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PORTFOLIO 2019/2020 JOSEPH CADEN 170330422

PORTFOLIO 2019/2020 FUTURE CITY STAGE 3

ACKNOWLEDGEMENTS I would like to thank my tutors, Luke Rigg and Kieran Connolly, who have both guided me through stage 3 with their expert advice and encouragement. I am very grateful to have been a part of the 2019/2020 Future City studio.

CONTENTS 8

ILLUSTRATED REFLECTIVE REPORT

CHARRETTE - GIVE A DAMN!

PRIMER - THE “CREATIVE” QUARTER

STAGING - A PLACE FOR COMMUNITY

REALISATION - SOCIALLY DRIVEN DESIGN

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SYNTHESIS - ST JAMES COMMUNITY CENTRE

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

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BIBLIOGRAPHY

AMENDED WORK AFTER REVIEW NEW WORK COMPLETED AFTER REVIEW 7

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Stage 3 has been an enjoyable and fulfilling learning experience. At the start of the year I identified several areas in which I wanted to improve. These were focused around architectural representation and general digital skills. Whilst reflecting on my work throughout the year, I feel as if my skills have improved significantly. The Future City studio was focused around the regeneration of the Baltic Triangle in Liverpool. This post-industrial site is now considered a creative hub and is undergoing vast transformation. An increasing number of bland, unaffordable, placeless developments now litter the site. Many of the developments amenities also focus on night-time activities and often out price locals. Considering this, my design project focused on providing for the existing community of the area. St James Health Centre, which sits on the periphery of the Baltic Triangle, currently lacks the necessary facilities to serve as a functional community centre. My proposal rebuilds this centre and aims to combat the standardised market-led architecture of the area.

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REFLECTION ON STAGE 3

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Arts Centre, an example of community-orientated design. This was not only helpful in terms of studying alternative approaches to design, but also vital in terms of learning digital 3D modelling skills. The process of producing an axonometric of the Battersea Arts Centre forced me to experiment with different software and progress as a learner. Reflecting on my development throughout the year, I believe that building upon the initial expertise I gained whilst working on the case study ultimately enabled me to produce a detailed final model of my proposal. Producing a digital model of my design became even more paramount considering the necessary introduction of remote teaching that restricted me from being able to produce a comprehensive physical model. In that regard, Primer was an extremely successful and important stage of the project in terms of learning new skills. In Staging I produced one of the most important drawings of the project. Ultimately, I wanted to translate my Primer research into a more formal sociallydriven architectural proposal. After identifying St James Health Centre as a potential site for a community building I began to experiment both spatially and programmatically. This was done through producing composite drawings and fragmented collages that conveyed moments of inhabitation. To add a new dimension to this approach I produced a large-scale relief collage. These drawings were paramount to my design process as they informed both the programme and form of my building. In conjunction with physical contextual analysis I

Primer was an opportunity to research the issues of gentrification and critique the market-led architecture. Early on in Primer, I found expressing my social agenda and critical analysis of the area difficult. However, I found that using collage, or rather the notion of collage, was a useful tool to convey the generic nature of the developments. I produced three large scale pieces. The first critiqued the way in which the developments are advertised, the second explored the spatially repetitive nature of the architecture, and finally I produced a photo collage that explored generic faรงade systems. In addition to critiquing architectural developments, I produced a case study booklet on the Battersea

TOP: PRIMER COLLAGES BOTTOM: STAGING RELIEF COLLAGE ILLUSTRATED REFLECTIVE REPORT

ILLUSTRATED REFLECTIVE REPORT

began to explore building forms through a rigorous iterative process, transitioning between 3D models and 2D drawings. Looking back on my project, I feel that there is a clear relationship between my early collage work and the final form of my design. I think this shows that my process of design was successful in terms of embodying initial concepts, whilst also responding to the social needs and physical context of the site.

