabric: Material Systems - Case Study

Long Essay Drawing with Satellites

| TE

AD2 : In Place

Year 2.

Explode

Architecture Design 2: In Place From Object to Abstraction| 2010 ALUMINIUM TORCH

Cast

Brief: “Working in pairs within tutorial groups, students are to select a physical object to represent. Students are to attend a series of rotating seminar sessions exploring different representational techniques.”

These techniques include “Draw”, “Cast”, “Diagram”, “Photograph” and “Explode.”

Photograph

Learning Outcomes: LO3

Draw

Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats. GENERAL CRITERIA

AD2 : In Place

Year 2.

Architecture Design 2: In Place Survey Your Body| 2010 In collaboration with Calum Campbell Brief: â&#x20AC;&#x153;Make a measured survey of your body. Make a survey that reveals particular characteristics of the body, and reveals particular characteristics of the means of surveying.â&#x20AC;? For our body survey we explored the distribution of body weight whilst seated in various positions using a beanbag and an office chair. Taken in a the dark, a light was shone onto the figure to create a silhouette while posing in positions which explore various shapes, proportions and weight distributions. Using photo manipulation software, stylistic images explaining weight distribution were created. We located where loads were more dominant through perception and observation of where the largest indents in the beanbag were found. From the silhouette, trails of arrows represent how load distributed throughout the body in each position. The length and colour of the arrow trails indicate how intense the load is at each point of the body. Learning Outcomes: LO1

Ability to develop architectural designs that appropriately respond to a specified site and that contain an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats. GENERAL CRITERIA

AD2 : In Place

Year 2.

Architecture Design 2: In Place Design a place to Sit| 2010 In collaboration with Calum Campbell Brief: “Design a place to sit that reveals particular characteristics of the body that it supports, and particular characteristics of its means of construction. Think about the Seat as an Architectural element – not an object. Use the body survey to inform the design of the seat – what pose does it support the body in, and what understanding of the body does it represent?” For our seat design we took inspiration from our body survey and decided to create a minimal form which supports a number of positions. The semi-circular form of the CF Perch creates a strong , but flexible seat. The slight give as weight is applied to the CF Perch comes from the properties of the steel beneath the carbon fibre, and the spacers fixed to the mounting surface. Learning Outcomes: LO1

Ability to develop architectural designs that appropriately respond to a specified site and that contain an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats. GENERAL CRITERIA

AD2 : In Place

Year 2.

Architecture Design 2: In Place Survey a Site| 2010 Brief: â&#x20AC;&#x153;Make a group site survey of a specifi ed site along the Royal Mile in Edinburgh. Make a survey that gathers the generic quantitative information required to make proposals for any site. Make a survey that gathers the particular qualitative information required to understand the unique characteristics of the particular site.â&#x20AC;?

The site proves to be a key route for pedestrians travelling between Old Town and New Town. The concept of circulation seemed important theme to my project my seat design is .

Learning Outcomes: LO1

Ability to develop architectural designs that appropriately respond to a specified site and that contain an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats. GENERAL CRITERIA

AD2 : In Place

Year 2.

Various photographic and model studies of the site

GENERAL CRITERIA

AD2 : In Place

Year 2.

Architecture Design 2: In Place Design a Room to sit on the site| 2010 Brief: â&#x20AC;&#x153;Design a room that locates the Seat on the Site, and brings the particular characteristics of the body into relation with particular characteristics of the site. Design a room that enjoys the particular characteristics of its means of construction.â&#x20AC;? Learning Outcomes: LO1

Ability to develop architectural designs that appropriately respond to a specified site and that contain an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats. GENERAL CRITERIA

AD2 : In Place

Architecture Design 2: In Place Design a Chair Museum | 2010

Year 2.

Front Elevation of Museum showing timber materials which evoke a sense of route and journey

Brief: â&#x20AC;&#x153;Design a Museum that places a specific collection of chairs, and a range of specifi c programmatic spaces, onto a specific site. Design a building that enjoys the particular way that it responds to the things and activities it accommodates, and through he particular way that it responds to its location.â&#x20AC;? Learning Outcomes: LO1

Ability to develop architectural designs that appropriately respond to a specified site and that contain an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats. GENERAL CRITERIA

AD2 : In Place

First Floor Plan

Year 2.

Second Floor Plan

Ground Floor Plan

GENERAL CRITERIA

AD2 : In Place

Year 2.

West Elevation

Section showing arrangement of chairs

Diagrams showing division of public and private space throughout Museum Section showing relationship between museum and office/gift shop

GENERAL CRITERIA

AD2 : In Place

Year 2.

Exploded Isometric showing materials used, a dark timber to emphasise journey meandering throughout site, and a light timber panelling which specifies views from within the museum

GENERAL CRITERIA

T&E : Applications

Year 2.

Meir House Technology and Environment 2: Applications

Location, Condition Response 1 Hot Aired Climate > Moderating Temperature Swings: Thermal Mass Contemporary Architecture

Israel

Meir House was designed by Isaac Meir in 1992. Located in Sede Boqer Campus, Negev Desert in the Highlands of Isreal, the building combines external insulation and internal thermal mass with an open plan.

Typical of desert architecture, in the design for Meir House, concrete is used for both the construction of the walls and the flat roof to maximise the amount of thermal mass in the building. All windows incorporate a insulated aluminium rolled shutter system, allowing the occupant to minimise solar gain during the day, and reducing heat loss at night.

Ambient Bedroom (SE) Kitchen (NW) Living (S)

Technology & Environment 2: Applications

Ecology and Environment: Location, Condition, Response 1 | 2010

Ground Floor Plan

HOT AIRED CLIMATE > MODERATING TEMPERATURE SWINGS: THERMAL MASS | In Collaboration with Gregory Chatfield Brief: “Buildings are filters, not boundaries. With this in mind, working in pairs, you will document the location, condition and response of two buildings that respond to a specific climatic condition in similar ways. One of these buildings will be a vernacular building and one of these buildings will be a contemporary piece of architecture.”

Learning Outcomes: LO1

Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts.

LO2

Understanding of these principles with respect to human comfort and well-being, strategies for a sustainable future, the impact of the building processes on the natural world, materials and processes of assembly .

LO3

Communicating an understanding of the relationship between material, structural and environmental performance in architectural design.

The graph shows how even though the ambient temperature varies dramatically throughout the day during th summer months, throught the use of thermal mass and heat transfer, the tempertaure inside the building vary little. This is due to heat being stored in the walls and floors for release later on in the day, when heat is needed more. The kitchen on the north-western side of the house is at a higher temperature later at night due to the sun setting in the west resulting in more heat being stored and released on the western side of the building later in the day.

We chose to look at thermal mass in relation to regulating temperature. We looked at the use of mass within traditional mud huts, before focussing on a contemporary example - Meir House by Isaac Meir. Located in Israel, we studied how the design regulates the extreme temperatures of the area.

First Floor Plan

Waterproofing Aerated Sloped Cement Extruded Ploystyrene

Double Glazed Windows

Polyurethane Insulation Filled Alumium Rolled Shutters Poured Concrete in 25cm YTONG UBLOCK

Extruded Polystyrene

30 °C

Winter Night 3.5 °C

9 °C

25 °C 18 °C

25cm Poured Concrete Blocks

Thermal Bridge insulated with 5cm thick Cellular Concrete Blocks before pouring

Poured Concrete with 5cm YTONG Insulation

Summer Noon 35.5 °C

The building is located in an extremely hot aired climate, with the long axis of the building facing south. This maximises solar gain aswell as the amount of heat absobed by the buildings thermal mass. The design is open plan and based upon one thermal zone, allowing heat to travel around the building. This technique can also be seen in traditional vernacular architecture.

It is common in Isreal for buildings to be designed with concrete for the envelope as well as the internal partitions and its by-products, therefore providing ample thermal mass. Thick solid walls were also common in vernacular architecture, where mud and clay where common construction materials.

Heat from the sun during the day is absorbed by the buildings thermal mass, where it is stored until later released into the house warming the building when needed.

Greg Chatfield Michael Chisholm

Document Produced

GENERAL CRITERIA

T&E : Applications

Year 2.

Plan 1:200

Technology & Environment 2: Applications

Ecology and Environment: Location, Condition, Response 2 | 2011

Front Elevation 1:200

MICROCLIMATE PAVILION | In Collaboration with Gregory Chatfield, Xiaoxi Chen and Weiluen Chen Brief: â&#x20AC;&#x153;The University of Edinburgh has acquired a parcel of land in George Square Gardens in which to build a small building that is to serve as a pilot project for climate-responsive design. The building must therefore be highly attuned to the climatic conditions of the site in addition to providing a key programmatic need. The building must conform to a strict 7meter x 14 meter footprint, but internal layout, method of enclosure, orientation, siting, integration with landscape, and micro energy (if utilized) strategies are up to your discretion.â&#x20AC;?

Section 1:200

Learning Outcomes: LO1

Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts.

LO2

LO3

Communicating an understanding of the relationship between material, structural and environmental performance in architectural design.

Section 1:200

GENERAL CRITERIA

T&E : Applications

Year 2.

Environmental Analysis of Design

GENERAL CRITERIA

T&E : Applications

Year 2.

Environmental Analysis of Design

GENERAL CRITERIA

T&E : Applications

Year 2.

Technology & Environment 2: Applications Group Case Study| 2010

SLATEFORD GREEN | In Collaboration with Gregory Chatfield, Xiaoxi Chen and Weiluen Chen

Learning Outcomes: LO1

Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts.

LO2

LO3

Communicating an understanding of the relationship between material, structural and environmental performance in architectural design.

Case Study Analysis

GENERAL CRITERIA

T&E : Applications

Year 2.

Case Study Analysis

GENERAL CRITERIA

Case Study : John Hope Gateway

T&E

Edward Cullinan Architects : Applications Acoustics

Year 2.

Lighting and Daylighting - While a large glazed facade looking out onto the usually peaceful gardens may be aesthetically pleasing, itâ&#x20AC;&#x2122;s acoustic qualities mean it does not absorb sound well when faced with noise pollution.

ETFE Pillow Roof Lights

Sunlight

Sunlight directed in + Plastered block walls provide good internal acoustic qualities to the interior as well as acting as acoustic insulation to block the noise form outside caused by traffic.

+ In areas requiring acoustic dampening, rubber flooring and carpets have been used. Providing excellent acoustic control, rubber flooring has an absorption coefficient of up to 0.9.

+ On the first floor, acoustic ceiling panels are present which dampen sound reflection. - Presentation room has similar acoustic properties to exhibition area and is not acoustically sealed even though it requires different acoustic quality.

+ High level glazing allows daylight to flood into the main area of the building, making it less important to have artificial lighting. + The use of ETFE pillow roof lights allow for a high level of natural light, up to 95 % more than ordinary glazing. The shape and transparency of the glazing allows larger amounts of consistent light to be directed into the building. Summer

Winter

+ A four metre overhang on the eastern side of the building reduces the glare of the sun in summer to ensure that the main exhibition space is not appear over lit or overheat. + However, the roof canopy does allow for low winter sun to enter the exhibition space, when extra heat gain is needed most. + Energy is saved through the use of external light sensors which adjust the artificial lighting levels accordingly. These sensors monitor ambience levels to determine the brightness. + In the WCâ&#x20AC;&#x2122;s, movement sensors have been installed to ensure lights are not kept on when the space is not in use, therefore saving vast amounts of energy.

Michael Chisholm 0942133

Technology & Environment 2: Applications Individual Case Study| 2010 JOHN HOPE GATEWAY

Learning Outcomes: LO1

Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts.

LO2

LO3

Communicating an understanding of the relationship between material, structural and environmental performance in architectural design.

Case Study Analysis

GENERAL CRITERIA

HS Plato

Year 2.

Aristotle

History of Science 1 Essay | 2010

ANCIENT GREEK NATURAL PHILOSOPHY

Introduction

Q. “Ancient Greek natural philosophy was concerned not only with discovery of the truth but also with how we know the truth: through the senses or through reason”. Explain and discuss.

Natural philosophy refers to the belief that the world must be understood through science as opposed to religion. Ancient Greece is thought to be the first civilisation to take a rationalist approach to this understanding; therefore their philosophy is regarded as the starting point in the development of modern western science. Philosophical figures have tried in many ways to not only learn the truth, but also explain how we identify the truth.

Learning Outcomes LO1

Describe the main stages in the changing nature and organisation of Western science, from the Ancient Greeks to the early Twentieth Century;

LO2

Discuss the dominant idea about the nature of the physical world in different historical periods, and appreciate how these ideas change over time;

LO3

Discuss how ideas about the natural world and practices associated with those ideas relate to the wider social and cultural context in which they are articulated;

LO4

Critically evaluate the use of historical evidence in historical argument.

Conclusion This period in history proved be an incredibly influential time in the development of science. At a time where the discovery of truth and how we achieve this definitive knowledge was a much investigated topic; philosopher’s ideas, even though similar in ways, conflicted against each other. It seems to me that although philosophers such as Plato began the exploration of truth and how we know the truth, it is Aristotle who has developed the study of science and the truth the furthest. Alternative theories regarding both the senses and reason have encouraged much philosophical thought on the topic of truth and its discovery.

Selected Bibliography Burnet, J. (1920) Greek philosophy : Thales to Plato. New York; London, Macmillan. Guthrie, W.K.C. (1967) The Greek philosophers, from Thales to Aristotle. Home study books. London, Methuen. Irwin, T. (1989) Classical thought. A history of western philosophy. Oxford, Oxford University Press. Lloyd, G.E.R. (1970) Early Greek science : Thales to Aristotle. Ancient culture and society. New York ; London, W.W. Norton. Shibles, W.A. (1971) Models of ancient Greek philosophy. London, Vision. Stace, W.T. (1941) A critical history of Greek philosophy. London, Macmillan and co., limited.

GENERAL CRITERIA

Year 2.

Introduction

History of Science 1 Essay | 2010

CHARLES DARWIN Q. “The theory of natural selection was almost universally rejected. Even T.H. Huxley, defending it in public, was obviously uncomfortable with it and probably did not really believe in it. Before 1900 not a single experimental biologist either in Britain or elsewhere adopted Darwin’s theory” (Ernst Mayr, 1985). Why was Darwin’s theory rejected even though evolution was accepted? Learning Outcomes LO1

Describe the main stages in the changing nature and organisation of Western science, from the Ancient Greeks to the early Twentieth Century;

LO2

Discuss the dominant idea about the nature of the physical world in different historical periods, and appreciate how these ideas change over time;

LO3

Discuss how ideas about the natural world and practices associated with those ideas relate to the wider social and cultural context in which they are articulated;

LO4

Critically evaluate the use of historical evidence in historical argument.

Charles Darwin was an English naturalist most famous for his work in the field in evolution of species and in particular, along with Alfred Russel Wallace, being the co-founder of the controversial theory of natural selection. Even though before 1900, the idea of evolution was generally accepted, Darwins theory was continually rejected by almost all people throughout the 19th century. His theory was not respected by other scientists, with no other biologist adopting his ideas until after his death. Scientists continually attacked Darwins theory for having a number of flaws which did not tie in with other discoveries and theories which had occurred at the time. Another reason for Darwins theory being rejected was due to religion. At a time where religious belief was strong in Victorian England, natural selection was seen to contradict religion and the beliefs held by people at this time. For this reason, Darwin held back from publishing his ideas until he found Wallace to co-release the book with at fear of backlash against him personally (Oldroyd, 1980). Conclusion At a time where evolution was a much discussed and studied topic, with many scientists and naturalists having differing opinions, Charles Darwins theory of natural selection stood out as significant due to being the first theory of scientific significance, providing a definite mechanism to which evolution occurs. This theory proved to be one of the most important discoveries in the history of science, however, at the time it was viewed with much criticism. While the beliefs held in the Bible were already under scrutiny at this time, the controversial idea of natural selection caused much panic to religion, with most religious groups completely dismissing Darwins iconic work – The Origin of Species. Even though evolution was a much studied and generally accepted idea in the 19th century, Darwins theory of natural selection was viewed by other scientists as containing many flaws, and was even referred to as ‘the law of higgeldy-piggeldy’.

Selected Bibliography CHANT, C. and FAUVEL, J., 1980. Darwin to Einstein : historical studies on science and belief. Harlow ; New York: Longman in association with The Open University Press. COLEMAN, W., 1977. Biology in the nineteenth century : problems of form, function, and transformation. Cambridge: Cambridge University Press. GREENE, J.C., 1959. The death of Adam : evolution and its impact on western thought. Ames: Iowa State University Press. JONES, G., 1980. Social Darwinism and English thought : the interaction between biological and social theory. Brighton: Harvester. OLDROYD, D.R., 1980. Darwinian impacts : an introduction to the Darwinian revolution. Milton Keynes: Open University Press. VORZIMMER, P.J., 1970. Charles Darwin : the years of controversy ; the origin of species and its critics, 1859-1882. Philadelphia: Temple University Press. YOUNG, R.M., 1985. Darwin’s metaphor : nature’s place in Victorian culture. Cambridge: Cambridge University Press. GENERAL CRITERIA

AD2 : Any Place

Year 2.

“no wall no barrier no inside no outside no architecture no Acconci no Holl no StoreFront.”

Architectural Design 2: Any Place Reading Into Place | 2011

BOUNDARY | Steven Holl. StoreFront for Art & Architecture, 1980 In collaboration with Sophie Abrahams In 1992, architect Steven Holl with help from artist Vito Acconci, was commissioned to renovate the aging facade of a building for the nonprofit organisation Storefront for Art and Architecture. The Storefront can be located on the corner of a block which marks the intersection of three of the main neighbourhood districts in New York – Chinatown, Little Italy and Soho. The organisation encourages innovative and creative design projects in the field of art and architectural design, holding events which celebrate the world of contemporary design. This relationship between art and architecture can be seen as a metaphor for the destruction of boundary, as it diffuses the line between art and architecture, blending the two worlds of design together. The project raises questions about what exactly is the difference between these two practices, and when does art become architecture and vice

The building itself is comprised of a narrow wedge shaped ground floor gallery with a triangular exhibition space. The most dominant feature of the building is the long external facade which creates a division between the gallery interior and the external environment. However, the opening panels within the wall breaks down this physical boundary. Holl questions the separation of interior and exterior – the exhibition space simply becomes an addition to the pavement, drawing pedestrians in. Similarly, the pavement also becomes an extension of the gallery, with exhibits and visitors spilling out onto the street. The aim was to bring art to everyday life, and invite in those that would normally bypass a gallery. The panels within the facade open to create spaces to occupy art as well as provide seating. Through this, the architecture accommodates the art. The openings create viewports of the outside world, framing the surrounding city as if it is a piece of art itself. These openings mean that once visitors enter the gallery, that then they too become part of the spectacle, however, can still feel involved from out with the buildings skin. The facade distorts the division between the art and real life, opening pedestrian’s eyes to the art world – a world that can often seem intimidating. The art world can be regarded by some as exclusive and difficult to understand, but Storefront of Art and Architecture brings it down to a more human everyday existence.

StoreFronts facade represents an examination on the art world, exposing it for what it is on a basic human level. The facade can be used in many ways to enhance the galley’s contents, often labelled with text to give a description of the current exhibition. A flexible piece of architecture – the exhibition space is used in many different ways by various artists and organizations. The architecture and the wall structure can be manipulated to display artwork in the desired way. Examples of graffiti on the facade show the building becoming a canvas itself, proof again of the link between art and architecture. Allowing graffiti celebrates amateur artists, taking away the feeling of exclusivity often felt towards art. The gallery was well received by New Yorkers and initially gained a lot of attention. More recently the public seems to have tired of it and visits have dropped. This suggests that people may prefer to keep ever day life and art separate – the boundaries in society are comfortable and give order to life. Storefront realises that is usually more appropriate to keep art as a more exclusive separate world, and does not try to apply their philosophy to the outside world, only within their projects.

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Architectural Design 2: Any Place Dance Centre| 2010

Brief: “Where IN PLACE worked from small to big – from body to building – ANY PLACE will work from big to small – from city to studio. The design project will be completed through three exercises. The first exercise [SITE] will ask tutorial groups to make a survey of a specified urban site. It will ask students to pay particular attention to the sites relation to broader urban networks of circulation, and climatic phenomena. The second exercise [DANCE CENTRE} will ask students to design a dance centre that responds to the dynamic and environmental characteristic of their site, and to develop an architectural language that responds to the dynamic character of the buildings programme. The final exercise [STUDIO] will ask students to resolve the detailed design of the principle studio, responding in particular to the environmental character of the site, and satisfying specific environmental requirements of dance studios.” Learning Outcomes LO1

Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Architectural Design 2: Any Place Dance Centre | 2011

SITE SURVEY | In Collaboration with Sophie Abrahams - Programme : Public / Private Split â&#x20AC;&#x153;Make a group site survey of a specifi ed urban site. Explores the sites relation to specifi ed non-local conditions through which it relates to a broader context; the networks of human movement, and environmental phenomena, that cut across it.â&#x20AC;? During our pair survey of the site, we decided to look into the programmatic layout of the block of buildings in which our site is contained. Through this we hoped to gain a fuller understanding of the blocks uses and amount of pedestrian traffic through and around the site. We began by looking into the divide between public and private buildings around the block to observe if any sort of pattern occurred, which led to the discovery that the distribution of public and private buildings resulted in a much more public facade on north-east elevation of the block. This is represented by showing any private building as a faded black and white as opposed to in colour.

Image showing variation in programme throughout block

Learning Outcomes LO1

Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Public/Private Split

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Development of Programmatic layout. More commercial functions towards Passaig de Gracia. While informal spaces such as the Cafe are adjacent to the greenspace.

Informal Performance Space Greenspace

Architectural Design 2: Any Place

Studio 1

Dance Centre | 2011 PARTI

Functions

A Route through the site which maintains Programme Adjacency. The parti for my Dance Centre concentrates on aligning the porgrammatic distribution of elements with the layout of the surrounding block. The various elements acts as a sequence of events which stretch through the blocks interior courtyard. LO1

Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Cafe

Studio 2

Reception

Office

Early Section Showing Programmatic layout of Spaces in relation to surrounding buildings

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Precedent Study: Library in Torre Pacheo, Spain. Martin Lejarraga. Wall manouvers around site withall rooms/funtions embedded within it.

Year 2.

Precedent Study: Botanic Gardens, Barcelona. Wall manouvering in and out of ground creating spaces.

Unfolded Elevation of Concrete Wall

Architectural Design 2: Any Place Dance Centre | 2011 PARTI Dominant Wall: Holding Functions and Creating Spaces/Routes. The parti for my Dance Centre concentrates on aligning the porgrammatic distribution of elements with the layout of the surrounding block. The various elements acts as a sequence of events which stretch through the blocks interior courtyard. LO1

Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Initial Machete

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Roof Plan 1:1000

First Floor Plan 1:1000

Architectural Design 2: Any Place Dance Centre| 2010 DANCE CENTRE Brief: â&#x20AC;&#x153;Design a Dance Centre on a specifi ed urban site. Design a Dance Centre that responds to the patterns of movements and environmental phenomena that cut across its site, and to the dynamic character of the programme it accomodates.â&#x20AC;?

Learning Outcomes LO1

Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

LO3

Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions. Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Ground Floor Plan 1:1000

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

INVITING VISITORS: The permeability of the ground floor metal/glazed facade opens up the Dance Centre to the passing public.

Year 2.

DANCE AS A SPECTACLE: Overlooked by surrounding residential and office buildings, dancers flow out onto the roof top and greenspace for all to see.

North-West Elevation 1:200

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Section A-A 1:250

Section B-B 1:250

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Exploded Isometric 1:300

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Glazing Steel Exterior Cladding

Steel Frame

Plasterboard Interior Wall Finish

Architectural Design 2: Any Place Dance Centre| 2010 STUDIO Brief: “Resolve the detailed design of the Dance Centre’s principle studio. Explore the tectonic and spatial character of the studio in further detail, resolving its relation to its environmental context, and satisfying the environmental requirements of a dance studio.” Learning Outcomes LO1

Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Timber Flooring, Mirrors and Timber Acoustic Panels Sprung Flooring

Concrete Floor Base

GENERAL CRITERIA

4 5

7 8

AD2 : Any Place

Year 2.

Section C-C 1:50

GENERAL CRITERIA

4 5

7 8

AH : Culture & The City

Year 2.

Urban Plan of Chandigarh

Palace of Assembly

Conclusion

Architectural History 2: Culture & The City Essay | 2011

LE CORBUSIERS DESIGN FOR CHANDIGARH, INDIA Q. ‘Choose a significant example of urban public space, situate it in its cultural and historical context and discuss the principles which generated it in its particular form.’ Introduction Le Corbusier’s design for the city of Chandigarh - the new Capital of the Indian republic of Punjab - represents a significant period in the history of India which was fuelled by crisis and confusion. In 1947, shortly after the Second World War, India was freed from being under British Colonial rule. This led to a religious and politically fuelled civil war between Hindus and Muslims and the eventual division of India into The Republic of India and the Dominion of Pakistan. Through this division, the state of Punjab was divided into East and West Punjab, between India and Pakistan respectively. The division meant that East Punjab had lost its capital – Lahore – to Pakistan.

Chandigarh is a city defined by its period of conception. At a time of much confusion throughout India, Le Corbusier attempted to create a new city which symbolized the newly formed democratic republic. Through organizing the layout along with the Capitol complex and its architecture, Corbusier arguably provides for the needs of Indian people. Although many compromises and alterations have had to be made through the design process, Chandigarh is a city which still clearly stands as a prestigious and symbolic political project which defines a fresh start. Selected Bibliography Le Corbusiers Modulor

ANTONIOU, J. 2003. Chandigarh: once the future city. Architectural Review, The. 3-4 EVENSON, N., 1966. Chandigarh. Berkeley: University of California Press. GAST, K. and LE CORBUSIER, 2000. Le Corbusier, Paris - Chandigarh. Basel: Birkhäuser. KRUSTRUP, M. and LE CORBUSIER, 1991. Porte email = Emalljeporten = La Port emaillée = The enamel door : Le Corbusier, Palais de l’Assemblée de Chandigarh. København: Arkitektens Forlag. LE CORBUSIER, FUTAGAWA, Y. and YOSHIZAKA, T., 1974. Chandigarh : the new capital of Punjab, India, 1951-. Tokyo: A. D. A. EDITA Tokyo. PRAKASH, V., 2002. Chandigarh’s Le Corbusier : the struggle for modernity in postcolonial India. Seattle ; London: University of Washington Press. GENERAL CRITERIA

AH : Culture & The City

Architectural History 2: Culture & The City Presentation | 2011

Year 2.