concrete. These materials all subsequently feature in my final building proposal. With that in mind, I think the project was clearly enhanced by researching the representational theory behind my Staging collages. However, I do think the essay could have been formatted more creatively and used as another medium to explore the practice of collage. The ARC3014 Professional Practice unit is another strand of the year that is integrated closely to the design module. The essay explored the many layers of building design development. The module gave me an understanding of what it takes for a project to develop from stage one to seven in the RIBA Plan of Work. The essay also gave me a clearer understanding as to how the building could respond to the socioeconomic context of the site. My proposed building sits on the boundary between the Baltic Triangle and another neighbourhood known as RopeWalks, the intention to include a clock tower in my design had developed from the idea that this would allow the centre to act as a beacon for the surrounding area. This would also reinforce the civic nature of the project. Whilst reading local planning guidance for ARC3014 it became clear that the project could serve as a link between the two neighbourhoods encouraging collaboration amongst different user groups. I really enjoyed the process of completing the Professional Practice essay â&#x20AC;&#x201C; perhaps this is because it provided clarity on the project as a whole.

In addition to the design module, three other modules were integral to the development of the project. These were ARC3013 Integrated Construction, ARC3014 Professional Practice, and ARC3015 Theory Into Practice. The Theory Into Practice essay gave me further understanding into how my collages, and more abstract forms of representation, can inform formal design proposals. In the essay, I analysed the role of collage in my site reading and design processes. I then reflected on these approaches in relation to the practices of the Russian Avant-Garde and Daniel Libeskind - who both use ideas of fragmentation to create ambiguity and express notions of architectural form. Whilst developing this essay it occurred to me that some of my staging collages failed to address the idea of community in the sense that they did not include people. By including people within my collage, I was able to convey the activities that would take place in my community centre. The essay further informed my project. I produced several more collages, exploring materiality, in response to the research. These collages explored ideas of permanence and honesty. The materials considered were Corten steel, larch timber, and TOP: DANIEL LIBESKIND, COLLAGE REBUS (1967) BOTTOM: STAGING COLLAGES ILLUSTRATED REFLECTIVE REPORT

ABOVE: TOWNSCAPE VISUALISATION SHOWING THE BEACON QUALITY OF THE DESIGN ILLUSTRATED REFLECTIVE REPORT

As the design developed towards a refined proposal, ARC3013 and the process of resolving technical issues became vitally important. In the past I have struggled to integrate technology into design projects. This year was very different in the sense that the process of exploring the design in detail improved the architecture massively. The irregular form of my building led me to incorporate a spectacular diagrid roof structure into my design. I also integrated a dropped timber ceiling into the building. This demonstrates the way in which technical resolutions can serve as key architectural features. Incidentally, the structural strategy developed in ARC3013, an exposed glulam frame and concrete structure, fulfilled the ideas explored in Primer and Staging in terms of countering generic, placeless developments. The bespoke structural strategy shows how I explored the social agenda, developed at the start of the project, through material and tectonics. The technology module also enhanced my diagramming skills, as I learnt ways in which I could simplify the representation of the building, something that I have found difficult in the past. The technology module was a crucial learning process in the sense that it taught me ways in which to improve my weaknesses. It also demonstrated the importance of integrating technical resolutions into the design process. Furthermore, I again enjoyed completing this module as I felt it enhanced my final design.

I think the strategy of revisiting work and the process of being self-critical ultimately improved my final drawings. In order to celebrate my scheme, I produced several largescale sections and a series of perspectives in a day in the life format. I felt that my sections were successful in terms of conveying the atmosphere of the building and how its is used â&#x20AC;&#x201C; this was done by personalising my inhabitation. On the other hand, I revisited my final perspectives on many occasions and reproduced nearly all of them at least once. This enabled me to convey the warmth of my proposal and I believe that they are now effective in celebrating my scheme. The process of reflection has allowed me to identify weaknesses and understand ways in which to improve them. In the context of the current construction profession, I believe that my project is important in highlighting the problems regarding market-led regeneration and gentrification. In a wider sense I hope my project can show that sociallydriven design can enhance and add value to local communities.

TOP: TECHNICAL RESOLUTION OF ROOF STRUCTURES BOTTOM: DIAGRID CEILING VISUALISATION ILLUSTRATED REFLECTIVE REPORT

TOP: CELEBRATION PERSPECTIVE BOTTOM: PERSPECTIVE SECTION ILLUSTRATED REFLECTIVE REPORT

CHARRETTE WEEK The Give A Damn! Charrette was fundamentally about speaking on behalf of those marginalised by the architecture in our public realm. â&#x20AC;&#x153;As a cultural product the built environment embeds a code of conduct that tells us who we can beâ&#x20AC;?. In the public realm, this translates to who is welcome and what activities can take place. As a group we endeavoured to challenge the messages we often receive from the high street. In order to do this, we spent time on Northumberland Street, undertaking ground research and first-hand experience testing. This allowed us to read the public realm and establish the difficulties of a person who is typically marginalised or forgotten in the planning, construction, and maintenance of the built environment. To speak on behalf of those often marginalised, we created a series of placards and posters highlighting various issues, these included diversity, inclusivity, and accessibility. At the exhibition, we displayed our messages in a protest style presentation.