Key Points

Rockefeller complex of commercial buildings. 27 acres. 48th – 51st street in centre midtown Manhatten. RADIO CITY MUSIC HALL, NEW YORK CITY Designed to create utility and interrelated service including the RCA (Ge) building, RKO building, tv studios, bank of America. Introduction Also holds a plaza and sculpture and artwork. In 1928, John D Rockefeller Jr - the son of John D Rockefeller Summery of the GE Building. - was leased a $91million 24 year lease from Columbia Radio City University for a piece of land in midtown Manhatten, NY. Showplace of the nation/tourist destination. Originally partnered with Opera Company to create a Saved from closure in 1978 before a 1980 Renovation. complex housing a Metropolitan Opera House. However the Name taken from the Radio corporation. of America stock market crash meant this dream was dashed by the Opened 1932, a return to high class variety entertainment. failing economy and the Opera Company saw business 1933 conversion to film and stage shows. outlook as not worth it. Art Deco lines, Removes itself from the rococo ornament of the time. Rockefeller still however made the bold decision to leave an Played with dynamic shapes and geometrical lines incorporates glass, impact on the city and looked towards building an entire aluminium, chrome, geometric ornamentation. commercial complex to attract commercial tenants – Plaques- represent variety 6 types, then 3 representing theatre dance and businesses, theatres etc. The project was to stand as a symbol music. of optimism and hope during the height of the depression in Lobby – Grand Foyer the late 20s. Hall The Great Hall 6200 seats – divided into large orchestra , 2 mezzanines, 5,933 spectator seats. Framed by great arch 60 feet high by 100 feet high resembling setting sun 3 shallow mezzanines.

Conclusion Radio City evokes traditional grandeur and elegance while providing a vital location for modern music and stage acts. A popular tourist destination, the venue has become iconic in status, with the majority of large acts over the last 30 years having performed there at some point. The architectural style is reminiscent of theatres of the past, while remaining relevant to contemporary culture through many renovations over the years.

Today Leased to Madison Sq. Garden Inc, with main focus on concerts and live stage shows. Housing events such as the Grammys, Daytime Emmys, MTV VMAs, and Tony Awards GENERAL CRITERIA

T&E : Applications

Technology & Environment 2: Applications Timber Frame Design | 2011

DUDDINGSTON LOCH JETTY | In Collaboration with Sophie Abrahams, Gregory Chatfield & Kathryn Chung Brief: “Duddingston Loch in Edinburgh is the centrepiece and of a very well preserved natural landscape and bird sanctuary that combines with the historic fabric of the adjacent village. You are asked to design a lightweight timber jetty of about 60m through the lake to enhance bird-watching and the experience of the visitors with improved views towards the city, Arthur Seat and the features of the village.” Learning Outcomes LO1

Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts

LO3

Communicating an understanding of the relationship between material, structural and environmental performance in architectural design.

Year 2.

The Location We chose to build from the north of the loch, continuing the existing path alongside the boathouse. A dramatic effect is created as the jetty unfolds from behind a small wall, revealing the view around the corner. The Design As with the jetty at Lake Rotoiti, we wanted a feeling of elongation; by placing the decking along the long section, visitors are drawn towards the water. We also took the idea of the columns becoming the balustrade for a sturdy feel. The two arms of the jetty give two views of the loch but also allow more space for visitors to be alone. The second story covers the right hand of these arms, ensuring the view on approach isn’t obscured. The second level doesn’t continue all the way to the end to prevent the ground level below feeling too enclosed. The Materials With a strength class of D40, British Oak immediately seemed a good choice. Looking further we found that British Oak can be sourced locally and comes in long lengths. Oak has traditionally been used in ship building so we can see that it is durable enough to cope with the wet surroundings. We were first drawn to the silver-grey colour of weathered English Larch, and felt it would compliment the deeper Oak. Larch is again available locally, reducing the need for transportation and the cost. One of the most common timbers used for decking, Larch can survive the wear and tear of visitors and weather. GENERAL CRITERIA

T&E : Applications

Year 2.

Technology & Environment 2: Applications INITIAL SIZING

1:50 Close up of Structure Columns Primary beams Secondary beams

1:200 Plan showing structure

GENERAL CRITERIA

T&E : Applications

Year 2.

Plan showing 1st floor structure/ 1:200 ground floor decking

GENERAL CRITERIA

T&E : Applications

Year 2.

FINAL SIZING - DOUBLE STOREY

1:200 Section A - A

GENERAL CRITERIA

T&E : Applications

Year 2.

Balustrade

Decking

Secondary Beams

Primary Beams

Columns

GENERAL CRITERIA

T&E : Applications

Year 2.

CONNECTIONS There were two main reason why we favoured timber joints. Firstly we were keen to keep a natural appearance, without visible metal joints. Hidden joints may have been an option however Oak reacts badly with untreated metal, causing staining and possible loss of strength. This reaction would be accelerated by the presence of water. Mortis and tenon joints are one of the most basic ways of joining timber and have been used in structures for centuries. Obviously they arenâ&#x20AC;&#x2122;t the strongest joint available but for a small jetty structure we feel they are sufficient. To ensure the primary joints will withstand water and remain rigid, the pegs are 50mm deep and are each held with four wooden pins. The secondary beams are help with two pegs each. To allow the required depth for the mortis and tenon pegs, plus enough additional space, the columns need to be wider than those specified in the equations previously (100 x 97mm). Instead we changed to use columns of cross section 150 x 147. This is not altogether a disadvantage as it will give the jetty a more sturdy aesthetic and the columns and primary beams will now look more in proportion. The columns will sit in concrete piles driven into the bed.

GENERAL CRITERIA

T&E : Applications

Year 2.

Primary Structure

Centre line of projected image with mirror looking down 5 °

Secondary Structure

Floor and Roof Elements

Camera Obscura

Vapour/Water Control

Bottom line of projected image with mirror looking down 5°

External Envelope

Technology & Environment 2: Applications

Minimum focal distance - nothing closer to building than this will be in focus

Material Systems | 2011

CASE STUDY | Camera Obscura, Mitchell Park, Greenport, New York. SHoP Architects PC, New York, New York Building Material Type : TIMBER Completed in 2005, the ––––Camera Obscura building designed by SHoP Architects is one of four innovative building designs in Mitchell Park, a waterfront park in the Village of Greenport on Long Island, New York. Incorporating an optical lens and mirror device, the Camera Obscura captures a live image of the buildings external surroundings to bre projected onto flat table surface which uses a mechanical device in which visitors can react with to rotate, raise and lower to adjust view and focus. The building was also designed to incorporate revolving metal wall panels in which images could also be projected upon. SHoP has achieved in this design the first ever building to be fully constructed from digitally fabricated components. In the past, SHoP has utilized digital fabrication for individual trades, such as laser-cut metal panels. The main structure of the building consists of Ipe timber beams, but also makes use of steel in areas of high stress. Ipe is also used for the exterior cladding.

Optical Lens Device: Captures external imagery for internal projection Compression Ring: Structural Ring acting in compression to maintain building structure

Flat cirular table for image projection

Section through building highligting Primary and Secondary Structures

GENERAL CRITERIA

T&E : Applications

Year 2.

Flat Seam Zinc Roof Plastic Drainage Sheet High Temp. Ice & Water Shield 3/4” Plywood Roof and Parapet 1/4” Thick Black Skatelite Pro

Aluminium “Sawtooth” Ipe Planking Guide

Double 2x4 Header

Ipe Planking Mounting Hinge

Milled 2x6 Ipe Planking Weather Screen

Ipe 2x6 Roof Joist Ipe 2x4 Ipe 3x6 Compression Chord (Where Occurs). Leading to Compression Ring Steel Tension Ring Assembly with Stainless Steel Thru-Bolts Aluminium Fin/Shelf Support

Aluminium Shelf Assembly Fully Adhered EPDM High Temp. Ice & Water Shield Revolving Metal Wall Assembly

1/2” Plywood Sheathing 1/4” Skatelite Pro Sheathing Hilti Anchor Bolt

1:20 3D Section

1/2” diameter Stainless Steel Thru-Bolt

1/4” thick Steel Cover Plate

Steel Sill Plate Assembly Steel Mounting Plate Required for Level Installation of Revolving Metal Wall Assembly

150mm thick concrete Foundation

GENERAL CRITERIA

Drawing with Satellites Routines | 2011

In Collaboration with Sophie Abrahams & Aideen Herron A workshop exploring the uses of GPS technologies for architectural and landscape site analysis, run by artist Esther Polak As architecture students we feel that our whole life is spent in thestudio - apart from the daily trip to Tesco for food! We wanted tosee if our non-architecture friends have as much fun as we imagine.

Year 3.

Semester 1

Semester 2

Architectural Design : Explorations FAST | SLOW

Design Report | Great Glen House

Hypothesis

Essay | The BREEAM Rating System

Fashion Museum Barcelona and Modernity | BM Essay

Theory Diary Essay

Architecture Placement: Working Learning Six Short Essays

Body Politics

Architectural Theory

| AD

| AT

| AP

AD : Explorations

Year 3.

Architectural Design: Explorations FAST|SLOW | 2011

THE FACADE OF FASHION Brief: Design a Fashion Museum within the context of the Edinburgh retail circuit

Learning Outcomes LO1

Knowledge of the ways in which research and analysis of context, program and construction inform architectural design, and the ability to adhere to a coherent design methodology that builds on this analysis.

LO2

Knowledge of how architectural theory and cultural influences inform design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

GENERAL CRITERIA

1 2

AD : Explorations

THE SITE - Princes Street: Main street in Edinburgh for retail attracting mass amounts of pedestrian traffic and potential shoppers.

Architectural Design: Explorations FAST|SLOW | 2011 BODY POLITICS Brief: Assess a particular mannequin within a store. Dissect the various layers of information the mannequin and relating store possess. Learning Outcomes LO1

LO2

Knowledge of how architectural theory and cultural influences in form design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written. production.

THE SHOP - AllSaints Spitalfields was established in 1994 as a menswear brand wholesaling to the likes of Harvey Nichols, Harrods and Barneys New York and Japan and in 1998 Womenswear was born directly out of the expanding menswear collection of sharp tailoring, fine knits and the signature washed leathers. Located on a corner lot on princes street, AllSaints Edinburgh maintains the brands pledge to create a different facade for every store, in an attempt to maintain a independent and non-corporate image. Creation of an Interior Experience: The shop interior in a way seems contrived, opting for a non-conventional theme throughout, suggesting a different shopping experience takes place here. However this is all purely aesthetic, with arguably more effort being put in to make the shop appear some-what run down than would of taken to create a more up-market feel. Industrial: The striped back walls exposing rough concrete and rustic eroding wood and seemingly dirty tile work suggests an abandoned warehouse, while still maintaining a high quality feel to the clothing on display.

Year 3.

Relationship with Music World : Since the brands conception, AllSaints has had a strong relationship with the music industry. From its fashion collections with subtle grunge influences to working in conjunction with bands. The brands web site includes interviews with artists and exclusive performances. AllSaints is also known for holding its own underground music parties promoting unsigned and emerging British talent. Could this be purely just an interest of the brand? Or a marketing ploy to create a par-

THE MANNEQUIN - The Mannequins attempt to differ themselves from â&#x20AC;&#x2DC;the normâ&#x20AC;&#x2122;; incorporating a rustic, industrial style as opposed to the glossy aesthetic usually portrayed by other retailers.

Style: AllSaints succeeds in maintaining a powerful brand image. As culture and trends change, AllSaints manages to remain true to its roots; edgy rock music culture inspired styles incorporating leathers, jeans and boots.

GENERAL CRITERIA

1 2

AD : Explorations Culture is constantly changing with the emergence and alteration of various social and political phenomena. The commercial world influences our lives dramatically; we are conditioned by images we portray in the media in a way which manipulates our lifestyle and fashion choices.

Year 3.

AllSaints chooses which aspects of culture it wants to evoke in its style and reputation; it aims for a similar aesthetic ideologies as many subcultures and counter-cultural groups in a way to appear â&#x20AC;&#x2DC;coolâ&#x20AC;&#x2122;, however the shop is still firmly rooted within the retail circuit in the same way in which other high street stores are in an attempt to sell its clothes.

Denim Leathers

Boots

Architectural Design: Explorations FAST|SLOW | 2011

BODY POLITICS: Analysis of a Look AllSaints is very particular in the style of items it chooses for its collections, making heavy use if leather jackets, boots and denim; items with much cultural and historical context becoming symbolic of rebellion and sub-cultural lifestyles.

Learning Outcomes LO1

LO2

Knowledge of how architectural theory and cultural influences in form design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written. production. GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

SUBJECTIVITY: Exploration of Spacial Phenomena; What makes public spaces appeal to certain cultural groups?

Cockburn Street: A Hub of â&#x20AC;&#x2DC;alternative stores; the street attracts many members of subcultural groups. The retail outlets project a less dominating or capitalist aesthetic, suggesting a removal from the mainstream. Retailers employ many tactics in order to attract consumers, some attempt to emmerse their customers more than others. AllSaints has a lower amount of communication with the body than other retailers on the street, suggesting that it is trying to portray a more exclusive facade to us and out surrounding city. St. James Centre: The epitome of consumerist culture. The shops within this constructed environment promote themselves to their surroundings fully. This is a haven of capitalism, attracting all sorts of people, as well as providing a place of gathering.

SUBJECTIVITY: Retailers attempt at enticing consumers; how inviting is the aesthetic?

Journey Through AllSaints Store

Architectural Design: Explorations

Relationship Between AllSaints and Edinburgh Context Brand Intensity Stock/Display Altering Frequency Surveillance Intensity by Technology/Humans Ability to Manoeuvre Through Spaces

FAST|SLOW | 2011 HYPOTHESIS

Develop a Hypothesis for intigation in the design of your Fashion Museum.

SPEED ANALYSIS: Strength of Communication Phenomena

Learning Outcomes LO1

LO2

Knowledge of how architectural theory and cultural influences in form design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written. production.