CHARRETTE WEEK - GIVE A DAMN!

THE “CREATIVE” QUARTER The Primer project involved investigating the new development of the Baltic Triangle in Liverpool. It was also an opportunity to learn vital new digital skills. The Baltic Triangle has undergone substantial development in recent years. Formally an industrial site, the district is now considered a “creative quarter”, and is home to a mix of independent and commercial businesses (Baltic Triangle, 2020). Arguably motivated by financial opportunity, large scale developers have endeavoured to take advantage of the fashionable aspects of the area. Liverpool City Council published a development framework in 2017, this standardised document claims to provide “overarching context for regeneration that establishes principles for development” (Liverpool City Council, 2017). In reality, the document contains mainly generic planning guidance. As a studio, we were tasked with going beyond the framework - exploring the Baltic Triangle from a more critical standpoint. I was particularly interested in how existing communities were seemingly being ignored by recent market-led regeneration. Primer allowed me to develop a strong social agenda that informed my final design proposal of a community centre. My final pieces displayed at the Primer exhibition critiqued the recent developments of the area and questioned the relentless promotion of the buildings as being a part of a “creative” project. I also produced a case study report on the Battersea Arts Centre, this not only informed me of alternative approaches to community oriented architecture, but also allowed me to develop digital 3D modelling skills - something that I was keen to evolve throughout stage 3.

PRIMER - “CREATIVE”

The focus of the Primer project was an area of Liverpool known as the Baltic Triangle. As noted in the reflection, the Baltic Triangle is considered the “creative quarter” of Liverpool (Baltic Triangle, 2020). Large scale developers have made efforts to take advantage of the increasingly popular neighbourhood. Current market-led (neoliberal) development often ignores the true character of the area and fails to accommodate for existing communities. The result is that an increasing number of bland, unaffordable, placeless buildings now litter Liverpool’s so-called ‘creative hub’. Whilst these buildings fulfil the criteria of an arguably rather diluted development framework, it is clear that in many cases the architecture follows somewhat generic design practices. In order to convey the atmosphere of the former industrial heartland of Liverpool, I have developed a walking tour around the Triangle. This method of representation has allowed me to map many of the recent developments in the area. I feel this provides an opportunity to consider the ambience of the area. The tour begins on the outskirts of the Baltic Triangle in a low-rise residential area, located in the RopeWalks district of Liverpool. This community is arguably being ignored by the dominance of unaffordable, night-time focused development. The tour then progresses towards the Cargo Building - a luxury residential development. After walking amongst the historic red-brick former industrial buildings, the tour makes it way up towards Great George Square and Chinatown. These photographs capture the diverse nature of the Baltic Triangle’s periphery.

LIVERPOOL, UK - 53.4084° N, 2.9916° W

THE CREATIVE QUARTER - WALKING TOUR

We start the tour on Gilbert Street, located on the outskirts of the Baltic Triangle, the low-rise housing of RopeWalks in the foreground is dwarfed by the high-rise development of the â&#x20AC;&#x153;creative quarterâ&#x20AC;?.

THE CREATIVE QUARTER - WALKING TOUR

From afar the district is dominated by construction projects, Brick Street apartments will offer luxury accommodation.

The industrial past of the area can clearly be seen. The 19th century Wapping Dock warehouse sits in front of the distinctive Liver Building.

Many of the 19th century warehouses have been converted into residential buildings, others are now home to creative businesses and offices. This view shows Jamaica Street, which is the main road through the triangle .

THE CREATIVE QUARTER - WALKING TOUR

An example of an independent creative project sits on Jamaica street. Melodic Distraction is an independent platform that showcases local musical talent.

The Baltic Triangle is home to many music venues like Brick Street. The majority of the community amenities are focused on late night activities.