Attempt to Escape Mainstream Consumer Culture: Over time, subculture and counter cultural groups have lost their social and political ideals which gave them depth. Various groups and shops can attempt to separate themselves from mainstream culture, however fail, as without mainstream culture there is nothing to counteract.. Architecture and people can put on false pretence in order to portray themselves as something they are essentially not. Graphical Representation of Theory

GENERAL CRITERIA

1 2

AdBusters ‘Culture jamming’ website Adbusters comes under scrutiny in ‘The Rebel Sell’. A site which has built itself on its powerful stance against capitalism, bad-mouthing big brands and creating spoof ads - in particular Nike, then went on to promote their own brand of footwear as an alternative. This might be seen as contradictory and puts Adbusters on level with other brands which attempt to steal consumers of Nike products, albeit a more brutal campaign against the brand. This suggests Adbuster is part of the corporate machine which is modern culture. We cannot unplug ourselves from the system, no matter how we try to portray ourselves. To detach itself from a corporate look, Adbusters uses an unconventional layout of pages and does not make use of the same logo twice. The style reminds me of the Deconstructivist aesthetic in architecture, forms which appear random but a placed so for a reason; a style which removes itself from its place in culture and history.

Architectural Design: Explorations

AD : Explorations

“From this belvedere Paris is visible in all its horizons... but the parti was to suppress this panoramic view of Paris... offering [instead], at precise places, moving views of four of the things, visible from there, that establish the prestige of Paris: the Arc de Triomphe, the Eiffel Tower, Sacre-Coeur, Notre Dame.”

BEATRIZ COLOMINA, Privacy And Publicity An architecture which detaches itself from its location. Choosing at which particular moments it wants to engage with the site, generating alternative spatial phenomena. Alter the geometry of the museum according to its surroundings to focus on certain aspects of the city. Windows have moved from being simply an object which allows light to enter a building to a frame which enables a particular orientation of ones environment to take place. Make heavy use of glass, also ties into idea of lightweight flexible structure. The Situationalists An internationalist European revolutionary group founded in 1957, and which reached its peak of influence in the general strike of May 1968 in France. With their ideas rooted in Marxism and the 20th century European artistic avant-gardes, they advocated experiences of life alternative to those admitted by advanced capitalism, for the fulfilment of human desires. For this purpose they suggested and experimented with the "construction of situations," namely the setting up of environments favourable for the fulfilment of such desires. Architecture can construct our environment, implementing chosen phenomena in particular ways. The Matrix “The world we live in might be an elaborate illusion, that our brains are simply being fed sensory input by machines, input that tricks us into thinking that we live in a world of physical objects...”

The Rebel Sell, 2005

FAST|SLOW | 2011

HYPOTHESIS | CONTRIVED SPATIAL EXPERIENCE + CONTROLLED ENVIRONMENT Develop a Hypothesis for intigation in the design of your Fashion Museum. Learning Outcomes LO1

LO2

Knowledge of how architectural theory and cultural influences in form design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written. production.

Year 3.

A space may have differing spacial qualities to its exterior- create the idea of ESCAPISM.

“The world that we live in is not real. Consumer capitalism has taken every authentic human experience, transformed it into a commodity and then sold it back to us through advertising and the mass media” The Rebel Sell, 2005 Architects can dictate the Body through the spatical qualities in their designs, they can dictate routes, actions and the observations the public make. I am to create a new route through my site which engages the public with the aspect of a fashion museum.

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Location Plan 1:15000 I aim to re-vitalise a generally redundant space. Fixing the museum to the site as a parasite while working with its existing geometry.

Architectural Design: Explorations FAST|SLOW | 2011

SITING STRATEGY

Acting as a link from the Old Town and Waverley Train Station and the New Town Retail area, I wish to create a space which embraces this link, allowing the a permeable flow of pedestrian traffic through the integration of new routes.

Choose a suitable site for the Fashion Museum Learning Outcomes LO1

LO2

Knowledge of how architectural theory and cultural influences in form design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written. production.

Opposing the monumental institutionalism of the Galleries sited alongside Princes Gardens, the Fashion museum should appear light, and flexible; an entity which evokes the essence of fashion, that of one which is in a state of flux and constantly changing.

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Architectural Design: Explorations FAST|SLOW | 2011

FASHION MUSEUM Design a building to hold a Fashion Museum to sit amoungst the Edinburgh retail circuit. Learning Outcomes LO1

LO2

Knowledge of how architectural theory and cultural influences in form design, and the ability to evaluate and critically assess these concerns in the work of others.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written. production. GENERAL CRITERIA

1 2

AD : Explorations

Daniel Libeskind, Garden of Love and Fire: Installation in the landscape with a secondary facade in a particular planar form.

James Stirling, Staatsgalerie: A Gallery/Museum can become part of the urban environment, allowing for the passing through of pedestrians

Year 3.

Museum Space: Choosing to reject its surroundings; transcending time

Commercial Space: Depicting the ‘brand’ of Edinburgh; focussing on its retail opportunities and iconic sites

Frank Gehry, Gehry House: A 2nd aesthetic skin envelopes the buildings primary structure. Arne Quinze, Art Instalation in Brussels: A lightweight canopy manoevering through a site, ‘sticks’ more condensed at certain points.

Daniel Libeskind, Studio Weil: Division of programmes with route running through.

Catwalk Space: Promoting itself to its surroundings

Social Space/Function Area: Glamorizing Edinburgh

Architecture can chose to absorb what it chooses from its environment to create a particular spacial experience. Daniel Libeskind, Ko-Bogen Dusseldorf: Facade reveals full glazing at certain points. Also creating a visually stimulating aesthetic. PRECEDENT STUDIES

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Framing Views by Programme: Allowing the City to Determine Architecture

Reception Shop Cafe Bar/Function Room Museum

Conceptual Positioning of Programmes

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Model showing Fashion Museum piercing through layers of Princes Street Mall

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

A Design Workshop is located directly within Princes Mall, suggesting that consumerist culture is key in the design world.

Lower Ground Floor Plan 1:400, Design Workshop within Princes Mall

GENERAL CRITERIA

1 2

AD : Explorations A

Year 3.

Ground Floor Museum Plan 1:400

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

1st Floor Museum Plan 1:400

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

The Museum acts as a parasitic volume , feeding of the retail circuit and the Mall below it.

Museum Roof Plan 1:400

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

ARRIVAL: The Museum acts as a Fashion Landscape merging the Old Town and Waverley Station with the fast pace of the retail circuit.

Section A-A 1:400

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Encouraging pedestrian footpath, the Museum provides a shortcut through the site.

Section B-B 1:200

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Metallic second skin;engulfing the building to create particular spacial experiences throughout Bar/Function Space and Model Changing unit.

Catwalk Commercial Programme

Museum Space

Design Workshop

Exploded Axonometric 1:400

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

Cafe: Acting as a moment of Slow; shielding from the speed of Princes Street.

The Museum encourages pedestrian interaction, acting as a faster route from Old Town to New Town

The Museum Space: Flexible space allowing for numerous exhibitions to take place, the Museum transcends time, only allowing precise glimmers of an outside world. Walls are posted with iconic imagery from particular cultures, with key pieces being featured on mannequins.

Shop: Aligning itself along the same lines of Edinburghs main retail street: Princes Street.

Bar / Event Space: Glamorizing the Edinburgh setting.

GENERAL CRITERIA

1 2

AD : Explorations

Year 3.

The Museum aims to revitalise its site in the context of FAST | SLOW. Connecting to the retail circuit, vigorously yet subtle; it acts as a beacon, with the catwalk exposing the fashion world to the Edinburgh Context.

GENERAL CRITERIA

1 2

Introduction

B&M

Year 3.

The first decade of the twentieth century proved to be an interesting and progressive time in Catalan culture and ideals; influencing many aspects of Barcelona’s arts, including the worlds of painting, graphic design, product design and textiles, as well as altering the architectural landscape of the city. Many political and social factors played a part in this change, with new artistic movements and revolutionary ideas from within various circles altering the Catalan belief of how art and architecture should be portrayed. Conculsion

Barcelona and Modernity Essay| 2011 FROM MODERNISME TO NOUCENTISME Q. Detail and explain the progression from Modernisme to Noucentisme that characterizes the art, design and architecture in Barcelona in the first decade of the 20th century. Can you explain this change in taste? Learning Outcomes: LO1

A knowledge of architecture and urbanism in Barcelona between c1880 and c1930

LO2

Aknowledge of the artistic, social, historical and political contexts in Catalonia, and the ability to consider Catalan architecture within this context

LO3

An understanding of the dynamics between architecture and the other arts

LO4

A broad understanding of the debates around the modern European city c. 1900

LO5

A knowledge of the different methodological approaches, and the ability to engage critically with scholarship on the subject.

The first decade of the 20th century proved to be an interesting progressive period in the Catalan. Various social and political factors altered the way individuals and groups perceived Catalonian culture, at a time where the idea of Catalan nationalism was high in the desires of the people of Barcelona. From the Modernisme with its look towards Barcelona as part of the international modernism which was occurring around Europe at the time to the Noucentisme period of the new century with its structured view on classicism and re-evaluation Catalonia roots, Barcelona is a city which is symbolic of a cities struggle to identify itself in a modernist way. Many changes in culture and beliefs aided by progression in technology and political changes lead to a varying architectural landscape.

Selected Bibliography COMADIRA, N., 2006. ‘The Forms of Paradise: Noucentista Painting and Sculpture’. In: W.H. ROBINSON, J. FALGÀS, C.B. LORD, J. ALIX TRUEBA, CLEVELAND MUSEUM OF ART, METROPOLITAN MUSEUM OF ART and MUSEU NACIONAL D’ART DE CATALUNYA, eds, Barcelona and modernity: Picasso, Gaudí, Miró, Dalí. New Haven, Conn. ; London: Cleveland Museum of Art in association with Yale University Press, pp. 524. DURGAN, A., , Catalonian Conflicts. Available: http://www. isj.org.uk/index.php4?id=413&issue=117 [15/11, 2011]. GOSS, J., 2006. ‘’Noucentisme and the Influence of French Art Deco’. In: W.H. ROBINSON, J. FALGÀS, C.B. HUGHES, R., 1992. Barcelona. London: HarperCollins. MACKAY, D. and ANGLO-CATALAN SOCIETY, Modern architecture in Barcelona 1854-1939. Anglo-Catalan Society. MOLAS, I, 1985. ‘Barcelona, a European city’. In: M. MCCULLY, M. RAEBURN, CATALONIA SPAIN. GENERALITAT, BARCELONA . AYUNTAMIENTO and ARTS COUNCIL OF GREAT BRITAIN, eds, Homage to Barcelona: the city and its art, 1888-1936. London: Arts Council of Great Britain

GENERAL CRITERIA

2 3

Year 3.

Diagram camera obscura system; light hits a mirror and passes through the lens before the exterior image is projected onto the table top.

Architectural Theory Theory Diary| 2011 ORIGIN Learning Outcomes: LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

LO3

Extracts

The ‘Golden Age’ marks a time of nomadic existence, a time void of architectural presence as the maintenance of property is a burden.

How we perceive and understand vision was originally thought of in a Classical view; an embodied experience, where you have to be in the presence of an object in order to perceive it. Perspective could alter based upon your relationship and distance from the entity which you are attempting to perceive. Classical vision has a strong relationship with enlightenment.

The introduction of fire proved to cause a massive shift in social dynamic; people now realized they did not always have to compete and shared a common interest. This sparked of the first concept of living within a community, as individuals strive as a group to maintain the things they desire. This realization pays heavily in the idea of designing architectural shelters; the first primitive hut is seen as the start of early civilization. Architects still make use of many of the techniques originating from the first primitive huts. Le Corbusier is an architect who very much still believes in the strength of these regulations and geometric guidelines while designing the modern architecture of today.

Architectural Theory Theory Diary| 2011 VISION AND REPRESENTATION Learning Outcomes:

The Camera Obscura system is a good example of the applying of classical vision; incorporating an exterior image which is projected onto a blank screen within a dark room, via the use of a mirror and an aperture. These various parts represent the human anatomy; the dark room representing the human skull, the exterior view is perceived by the eyes and the screen of which these images are projected into is the retina.

LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and Reference present those reflections in the format of scholarly writing Crary, J. 1992, Techniques of the observer: on vision and modernity in the nineteenth century, MIT Press, Cambridge, Mass. ; London.

Reference Rykwert, J. 1981, On Adam’s house in Paradise: the idea of the primitive hut in architectural history, 2nd edn, MIT Press, Cambridge, Mass. ; London.

This approach to vision has been argued against, with Gerter suggesting that vision is not necessarily an external process and perhaps a disembodied experience; you can see things which are not necessarily there; a move in ideology which is important to the world of vision.

GENERAL CRITERIA

Year 3.

Frank Gehry’s Guggenheim Bilbao Society is dominated by the corporate and commercial world; we do not live a natural existence through the built environment.

Extracts

Language and architecture relate to each other in a sense in the way they are constructed and understood as a set of elements.

Systems in modern day have grown to define us; we are ordered and regulated beyond our knowledge; simply a number in the system of life. This capitalist ideal becomes apparent in the world of architecture; a world dominated by entities such as institutions and buildings such as skyscrapers, symbolising large commodity corporations. This kind of corporate architecture has the ability to dominate and regulate us.

A post-structuralist or deconstructivist view can be made on both language and architecture.

Architectural Theory Theory Diary| 2011 LANGUAGE Learning Outcomes:

In language, writers such as Derrida show an aspect of dissemination; making plays on grammar and sentence structure which reduce its ability to be read aloud. For example, he made use of cunning word play, contradictions and structures which occur as if started mid-way through a conversation before fading out at the end suggesting a lack of definite finish. In architecture, architects such as Frank Gehry and Daniel Libeskind often fall under the heading of deconstructivist, architecture which breaks from any formal rules.

Architectural Theory Theory Diary| 2011 DOMINATION Learning Outcomes:

LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO2

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

LO3

Reference Hawkes, T. 1977, Structuralism and semiotics, Methuen, London.

“In bourgeois society, the worker e.g. stands there purely without objectivity, subjectivity; but the thing which stands opposite him has become the true community, which he tries to make a meal of, and which makes a meal of him.” (Karl Marx, The Marx Engels reader, 1978, p.262)

LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

This quote takes note of the idea that as much as we see ourselves as of importance, we can be regulated and over-powered by the architecture in which we place ourselves within. Architecture can be created Ability to demonstrate and analyse through careful to define our very existence, with society only being argument how architectural production fi ts within given existence through definition by its surrounding wider philosophical, historical, social, political and environment. (Colomina, 1992, p.243) economic discourses Ability to research issues in architectural theory, to critically reflect upon them, and to organise and Reference present those reflections in the format of scholarly writing Colomina, B. 1992, Sexuality and space, Princeton Architectural Press.

GENERAL CRITERIA

Year 3.

Panopiton style institutional system

Architectural Theory Theory Diary| 2011 THE BODY Learning Outcomes: LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

Extracts

The human body has much prominence in theories of architecture. It can be seen as a tool to define architecture and the built environment, or it may be seen as an entity which itself is only given definition through its surroundings.

Power is heavily embedded within the system of architectural design. Projects, practices and design institutions can all be seen as incorporating a complex relationship of knowledge and power.

In Michel Foucaults ‘Discipline and Punish: The Birth of the Prison’, the notion of a docile body is explored and how an individual can be placed into this state of mind successfully through various spatial phenomena and social reactions. His ideas refer to power and submissiveness in all types of hierarchical systems from the army to schools and hospitals. The social fabric from within these systems can be altered through the introduction of uniforms and exercises such as marching in formation; these stimuli result in stripping the body of all signifying dimensions. An architectural realisation of these ideas comes in the form of Jeremy Bentham Panopticon; an environment conjured to create a relationship between inmates and a higher power, often used in prison, hospital and school systems. Through this system of hierarchy and surveillance, the inmates feel under constant watch, even when they may not be being watched at all.

Reference Foucault, M. 1977, “Discipline and Punish: The Birth of the Prison”, New York, Pantheon Books

An apparatus is a framework in which procedures happen; incorporating discourse, laws, institutions, buildings, police measure and philosophical propositions. The apparatus connects these aspects of the design world into what we realise as applied architecture; locating itself at the intersection of power relations and the relations of knowledge. It always has a concrete function and is always located in reference to power.

Architectural Theory Theory Diary| 2011 APPARATUS Learning Outcomes:

Architecture itself is an apparatus. Institutional buildings can act in such a way which subjectifies the buildings occupants in an organisational method. Architects within their design can bring about a progression in education, faster methods of productivity and moral reform.

LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within Through hierarchical arrangements of varying factors, wider philosophical, historical, social, political and social forces throughout a whole social body can be economic discourses strengthened in a away which extracts the best attributes from individuals. (Foucault, 1979, p.209) Ability to research issues in architectural theory, to critically reflect upon them, and to organise and Reference present those reflections in the format of scholarly writing Foucault, M. 1977, “Discipline and Punish: The Birth of the

LO3

Prison”, New York, Pantheon Books

GENERAL CRITERIA

Extracts

How we interpret everyday things can have mass impact on our final ideas of what the essence of an entity is. Interpretation is our being.

Metaphors hold an important place in the design process; operating through privilege, and directing concern and identifying difference where needed. The design environment is a place of free flowing metaphors.

In interpreting, the objective is to discover the roots of an original idea. To interpret a site is to understand its essential character.

Architectural Theory Theory Diary| 2011

The term Hermeneutics is named after the Greek god Hermes; the trickster god, a messenger. Our interpretations of things are ‘tricky’; in architecture how we interpret a brief or a drawing can completely alter our understanding of the buildings essence.

Objectivism is the source of the power metaphor in design teaching; the study of metaphor allows a new understanding of the design process.

Architecture is about crossing thresholds, we are engaged in ourselves being a trickster.

METAPHOR

Learning Outcomes:

The hermeneutical circle refers to how in order for us to interpret something correctly, we must understand all the components of which make up said definitive circle, it requires context and no individual part can be understood without reference to the other components which make up the circle. (Snodgrass et al., 2006, p.36)

Learning Outcomes:

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

In architecture, in order to understand a building fully, we must acknowledge its, cultural, social and historical context.

Reference Snodgrass, A., Coyne R., 2006, Interpretation in Architecture: Design as a Way of Thinking, London: Routledge

In understanding metaphor we explore the world of post-objectivism, noting the influence of the rhetoric; we look to how we argue and understand a case; and how rhetoric dominates over logic.

Architectural Theory Theory Diary| 2011

INTERPRETATION

LO1

Year 3.

Hans-Georg Gadamer suggest the possibilities of the rhetoric are “unlimited” and are of much use in social and scientific circumstances; an appeal which dates back to the time of antiquity. Metaphors have high usage in psychological study; they provide a frame of reference. (Coyne et al., 1994, p.113)

LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and Reference present those reflections in the format of scholarly writing Coyne, R.D. Snodgrass, A.B., Martin, D. 1994, Metaphors in the design studio, JAE (Journal of Architectural Education), Vol.48

GENERAL CRITERIA

Introduction

Year 3.

The body is found in many theories of design in the world of architecture. Many thoughts have been put forward from the likes of Marcus Vitruvius Pollios through his series of writings ‘De Architectura’ and Le Corbusiers creation the ‘Modulor’, which treat the body as a tool for the creation of architecture and urban planning, to Michel Foucault’s approach to controlling the body through set architectural regulations and hierarchies. The relationship between architecture and the body can be constructed in various ways; the dominating theories either regard the body as a tool to motivate design and define architecture or as an entity which is subjectively defined by its surroundings. The two theories are almost symmetrically opposite in what they argue - does the body define architecture or does architecture confine the body?

Conclusion Leondardo da Vinci’s ‘Vitruvian Man’

Architectural Theory Essay| 2011

The body is a greatly important figure in architectural thought. Architects such as Vitruvius and Le Corbusier treat the body as a motivator for design, referring to its symmetry and proportions throughout the design process to create something that can be universally regarded as beautiful in its geometrical make-up. However, other theorists have a somewhat opposite view, believing that the built environment confines the body; a body which is redundant without its social and cultural context. Both theories suggest a strong relationship between the two, one suggesting architecture is defined by the body, and the other that the body can be defined by architecture.

Example of Panopticon design

THE BODY IN ARCHITECTURE

Selected Bibliography

Q. Compare and contrast two different ways in which the body features in theories of Architecture.

Agrest, D. 1991, Architecture from without: theoretical framings for a critical practice. Cambridge, Mass.: MIT Press. Colomina, B. 1992, Sexuality and space, Princeton Architectural Press. de Certeau, M. 1988, The Practice of Everyday Life, Berkeley: University of California Press Evenson, N. 1966, Chandigarh, University of California Press, Berkeley. Foucault, M. 1979, Discipline and punish: the birth of the prison, Penguin, Harmondsworth. Gray, C.H., Mentor, S. & Figueroa-Sarriera, H.J. 1995, The cyborg handbook. New York ; London:. Routledge Le Corbusier. 1958, Modulor 2, 1955: Let the user speak next ; continuation of the modulor, 1948. London: Faber. Le Corbusier. 1954, The modulor: a harmonious measure to the human scale universally applicable to architecture and mechanics, Faber and Faber, London. McEwen, I.K. 2003, Vitruvius: writing the body of architecture, MIT Press, Cambridge, Mass. ; London.

Learning Outcomes: LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

Chapel at Ronchamp, 1954 GENERAL CRITERIA

AP : Working Learning Architectural Placement: Working Learning Six Short Essays| 2012 PROFESSIONALISM Q. How is the title of ‘Architect’ protected in the UK? Formulate an argument for or against title protection. Learning Outcomes: LO1

LO2

LO3

An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered. (GC4, 6, 10 & 11) An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects. (GC6, & 11) An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry. (GC6, 10 & 11)

Extract The title of architect is legally protected by a number of systems which monitor individuals who participate in architecture based practice, from surveying to building contracting. Architects require specific training, and are bound by licenses and ethical codes. To use the title of ‘architect’ one must register with a statutory registration body. I believe the protection of title should be maintained, as it ensures that a person who is not fully qualified cannot legally refer to themselves as a architect and potential clients are aware of who they are hiring. The formal system set out by the RIBA encourages architects to provide services to an acceptable quality at all times, ensuring clients and workers receive the standard of work they expect; while members have a legal obligation to comply with the precise terms of the code, they are also guided by the codes spirit. To maintain these codes and protect the reputation of the title ‘architect’, disciplines are in order.

Disobedient members place themselves in a position liable to reprimand, suspension or even expulsion from RIBA, depending on whether a RIBA hearing panel deem a member to have acted out with the integrity of the profession or not. The Architects Act of 1997 established an Architects Registration Board, requiring any persons practicing architecture in the UK to be registered. To fully register, members must be suitably qualified, with seven years of academic and practical training and a degree from a recognisable school of architecture. A full register of ARB members is available online in order to ensure all clients are dealing with a fully qualified architect. The ARB implement and administer the provisions of professional qualifications in the UK, and have set down a Code of Standards of Professional Conduct in order protect the reputation of the architecture profession and eliminate unprofessional conduct, setting standards of education, training and professional practice. This allows for a nationwide standard of service to clients and sets out a definitive dynamic within practices.3 The code cites that architects should act with honesty and integrity, and with competence in the work they undertake and the management of their business. They should also consider all implications of their work and maintain the reputation of architects. 4 I believe the protection of the title of ‘architect’ is necessary in maintaining a structure and system throughout the world of architecture. These structures set out to help regulate the architect’s profession in the UK, and protect the very essence of the title, with registers such as the RIBA being recognized as a symbol of professional excellence around the world. The title cements trust within the profession, allowing clients and others to invest money and trust in individuals who regard themselves as ‘architects’.

Year 3.

Architectural Placement: Working Learning Six Short Essays| 2012 REGULATORY CONTEXT: WORKPLACE HEALTH, SAFETY & WELFARE Q. What is a workplace risk assessment and when is it required? Prepare a brief workplace risk assessment covering the most significant risks for architectural practice. Learning Outcomes: LO1

Knowledge of contemporary design theories and the ways in which they can inform specifi c ap proaches to, and practices of architectural design

LO2

Ability to demonstrate and analyse through careful argument how architectural production fi ts within wider philosophical, historical, social, political and economic discourses

LO3

Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

Extract A workplace risk assessment is a systematic method which analyses what the possible dangers facing a workplace and its activities, while identifying suitable controls for preventing damage or injury and minimising risks. They are legally required for all businesses, with companies with over five employees needing to record and constantly update results. Risk assessments are necessary if you are self employed or are an employer in order to assess any health and safety risks arising from the work environment. They protect employees and clients, and could place an organisation in danger if any adaptations required to minimise risk are not made above legal obligation. A risk assessment should always be carried out before participating in any work which presents possible risks, and should be reviewed and amended when a significant altering of the workplace occurs, such as the introduction of new procedures and equipment, or a change in personal circumstances.

Key References Architects Registration Board 2010, The Architects Code: Standards of Conduct and Practice. Available:http://www.arb.org.uk/professional_standards/regulating_architects/architects_code_201 0/default.php.

Key References

Risk Assessment Table

Healthy Working Lives 2010, 23rd April-last update, Risk Assessment. Available: http://www.healthyworkinglives.com/advice/minimising-workplace-risks/riskassessment.aspx.

Chappell, D. & Willis, A. 2005, The Architect in Practice, 9th edn, Blackwell Pub., Oxford. GENERAL CRITERIA

AP : Working Learning Architectural Placement: Working Learning Six Short Essays| 2012 REGULATORY CONTEXT: CONSTRUCTION DESIGN AND MANAGEMENT Q. What are the Clients and Designer’s duties under the Construction (Design and Management) Regulations 2007? Learning Outcomes: LO2

An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects. (GC6, & 11)

Extract

Clients must investigate the competence and resources of all persons involved in the project, ensuring suitable arrangements are put in place regarding the management and welfare of the project. If a project is notifiable, the client must take on the task of appointing a Construction Design Management (CDM) co-ordinator, as well as a principal contractor once the client has gained enough knowledge of the project to recognise suitable individuals. All Health and Safety information and pre-construction information must be provided to the CDM co-ordinator. The client then must make sure a plan for the construction phase is in place, and adequate facilities are available on site. CDM Regulations 2007 also state duties required of the designer. The designer must make sure the client is aware of their personal duties as well as his own; avoiding foreseeable risks to the health and safety of anyone involved in the project, from individuals carrying out construction work to people cleaning the windows, while modifying the design accordingly. Designers should assist the client, other designers and building contractors to comply with their regulations by providing them with sufficient design information. They should work to eliminate hazards and provide information about remaining risks while being adequately resourced to address such risks. Through co-ordinating their work with others involved in the project, the architect should aim to provide a controlled and safely managed environment. If a building project is notifiable, then the designer must wait for a CDM co-ordinator to be appointed before resuming with the project. Sufficient design details and health and safety information must then be supplied to the CDM co-ordinator in order to help him with his duties.