As we progress down Jamaica Street, the graffiti of the local skate park dominates. The street art of the area is popular on social media.

THE CREATIVE QUARTER - WALKING TOUR

Many of the late night music venues are located in converted industrial structures. Constellations is a popular venue located on Greenland Street.

The Constellations music venue will be demolished in the near future to make way for a “luxury” residential development (Independent Liverpool, 2019).

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As we leave the triangle we come across a delightful park. Great George square is overlooked by the looming Liverpool Cathedral.

THE CREATIVE QUARTER - WALKING TOUR

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Europe’s oldest Chinatown sits just outside the Baltic Triangle on Nelson Street. The Street is the principle route between the Georgian and Creative quarters of Liverpool.

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Beyond Chinatown, the busy streets of the Georgian Quarter come into view. A sharp contrast to the relatively quieter Baltic Triangle and RopeWalks neighbourhoods.

DEVELOPMENT FRAMEWORK The neoliberal development in the Baltic Triangle has been guided by a Liverpool City Council framework which claims to “provide overarching context for regeneration that establishes principles for development” (Liverpool City Council, 2017). Many of these developments take advantage of the deregulated financial market and ignore the rather diluted guidance. The developers regularly promote themselves as being apart of a “creative” project.

THE CREATIVE QUARTER

“CREATIVE” DEVELOPMENT This map highlights the recent developments located in the Baltic Triangle. As previously discussed, the developments tend to follow generic design principles. Many of the developments claim to reference local qualities by associating themselves with the “creative” quarter of Liverpool, some apartments paradoxically assert “to suit all tastes” (L1 Lettings, 2020). The reality is that developers promote the buildings in a way that ultimately exploits their local context. I was particular interested in the Cargo building as it epitomises much of the recent architecture in the area and received local press attention in 2016.

“CREATIVE” DEVELOPMENT

NEOLIBERAL REGENERATION Name: The Cargo Building Location: Liverpool, UK Architects: Hall

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Throughout Primer I became interested in the Cargo building, situated on the edge of the Baltic Triangle it epitomizes much of the recent development in the area. Despite being advertised as ‘luxury’, the architecture is anything but. Repetitive floor plans and formalised façades have resulted in a generic, placeless development. Despite the guidance stated in the Liverpool City Council development framework the Cargo building makes use of token references to its surroundings and fails to improve the area - socially and aesthetically. Architect, Adam Caruso has written about market-led development and the construction of large scale buildings. “While planning authorities may argue about facade materials and the survival of medieval street patterns in the master plan, several city blocks, that once housed thousands of tenants and was in the ownership of hundreds, is now controlled by one owner backed by international financial institutions. Do not be fooled by the medieval street pattern” (Caruso, 2001). This has clear similarities to the approach of developers in the Baltic Triangle.

FOCUS - THE CARGO BUILDING, 2 GRAYSON STREET, LIVERPOOL, L1 8AD

FOCUS - THE CARGO BUILDING, FALCONER CHESTER HALL

ADAM CARUSO, THE EMOTIONAL CITY

THE CARGO BUILDING - DO NOT BE FOOLED

“CREATIVE” The Cargo Building was called out by local media outlets for the poor construction of prefabricated brick facade panels (Parry, 2016). This development, like many others within the Baltic Triangle, is marketed in a way that emphasises the fact that it is are located in the “Creative” quarter of Liverpool. This promotion is somewhat ironic considering many of the new additions to the Baltic Triangle simply look the same. Developments like these also ignore references to existing communities and fail to respond to the social context of their surroundings.

SPATIALLY REPETITIVE - CUT AND PASTE FLOOR PLANS

LIVERPOOL ECHO, 2016 - LUXURY?

EXHIBITION At the Primer exhibition I was involved in the team that presented the studios analysis to the entire year group. This was an opportunity to exhibit my findings and improve my public speaking skills. My exhibition piece was made up of three hanging sheets.