The Construction (Design and Management) Regulations put into place in 2007 aimed to safeguard the health and safety of individuals who work in the construction industry, designing out or managing risks. Danger has constant presence in the construction industry, resulting in a heavy need for improvements in the attitudes and behaviour of individuals. The regulations are implemented by the Health and Safety Executive (HSE), setting out a code which clients and designers should adhere to establishing individual responsibilities and maintaining the health and safety of all involved in a project. They highlight possible risks to the contractor, client and designer, aiming to improve the general health and safety of the construction industry and put focus on effective project planning and management. It ensures that all participants in the project uptake their individual responsibilities, working together to remove possible threats to everyone’s safety. The client takes responsibility in ensuring appropriate arrangements are put in place to allow others involved in the construction project to carry out their work in sufficient Key References time with appropriate resources. Before work begins on a project, the client must Chappell, D. & Willis, A. 2005, The Architect in Pracensure all persons involved in the design and tice, 9th edn, Blackwell Pub., Oxford. construction phases are provided with the necessary preconstruction information. Health and Safety Executive 2007, The Construction (Design and Management) Regulations 2007 Available: http://www.legislation.gov.uk/ uksi/2007/320/pdfs/uksi_20070320_en.pdf

Year 3.

Architectural Placement: Working Learning Six Short Essays| 2012 PROCUREMENT Q. How does design responsibility differ in ‘Traditional’ and ‘Design and Build’ procurement? Learning Outcomes: LO2

An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects. (GC6, & 11)

Extract

The general contractor provides his own forces to tackle the project, maintaining his role as purely managerial, while sub-contractors supply almost all components of the project. While the contractor runs the project, the architect acts as the owner’s agent, reviewing and appointing site instructions and updating all necessary documentation. This distance from the project construction mean the architect acts in an impartial way, looking out for the client and providing fairness to potential bidders. Design and Build procurement refers to when all design and construction services are carried out by a single professional contractor. This contractor may however employ an architect to help in the preparation of construction drawings and design possibilities. The architect has no relationship with the original owner though and treats the contractor as if he were the employer from the beginning of the project. This type of procurement seems to generally lower risks and costs as all design and construction work is being carried out by a single entity, with all responsibility being placed upon the contractor. The owner may have little involvement in the project through this method, as the contractor deals with issues of cost, profit and time management as well as design issues. Responsibility is lifted from the owner, as they are removed from between the architect and the contractor. The risks which could occur when two parties are clashing over design intentions is also removed, with all faith being placed on the contractor and his team.

The Construction (Design and Management) Regulations put into place in 2007 aimed to safeguard the health and safety of individuals who work in the construction industry, designing out or managing risks. Danger has constant presence in the construction industry, resulting in a heavy need for improvements in the attitudes and behaviour of individuals. Traditional procurement is the typical project delivery method where the client, agency or individual contracts separate entities to carry out the design and construction stages of a project. At the first stage of ‘traditional’ procurement, the owner or client first employs an architect to design and produce tender documents. The architect has the responsibility of identifying the needs of the client in order to produce the necessary documents depicting these needs through a written programme to be eventually referred to construct the project. Through the help of other professionals such as engineers and cost consultants, the architect produces a conceptual or schematic design. Contractors have no design responsibility at this stage. After the design stage, the tender documents are bid on by various general contractors, and the architect is required to review all bids in order to advise the owner on a suitable Key References proposal. The client then has to make a decision on a contractor to Chappell, D. & Willis, A. 2005, The Architect in Pracwork with based upon the contractor’s quality, reputation tice, 9th edn, Blackwell Pub., Oxford. and value for money. Once all bids have been cast and a contractor is decided upon by the owner, the tender documents may be updated and construction can begin after all necessary building permits are approved.

GENERAL CRITERIA

AP : Working Learning Architectural Placement: Working Learning Six Short Essays| 2012 LEGAL ORGANISATION Q. Compare the benefits of organising an architectural business as a partnership and as a company. Learning Outcomes: LO3

An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry. (GC6, 10 & 11)

Extract An advantage of a partnership is that the partners are jointly liable for the business, and through working together they have the ability to raise more funds due to the provision of funds from both parties, as well as their new combined creative brainstorming power for the generation of ideas. There is a combination of varying knowledge, skills and contacts to be drawn upon in a partnership. The borrowing capacity of the practice may also be greater. Business expansion may occur due to having two or more principals that have the ability to supervise and understand more projects, resulting in a cost effective practice as each partner specialises in specific aspects of the business. This may prove to be a cheaper and more productive alternative to hiring an experienced architect on a high salary to organise administration work, as a partner has personal interest in the business as he gains from its success. Within partnerships, accounts do not need be published, ensuring an element of privacy within the business and nondisclosure to all parties. Companies have to file annual accounts with Companies House. A partnership is relatively easy to set up due to its clear structure and minimal legal fees and documentation; establishing a tight structure of moral support while if one partner is to leave the business or circumstances change otherwise, a younger partner may be brought in to ensure the business benefits by virtue of prestige and an element of continuity in personnel which encourages the return of clients.

A partnership might also produce more jobs as while one principal might not have enough money or work to employ more assistants, a business with two or more partners might be able to do so. Unlike partnerships, companies are separate legal entities and directors are not personally liable for the company’s debts, protecting personal assets. When a director dies or resigns, the company does not cease to trade as an already trusted staff member can be promoted to director status on a salary instead of giving up part of the company through shares. When problems occur then directors are easier to remove than partners due to the company being owned by the primary shareholders. Companies are more internationally recognized and have a more credible status in the market place, increasing capital wealth and possibilities to develop business both locally and overseas, as firms are more familiar with working with companies rather than partnerships and people are more likely to invest time and money in them. The ability to accumulate funds is greater in a company, because with the current tax rates, company profits are assessed to corporation tax at lower rates than if income tax were payable on equivalent profits earned by partnerships. Setting up a business through the structure of a company may also be regarded as safer, as the registration through Companies House ensures the protection of the name if another company with a similar name threatens to damage the company’s reputation. In a partnership, partners take their earnings from the business profit, which may prove beneficial to them if the practice is generating a lot of income. However, companies provide a more stable income for its directors, as they can take their earnings as salary and if they hold shares, by way of dividend.

Key References Chappell, D. & Willis, A. 2005, The Architect in Practice, 9th edn, Blackwell Pub., Oxford.

Year 3.

Architectural Placement: Working Learning Six Short Essays| 2012 FEES I believe that fee scales should be reinstated as it allows fair practice and provides fair prices for all Q. Why were the RIBA fee scales abolished? Forarchitectural work. The removal of fee scales allows mulate an argument for or against fee scales? for undercutting in order to win work to take place between architects, enhancing competition based on Learning Outcomes: price instead of skill and design ideas. The dwindling fees lead to a loss of quality in the architecture world, LO3 An understanding of the role of the Architect in resulting in poorer buildings being constructed. This society, including knowledge of professionalism and also leads to unsatisfied customers, and overall a emerging trends in the construction industry. lowering in the reputation of the architecture (GC6, 10 & 11) profession. The determination to charge low costs means less Extract money is funding the architectural profession; a profession which is already losing its financial and Mandatory fee scales were put forward by the Royal social status as clients go for price over skill, and on a Institute of British Architects in their Code of Conduct in whole architects receive lower bids on projects. order to be used by all architects throughout the UK, and It may also prove difficult for architects to justify really thrived during the ‘golden years’ of architecture – their fees to clients with the lack of official fee scale between the war and the 1980s. graphs. Kevin Drayton of Huddersfield practice They aimed to provide minimum rates of charges for One17 Design has stated: architects, stating how much an architect should charge for “Few clients genuinely understand what architects do, his work and ensuring all architects agree to charge same and even fewer still appreciate the time rate for projects, eliminating competition between firms involved”. regarding price. Clients may not appreciate how much work is The scales were enforced on members of the RIBA and required of an architect in order to carry out a project could be used to discipline architects if they refuse to act and haggling may occur over the proposed hourly accordingly to them. They gave indicative relative costs to rate put forward by the designer. By having a physical the provision of architectural services, using graphs which fee scale graph to refer to, a client would struggle to featured percentages of construction costs of all work and argue about the price of the incorporated the amount of time devoted to the design work. process. For these reasons I believe that fee scales are In 1982, due to the economic climate at the time, the fee important to the world of architectural practice as scale graphs were no longer made mandatory as it was seen they ensure appropriate investment in businesses and as outdated in calculating skills and could prove harmful to provide definite prices to base architects fees on. the architectural profession. The removal of the fee scales was seen as a way for architects to be able increase their Key References income by offering cheaper deals on service, encouraging new clients to employ the practice. Fee scales were seen as Capital A Architecture Limited 2009, 15th July-last anti-competitive by the Office of Fair Trading and clients update, Architects Fees. could now choose a designer based upon what deal was best Available: http://capitaladesign.blogspot. for them. com/2009/07/architects-fees.html.

Small Firm Services Limited 2005, Benefits of a Company? Available: http://www.sfsgo.com/benefits-of-a-company.asp

The Architect’s Journal 2009, 22nd October-last update, RIBA to bin ‘outdated’ fee scale graphs. Available: http://www.architectsjournal.co.uk/news/ daily-news/-riba-to-bin-outdated-fee-scalegraphs/ 5209827.article. GENERAL CRITERIA

AP : Working Learning

Year 3.

Design Principles No requirements were set out by local planning law, however the design team wish to keep it economical, reducing the footprint by arranging the building spaces over 3 floors, creating a large commercial building of only 5304m2 net floor area. Great Glen House is to fully comply with the requirements of the Disability Discrimination Act 1995, providing full wheelchair access and good colour and tonal contrast. The design is to provide good spatial qualities, organising functional areas around a central atrium while connecting the buildings users with the external environment. The character of the project is to reflect the ethos of SNH, representing natural and cultural qualities of Scotland, acting efficient, authoritative and accountable.

The office space is open plan to maximise air flow across the building and is located on the east side to maximise views and morning preheat, while lowering afternoon heat gain.

Programme

External Louvre’s control glare and excess heat gain while reducing the need for artificial lighting. After a warm day, windows on the north side open at a high level, pulling cool air below the concrete floor slabs, resulting in a cooling effect when needed with their thermal sink properties.

Decontamination of the site is to be carried out before a modern procurement method is adopted, involving supply chains within a Design and Build framework. To speed up construction, both pre-cast and in situ elements have been chosen, depending on material availability. Void formers will be used to reduce the mass of concrete required, while allowing location for services and light fixings. Standardisation will be used to reduce waste when constructing the timber panels, while the Building Research Establishment audits waste management monthly. Design Solution An open plan atrium will act as a circulation space, allowing various social functions to be held; while 2 bridges provide connection between the west wings and the offices.

The glazed atrium will heat naturally at a high level by the sun drawing cooler air through the office space and out through 4 ventilation chimneys. Motorised windows react to sensors monitoring temperature and carbon dioxide; reducing the tendency for staff to become sleepy.

While the concrete floor slabs hold hot water pipes within them and 100mm insulation below them, atop will be local Caithness slate flooring. The dark floor will absorb heat from the sun to contribute to the heating and convection process. Rockwool insulation is used extensively; a manufactured material, however the cost of natural materials would be higher and require chemical upkeep. The predicted heating season should be reduced to 17 weeks.

Ventilation Strategy

A suspended ceiling is to be installed in strips across the office floor space, housing lights, cables and service runs. Dropped far below is concrete soffit which covers at least 30% of the ceiling soffit to give an appropriate acoustic rating. Suspended lighting height from the floor was based on luminance levels. Sun pipes will be installed in the boardroom to evenly distribute light.

Passive Air Environment Commodification: Day Visualisation of Atrium Interior

Organisation of Primary Elements

The public library benefits the local area while acting as a locator.

Architecture Placement: Working Learning Design Report| 2012 SCOTTISH NATURAL HERITAGE HQ | GREAT GLEN HOUSE Brief: This project asked students to report upon a building project which they had experience of in practice to develop awareness of themes discussed in lecture series, as they apply to our own practical experience. The project takes a further look at the process of a Design Statement as it aims to produce a similar style of document.

Wellbeing is used heavily to drive the design process; therefore it was decided to work towards a less commercial feel for workplaces flooded with twice the average amount of natural light through full height double glazed windows.

Building Introduction

A fitness area and canteen are provided for the staff, both of which are fully self-funded on a commercial basis. A Building Management system will manage services and fuels used throughout the building i.e. water heating, boiler and solar heating. For example, low energy bulbs will be controlled by light level sensors. CAD Image showing Lights lowered to test illumination levels

In March 2003, as part of the Scottish Executives decentralisation strategy, it was decided to move the Scottish Natural Heritage HQ and 290 SNH as well as Deer Commission of Scotland staff from Edinburgh to Inverness – balancing public sector employment levels throughout Scottish regions and encouraging economic sustainability. Requested were meeting rooms, boardrooms, a library, staff room, workshops, labs and other technical spaces. The building must meet precise criteria for environmental performance, including a Building Research Establishment Environmental Assessment Method (BREEAM) Excellent rating, limits for carbon emissions, water usage, air tightness, and the use of ‘A’ Grade construction materials. SNH desire to set new environmental standards at a time where there is growing threat to the climate; reflecting their role as promoters of sustainability.

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Design Solution continued Many energy efficient methods of design will be put in place which should pay back after 10 years. Also considered was the possibility of green technology which may be adopted in the future, with capacity left for biomass fuelled boilers or wind energy systems. Efficient condensing boilers are used while sensors turn off lights if there is a lack of movement. Solar collectors will provide 62% of the hot water needed and 5% of the buildings overall energy needs. Rainwater is recycled from the office and atrium roofs via 6,000 litre underground tanks for use in toilet flushing. The scheme incorporates a new landscape management regime and woodland planting of native trees, while taking care to retain the entrance to the woodland, framing spectacular views. It was decided not to restrict deer from entering the site so other methods in protecting local plants will be put in place with an increased human presence hopefully deterring deer from the immediate vicinity.

Topics Explored in Design Report

LO1

Site details Site and Area Appraisal Design Principles Programme Design Solution Details and Materials Technical Drawings

LO2

LO3

Organisation of Support Functions

Entrance Area and Arrival Strategy

Details and Materials Timber is dominant internally to give an overall light and spacious environment, reflecting the ethos of the organisation in a sensitive rural setting which suggests a particular palette of materials which are more softer. Low embodied energy materials are to be used, such as local Scottish Larch from Novar Estate for the timber cladding, louvres and internal atrium linings. Douglas Fir is to be used for light and acoustically sound raft frames while also cladding the atrium bridge and steel stair structure. Softwood flooring redressed on site is to be used internally and in sheltered external areas. The external cladding is untreated and is expected to dull down over time to blend into the existing beech and birch woodland. Scandinavian Fir is to be used for the windows, as the desired environmental performance and durability cannot be found in the United Kingdom. Proposed Masterplan for Area

All timber details are based upon standard dimensions to minimise waste. The existing nurses building was incapable of adaptive use, however all brick and block from it is to be crushed and re-used. Steel will also be used from the existing structure, while all materials not made use of will be made available to other nearby structures.

A Sustainable Urban Drainage System (SUDS) will remove surface water runoff, while the pond ecosystem acts as a new habitat for new wildlife.

Learning Outcomes:

Passive Air Environment Commodification: Night

The old roofing slates are to be used as wall cladding, the floor boarding for finishing joinery and cladding.

Sedum plants on the library roof help enhance the buildings thermal performance, while providing a specialist habitat for insects, plants and birds.

The old wall masonry is to be crushed on site to provide the high grade aggregates required, while the walls of Great Glen House are to be largely insulated cavity block with recycled rubble feature panels.

One large car park will sit adjacently, fully lit and guarded by security cameras in order to maintain safety. Access roads are made from tarmac for durability, while soft verges allow water runoff.

The atrium access gantry is a Hungarian aluminium system so light it can be manually operated and will not require motor powering like many heavy UK systems.

Scottish Larch Timber Cladding

External Connectivity to the Landscape

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Technical Drawings

Ground Floor Plan 1:1000

First Floor Plan 1:1000

Second Floor Plan 1:1000

Design Statement, Scottish Natural Heritage HQ, Inverness: Great Glen House

Applicant – Scottish Natural Heritage Architects – Keppie Design Developer – Robertson Property Date – October 2004 Background In March 2003, as part of the Scottish Executives decentralisation strategy, it was decided to move the Scottish Natural Heritage HQ and 290 SNH as well as Deer Commission of Scotland staff from Edinburgh to Inverness – balancing public sector employment levels throughout Scottish regions and encouraging economic sustainability. Requested were meeting rooms, boardrooms, a library, staff room, workshops, labs and other technical spaces. The building must meet precise criteria for environmental performance, including a Building Research Establishment Environmental Assessment Method (BREEAM) Excellent rating, limits for carbon emissions, water usage, air tightness, and the use of ‘A’ Grade construction materials. SNH desire to set new environmental standards at a time where there is growing threat to the climate; reflecting their role as promoters of sustainability.

Sketch of Site Approach Landscaping Proposal

Site and Area Appraisals

A new cycle path will connect with the Inverness cycle network, and 55 cycle racks are to be enclosed within a secure structure in the car park area, designed to account for Scottish Highland weather. A heated bat roost will house the areas large bat population.

Typical Section 1:100

Front Entrance Elevation 1:100

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Design Statement: Project Sheets

Location Plan 1:10000

Site Details

Key view to be incorporated into the design

The 80-acre parkland site on the western edge of Inverness, 3.5km from the city centre is the grounds of a disused 19th century Victorian psychiatric hospital, highlighted as a place of conservation and area of strategic importance by the Planning Department.

Front Entrance Plan 1:100

Nearby woodland walks will remain and the adjacent public playing fields in development and Great Glen Way will be facilitated by public use of the Great Glen House car park out with office hours. Public transport is limited. Links to the local transport network aim to be improved by the master plan development, increasing the frequency of busses to 15 minute intervals.

The offices will be situated on a south-eastern facing slope towards Monadliath Mountains, the Drummossie Muir, Culloden Moor and battlefield, and the Great Glen, with the mountains providing shelter from harsh Atlantic weather and south-western prevailing winds. There is an average annual rainfall of 640mm and a daylight time of 6 hours in December, and 20 hours in July. The Highland Council have instigated a Biodiversity Action Plan as a reference for those who value natural visual qualities.

Photos showing rural site and abandoned Craig Dunain Hospital Microclimate and Primary Site Qualities

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GENERAL CRITERIA

6 7

AP : Working Learning

Architecture Placement: Working Learning Reflective Essay| 2012 THE BREEAM RATING SYSTEM Brief: Reflect critically on an issue relevant to contemporary professional practice. Q. The Introduction and use of the BREEAM rating system, its benefits and its effect on architectural practice. Learning Outcomes: LO1

An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered. (GC4, 6, 10 & 11)

LO2

An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects. (GC6, & 11)

LO3

An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry. (GC6, 10 & 11)

Introduction The BRE Environmental Assessment Method (BREEAM) is currently the leading environmental assessment method for buildings in the UK, setting standards for sustainability in architecture. It has become the concrete all-round measure of a buildings environmental performance; aiming to reduce the adverse affects of all human activity on earth. BREEAM demonstrates and encourages improvements in building regulations, while recognising the best practice suitable for green design. The voluntary measurement rating was established in the UK by the Building Research Establishment (BRE) in 1990 to measure newly built non-domestic projects; but has grown drastically geographically as well as in content. The scheme has been exported across the globe in various guises in countries such as North America (LEED), Australia (Green Star) and France (HQE), with the French Building research centre (CSTB) signing a memorandum stating the need for BREEAM and HQE to be in complete alignment. While BRE Global acts as the UK’s National Scheme Operator, other countries are free to develop their own country specific local scheme; adapted to local cultural, climactic and social conditions.

Conclusion I believe that the introduction of the BREEAM rating system is a positive gain to modern architectural practice. The credit system along with the application of a definitive rating to green buildings, gives architects something to strive for throughout the design process. The recognition of good environmental design acts as a mass marketing tool, while also proving to beneficial to local economic and social climates. Overall, I believe any attempt to better human lifestyles and preserve our future is a positive one.

Year 3.

Selected Bibliography Bleakman, J. 2012, How to achieve a high BREEAM rating for your office [Homepage of Morgan Lovell], [Online]. Available: http://www.morganlovell.co.uk/useful-info/articles/how-toachieve-a-high-breeam-rating-for-your-office/ [2012, 23 April]. BREEAM Registered Assessors 2012, BREEAM: About BREEAM [Homepage of BRE Global], [Online]. Available: http://www.breeam.org/page.jsp?id=66 [2012, 23 April]. Digital Realty 2012, Energy Efficient Data Centres [Homepage of Digital Realty], [Online]. Available: http://www.digitalrealtytrust.co.uk/green-data-centre.aspx [2012, 23 April]. Evans, D. 2012, Breeam Rating, Breeam Assessment, Breeam Certification [Homepage of Darren Evans Assessment Limited], [Online]. Available: http://www.deassessments.co.uk/ new/index.php/our-services/breeam.html [2012, 23 April]. Jackson, M. Association for Preservation Technology International (APT) 2010, “Green Home-Rating Systems: A Preservation Perspective”, APT Bulletin, vol. 41, pp. 14 - 18. Microgeneration Ltd. 2010, BREEAM Assessment [Homepage of Microgeneration Ltd.], [Online]. Available: www. microgeneration.com/Audience.../Architects-and-Consultants [2012, 23 April].

GENERAL CRITERIA

Year 4.

Semester 1

Semester 2

Architectural Design: Technical Review

| AD

Technical Review Architecture Placement

Architectural Design: Tectonics Make & Create Masterplanning

| AP

Healthy Living Centre Architecture Placement: Reflection Placement Report

| AP

Architecture Dissertation

| DS

Dissertation | The Global City

| AD

AD : Technical Review

Architecture Design: Technical Review Technical Review| 2012 BARCLAYS CENTER Brief: â&#x20AC;&#x153;Constructing works of architecture involves a complex variety of building considerations and systems. The integration of them is fundamental in the translation of architectural ideas in to built form. Your Technical Review Report will describe how this has been achieved in the context of your chosen building. Your building may be one which you have been directly involved with in practice, you have seen published in the architectural press, visited or have experience of in another context.â&#x20AC;?

Learning Outcomes: LO1

Critically appraise and demonstrate understanding of the integration of Structure, Construction, Services, Lighting, and Acoustics, Building Regulations, Health and Safety, Budget, and Inclusive Design within a realised work of contemporary architecture.

LO2

Demonstrate research skills in the context of architectural practice.

LO3

The ability to use visual and written communication methods and appropriate media to clearly and effectively communicate a critical review of precedent design ideas and proposals.

Year 4.

Building Introduction The Barclays Center is a multi-purpose arena for sporting, music sited on part of the Vanderbilt Railyards, primarily set up to house the move of basketball team The Nets from New Jersey to Brooklyn. Initially proposed in 2004 when real estate developer Bruce Ratner purchased the Nets, after years of controversies, groundbreaking on the $4.9 billion arena eventually took place on March 11 2010. The initial architect chosen for the project was Frank Gehry, however the projected $1 billion construction cost was deemed too much and he was replaced by New York based architecture firm SHoP. Due to various reasons however by the time of completion the SHoP design Barclays Center also ended with a construction cost of $1 billion. Topics Explored in Technical Review Structure Construction Environmental Services Planning Approvals and Building Regulations Health and Safety Inclusive Design Budget Integration Statement Through my research into the Barclays Center project, I have developed an appreciation of how all aspects of the design and construction process interlink to shape the final project produced. The particular use of Eminant Domain and the delay in construction has resulted in the need for more investments, altered the construction process and even drastically changed the design as a while after a need for change in the project archiects. Integration into the surrounding neighbourhood has all been inclusive in design, the Barclays center aims to embed itself firmly as an integral part of Brooklyn, benefitting the local environment, blending in and avoiding disruption to the lives of Brooklynites. All environmental and health and safety services are thought out carefully to integrate seemlessly into the rest of the design concept. GENERAL CRITERIA

6 7

AD : Technical Review

Year 4.

Batch of Steel panels during weathering process

BIM Modelling Technology

GENERAL CRITERIA

6 7

Visualisation of Interior of Messana O’Rorke project - Galahad Drive in Malibu.

Architecture Placement Internship in New York City| 2013 MESSANA O’RORKE September 2013 - December 2013

Visualisation of Messana O’Rorke project Interior in Pasadena, Claifornia.

Messana O’Rorke As I embarked on my internship with Messana O’Rorke, I was involved in a variety of projects. Within the first week, I had been involved in discussions with my bosses and the other interns about various marketing possibilities and strategies which could be incorporated in an attempt to expand Messana O’Rorke into a wider market range. The majority of the projects I have worked on to date include the creation of digital models, visualisations and walkthroughs of various Messana O’Rorke designs, which include a variety of projects from apartment interior renovations to complete building developments. I have also helped in putting together presentations in which the firm show to possible clients, contractors and others within New Yorks architecture circles. The use of these self promoting presentations is a recurring thing in the firm, often helping to secure work. These presentations have also been developed for use within large groups, for example. Brian Messana is known to be a guest lecturer at various design school around the country; meanwhile exposing the work of the firm to a greater audience, generating a name and credibility.

Visualisation of Exterior of Messana O’Rorke project - Stirling Place in Brooklyn.

AP : Reflection

Year 4.

Conclusion

Architecture Placement: Reflection Placement Report| 2013 HOW HAVE ARCHITECTS DEVELOPED THEIR MARKETING SKILLS OVER RECENT YEARS? Brief: “The Placement: Reflection involves the writing of a Report which is a focused study of a particular aspect of architectural practice, or related activity carried out during the placement then submitted on return. This course is seen as complimentary to Architectural Design Placement (working learning). The purpose of this handbook is to describe what is required and how to present your work in the form required.”

Learning Outcomes: LO1

The ability to propose a subject of study with clear objectives demonstrated through the submission of a summary.

LO2

The ability to thoroughly analyse, reflect and demonstrate familiarity with the chosen topic ensuring references to key texts in the field.

LO3

The ability to present written work (including drawings and illustrations) that is objective, lucid, clearly expressed and shows a coherent structure and style.

Through researching the topics discussed in this report, as well as experiencing many of the comments made throughout the report first hand while working as an intern at Messana O’Rorke at the moment, I have discovered how important it is to fully understand where your practice sits in regard to the larger scale and nature of the architectural profession. The shift in persona from a purely creative individual to business savvy modern architect feels particularly important. In this current economic climate, the Abstract competition between architects and the overall struggle to secure clients and commissions is proving Within this report I will attempt to break down and understand the various to dissolve many phenomena which have shaped the architecture professions relationship with architecture firms; therefore, money and time marketing. invested in appropriate marketing strategies feels vital The architects incline towards marketing its services has increased over recent for survival in this cut throat industry. years as architectural practices have become fully private operations; with many Through my research into marketing within the firms realising the need to generate interest within their practice in this market architecture profession, I have developed knowledge dependent and driven industry. I plan on discussing this shift in the nature of on the most effective ways to market an architecture architectural practice from the notion of a public service or environmental duty, firm, the importance on to an industry which defines itself as a market seller. creating a specific brand identity, and to not After developing knowledge of how architecture places in the marketing world both internationally and specifically in New York City, I will attempt to explore the underestimate the power of networking. During my placement period within an architecture most effective use of marketing architectural services. office in New York, I have learnt many skills regarding the design process; however it has been a Topics Covered recurring theme that on top of all, the most important thing within the profession these days is New York City developing the ability to secure work. - Messana O’Rorke If an architecture firm fails to create interest in their practice, gain clients or generate capitol, the The Shift from Public Service to Market Seller repercussions can be fatal to the architect’s future. - Post War This to me signifies the extent to which the - Fee Scales architecture profession has evolved from a public - AIA Regulations service, to a complete market seller. - Change in Political Landscape My time living in New York was a completely new - Deregulation experience to me; coming from a quiet town in the rural highlands of Scotland to seemingly the Marketing Architectural Services epicentre of all activity, New York City has - What does an Architect market? emphasised how drastically competition within the - Marketing Strategies field of architecture can drive architects to fully - Creating a Brand marketing their firms. - Networking GENERAL CRITERIA

AD : Tectonics Original Study Piece

Year 4.

Woodwork Exploration

tHeMeS eXPlOred

I then went on to create wooden ‘blocks’ which I could arrange and rearrange in various combinations. The study allowed the exploration of the relationship between primary and secondary networks, as well as a look at how solid forms may embody a flexible characteristic which provides the opportunity to suggest a relationship between forms which are not necessarily physically attached.

Carston Peter Cracked Mud 1999

SOlid VOid eMerging erOSiOn adaPting legacy Photographer, Filmmaker, BiolocOnnectiOn gist, Adventurer. rOute PreSSure Carston Peter usually deal with large scale environmen- enclOSure tal wonders. However in this deStinatiOn case an intimate examination Scale intercOnnectiOn of the environmental process of mud cracks, which netwOrk form when streams or lakes SeParatiOn dry-up during droughts as NETWORK HEIRARCHY strain develops and the top layer tries to shrink while the material below stays the same size.

Architecture Design: Tectonics Civic Fabrication: Making [Sense] of Place| 2013 MAKE & CREATE Brief: “Students must identify a sculpture, painting, photograph or other work of art to act as the starting point for a series of quick, iterative, model/drawn/photographic investigations on a theme suggested by the piece. A list of suggested works will be provided to students, or an independent choice can be made if approved by the tutors.” Learning Outcomes: Learning Outcomes: LO1

Understanding of tectonic, structural, constructional, environmental and contextual matters. (GC1, GC2, GC7)

LO2

Ability to research, analyse, synthesize and integrate with design an appropriate technological approach. (GC2, GC5, GC7)

LO3

Skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions. (GC1, GC2)

Oasis Exploration In my initial studies, I tried to mimic the photograph in a slightly abstracted form, creating natural looking grooves and networks within a piece of oasis. This study evoked many of the themes I was originally interested in; depth, light, dark, dominance and network hierarchy.

GENERAL CRITERIA

AD : Tectonics

Plate Exploration A tectonic study I conducted, which I found particularly interesting is a project involving a standard dinner plate. After my initial studies, I had the wish to explore crack formation within materials in a less contrived way. After leaving the plate in the oven for a prolonged period of time, the intense heat allowed for natural cracking to occur.

Year 4.

There is a clear indication in the difference between primary and secondary networks splitting up the solid form of the ceramic material. These dividing networks also suggest a hierarchy in solid spatial elements within the piece. The cracks are more occurring in some areas than others, evoking the idea that some parts of the plate are stronger and more dominating than others.

I felt the outcome of the study allowed a fascinating exploration into the hierarchy of crack networks shooting through the plate which was once whole.

Ice Exploration Investigating the forms and networks within naturally cracked ice. The piece pin points the ability for elements to withhold a sense of belonging to the one entity yet physically be separate - An idea explored in my design for the Healthy Living Centre; exploring the use of various geometries and materialities.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Zaha Hadid Paintings Taking influence from these paintings by Zaha Hadid of urban infrastructure and development, I developed a similar graphic regarding the urban layout of the Dalmarnock Area, layering up the various networks routes and division of programmes.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Architecture Design: Tectonics Civic Fabrication: Making [Sense] of Place| 2013 MASTERPLANNING Brief: A masterplan is a vision for how an area will develop, a prospective narrative for the community, a story made up by urban designers. These documents propose the civic future of Dalmarnock. We will tell each other these stories. We will consider, amongst other things, the social, historical, physical and economic impacts of each proposal. As the stories are told we begin to make them our own. Students will found the narrative thread for their building proposals in their version of this story. Learning Outcomes: LO1

Understanding of tectonic, structural, constructional, environmental and contextual matters. (GC1, GC2, GC7)

LO2

Ability to research, analyse, synthesize and integrate with design an appropriate technological approach. (GC2, GC5, GC7)

LO3

Skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions. (GC1, GC2)

Importance of Brick in Area All civic developments within the area are constructed in tradition red brick. I aimed to maintain this with my Healthy living Centre in an attempt to create a link to the identity of the area, while still aiming to redevelop the local community. A cracked brick holds many of the themes of this project, splitting in such a way which creates a division in network hierarchies, yet still suggesting through materiality and geometry a sense of belonging to one another.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Creating a Route /Highstreet to Connect Communtiy The project aims to link all corners of the community through the use of various programmatic elements.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Networks Aka. ‘Cracks’ This graphic is based upon my original tectonic study of a cracked plate and shows the importance of various routes and traffic networks in the area of Dalmarnock.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Networks Aka. ‘Cracks’ Graphic showing division of developments in area. My proposed masterplan refers to these various programmatic layouts, as it mimicks the division of the spaces although on a smaller scale.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Site Specific Network Division The chosen site for my development acts as a microcosm of the whole of Dalmarnock, mimicking the networks of the wider area on a smaller scale.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Industrial Residential

Healthy living Centre

Retail

Office Retail Residential

Master Plan 1 : 1250

GENERAL CRITERIA

AD : Tectonics

Year 4.

Architecture Design: Tectonics Civic Fabrication: Making [Sense] of Place| 2013 MASTERPLANNING

The Dominant Brick Wall meanders throughout the project, creating spaces and divisions, each holding a number of fuctions and importance

Brief: “HLCs are a modern concept, combining social, arts and medical facilities to promote and support the healthy life (physical and mental) of local people. It is an elastic building typology that is various and can be interpreted to suit the needs of the local community. The Dalmarnock HLC will form the civic core of the growing community. Students may adapt the brief to address their own Civic Fabrication (= masterplan ‘story’).” Learning Outcomes: LO1

Understanding of tectonic, structural, constructional, environmental and contextual matters. (GC1, GC2, GC7)

LO2

Ability to research, analyse, synthesize and integrate with design an appropriate technological approach. (GC2, GC5, GC7)

LO3

Skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions. (GC1, GC2)

Elevation showing relationship between Brick and Glazing

GENERAL CRITERIA

AD : Tectonics

Year 4.

My design for the HLC aimed to merge various demographics people through the adjacency of various functions. Each element of the HLC complex is designed to withhold a number of functions, while also creating a relationship with its surrounding programmes. The centre positions itself along a highstreet, as the dominant brick wall meanders through retail and office units already in position.

Offices

Multi-purpose Hall

Cafe/Resteraunt

Gym Reception/ Changing Area

Youth Centre

Citizens Advice Bureau / Computer Skills Classes etc.

Ground Floor Plan 1 : 400

GENERAL CRITERIA

AD : Tectonics

Year 4.

Conference Rooms and Offices

Gym

First Floor Plan 1:400 GP Nurses Office/ Storage

GENERAL CRITERIA

AD : Tectonics

Year 4.

Roof Plan 1 : 500 - Over time the Copper Clad roof of the design will turn green, adapting alongside the predicted change within Dalmarnock.

GENERAL CRITERIA

AD : Tectonics

Year 4.

Masterplan Section 1 : 1000 - Section taken along the highstreet showing the density and spatial relationships created through the Healthy Living Centre and throughout Dalmarnock

North Facing Elevation 1 : 350 - Section taken along the Highstreet showing the density and spatial relationships created through the Healthy Living Centre and throughout Dalmarnock. The highly glazed external facade evokes the modern highstreet, only broken up through the steel beam structure and copper panelling present at areas which require more privacy.

GENERAL CRITERIA

AD : Tectonics

Year 4.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Detail Construction Section 1:50 - The building focuses on the importance of the double brick wall. The double leaf construction allows interesting construction. A steel framework emerges from the brickwork and sits within a concrete poured base. Large glazed units are installed as well as the use of a large steel truss construction holding up the copper glass roof over the multi-use sports hall.

GENERAL CRITERIA

AD : Tectonics

Year 4.

East Section through Reception, Gym and Sports Hall - Relationship formed between gym and double height sports hall. the section also shows the relationship between both external sides of the centre - the public high street and outdoor basketball courts.

Section through Cafe (First Floor) and Business Offices and Conference Rooms - The adjacent placement of functions mixes the offices, and available to the public conference rooms with commercial and retail developments

GENERAL CRITERIA

AD : Tectonics

Year 4.

The Healthy Living Centre focusses on Social Sustainability, providing use for various demographics throughout the day. For example the Cafe Space acts as a location for Coffee Breaks and quick lunches for the businessmen and women of Dalmarnock, before becoming a resteraunt and bar in the evening.

The Youth Centre Provides Daycare facilities allowing local parents to pursue their career goals, before focussing on benefitting the youth of Dalmarnock through providing a youth club. This importance on providing for the whole of Dalmarnock creates a sense of civic presence and a sense of belonging firmly in the â&#x20AC;&#x2DC;Community of Dalmarnockâ&#x20AC;&#x2122;

GENERAL CRITERIA

Abstract

Year 4.

In a culture of globalization, how successfully do cities use architectural design in an attempt to place themselves as ‘Global Cities’? Does the aspiration for international status sacrifice the city’s identity? Or is it possible to maintain an attachment to the cultural and social narrative of the city? This thesis aims to decipher the notion of brand narrative in architectural developments within the concept of a 21st century ‘Global City’. Through reading material, I have explored the ideas put forward by various authors and journalists regarding what they perceive to be the ‘brand’ of particular cities around the world – before dissecting modern architectural elements within the cities, which are regarded as key developments in positioning the city on an international pedestal. I react to the opinions of others, regarding what each city represents, agreeing in some cases, yet also attempting to unearth aspects of the cities architecture I believe they have failed to notice; aspects which successfully place the buildings within their current socio-economic climate. Having explored the current architectural scene within each city; I then assess how successfully these developments advertise positive aspects of the city, looking at how frequently a project is mentioned in both local and international press. Conclusion Extract

Architecture Dissertation Dissertation| 2013 THE GLOBAL CITY: AN ANALYSIS OF THREE CITIES REGARDING THE SACRIFICE OF BRAND NARRATIVE

Learning Outcomes: LO1

Detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes;. (GC2, GC3, GC9)

LO2

Ability to construct and synthesise an intellectual argument ex pressed against stated objectives and presenting original conclusions. (GC2, GC3, GC9)

LO3

Ability to product a substantial piece of academic writing, coherent, attractive, illustrated, well-written, using correct referencing conventions and the acknowledgement of sources. (GC2)

Through the research of the three case studies, along with the analysis of how architectural developments are perceived internationally, I have gained an understanding of which forms of contemporary design manage to promote the various sectors of cities, and therefore benefit the city’s campaign to achieve global resources. While there are many criticisms of globalized and commercial architecture; stating that there is a lack of relationship between contemporary design styles and the initial identities held by cities; my investigation into a selection of recently developed buildings has identified design techniques which may be drawn upon when attempting to embed architecture within current economic and cultural contexts. Buildings designed by internationally renowned architects still possess the ability to be unique, and hold many ways to mould to historical references and current social infrastructures. It appears cities may concentrate on promoting their ideals to other world cities, or they may aim to develop their localised infrastructures in an attempt to extract the best qualities from within their urban fabric. 88 In the likes of Tokyo, there appears to be mass benefit in the harvesting of internal power. However, while architecture which reacts to the city’s strive and desires may be important, there is also a profound need for an identifiable and refined urban landscape of visual references, in order to gain international attention and resources.

Selected Bibliography Bognar, B. 1997. Tokyo, Chichester, Academy Editions. Foster, N. 2001. Foster : catalogue 2001, Munich ; London, Prestel. Harris, J. & Williams, R. J. 2011. Regenerating Culture and Society: architecture, art and urban style within the global politics of city-branding, Liverpool, Liverpool University Press. Ibelings, H. 2002. Supermodernism: Architecture in the age of globalization, Rotterdam, NAi. Klein, N. 2010. No logo: No space, no choice, no jobs, London, Fourth Estate. Klingmann, A. 2007. Brandscapes: Architecture in the Experience Economy, Cambridge, Mass. ; London, MIT Press. Lubell, S. 2008. London 2000+: new architecture, New York, Monacelli Press. Mitchell, W. J. 2005. Placing Words: Symbols, Space, and the City, Cambridge, Mass. ; London, MIT Press. Sacchi, L. 2004. Tokyo: City And Architecture, Milano, Skira Sassen, S. 1991. The Global City: New York, London, Tokyo, Princeton. Tajima, N. & Powell, C. 1997. Tokyo: Labyrinth City, London

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