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As discussed, current development proposals in the Baltic Triangle are increasingly becoming generic and ultimately fail to acknowledge the character of the area. The façades of these developments are inevitably a crucial part of this ‘generic’ aesthetic. The base image of the piece can be read as a single elevation, despite being made up of 8 developments - demonstrating the fact that many of these buildings lack character, sense of place, and individuality. Furthermore, a recurring theme of these largely residential buildings is the motivation to produce as many ‘units’ as possible - regardless of the quality of the housing. The ‘middle’ layer of the piece aims to critique the spatial repetition of the architecture, by displaying the floor plans in the form of a brick façade. Many of these buildings also claim to reference local character by associating themselves with the “Creative” quarter of Liverpool. The first sheet of the celebratory piece represents the idea that this is in fact a superficial framework that can be seen as an unthoughtful gesture to the rich culture of the immediate context. Conclusively, this piece argues that there is very little which is “creative” about these generic developments. Primer was also an opportunity to research alternative approaches to community development. This led me to produce a document on the Battersea Arts Centre.

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SINGLE ASPECT - CELEBRATION PIECE

A PLACE FOR COMMUNITY?

THE BALTIC TRIANGLE - A PLACE FOR COMMUNITY?

BATTERSEA ARTS CENTRE As mentioned earlier, the development in the Baltic Triangle fails to respond to the social context of the area. As the majority of the development is luxury accommodation; community facilities are often forgotten about. The question that informed my project from the very beginning was whether there was a place for community in and around the Baltic Triangle. Much of the leisure facilities focus on expensive night time activities. In order to research community facilities that are accessible throughout the day I produced a short booklet on the Battersea Arts Centre (BAC). Originally designed by E. W. Mountford in 1893 the Battersea Arts Centre is now Grade II* listed for its architectural significance as well as for its importance in the birth of the suffragette and labour movements in the early twentieth century. Described as “a powerhouse of creative communal activity”, BAC is a multi-functional space that has day and night functions, from after-school clubs to accomplished theatre productions (Haworth Tompkins, 2018). In relation to ideas of community, BAC offers an alternative social space to the generic ‘themed’ club spaces and expensive restaurants that dominate most of our cities. Architecturally, the response to a devastating fire and the rebuilding of the Grand Hall is what interests me most. The surface of the walls have been preserved and left in their, breathtaking, complex and postfire form. In terms of materiality, the contrast between and old and new has been captured by the installation of a crafted timber lattice ceiling, referencing the original ornamental pattern of the plaster work. FOCUS - BATTERSEA ARTS CENTRE, LAVENDER HILL, LONDON, SW11 5TN

SITE PLAN

CEILING DETAIL PHOTOGRAPH

PHOTOGRAPHS AVAILABLE AT: https://www.haworthtompkins.com/

BATTERSEA ARTS CENTRE

The focus of the following drawings is on the Grand Hall of the building. Architects, Haworth Tompkins renovation of BAC’s main event space has created a “joyous balance” between the rich history of an old Victorian town hall, and pioneering acoustic design (Londonist, 2019). This space is multi-functional; theatre productions, dance classes and beer festivals all take place in the breathtaking setting. Haworth Tompkins describe the grand hall as “an event space unlike any other” (Haworth Tompkins, 2018). The Hall has a capacity of up to 800, and as mentioned can be used in variety of formats. The main attraction of the space is the newly fitted lattice ceiling, which hides an advanced technical infrastructure. The hall also displays many of the remaining original features from the buildings 125 year history. The production of this booklet allowed me to develop 3D digital modelling skills, this progressed throughout the year. Reflecting on this research, it is now clear that the use of celebrated ceilings influenced my final design proposal.

The ceiling is by far the most considered and striking design feature in the Grand Hall. The ceiling captures the contrast of old and new, yet is still in keeping with the spirit of the building. Using the same profile as the original, the new ceiling uses an open plywood lattice, that beautifully references “the memory of pattern from the previous plaster moulds” (The Stage, 2018).

COMMUNITY SPIRIT

GROUND FLOOR PLAN OF THE GRAND HALL

Haworth Tompkins and BAC worked together over a period of 12 years. Over this time the interests of the centre evolved. BAC is now not just a theatrical pioneer but has become a place that holds access and inclusivity at its core. Ultimately, Battersea Arts Centre can been as a place for community.

GRAND HALL REFLECTED CEILING PLAN

SECTION A-A OF THE GRAND HALL

THE GRAND HALL ENTRANCE

FOCUS - BATTERSEA ARTS CENTRE, HAWORTH TOMPKINS

CEILING DETAIL PHOTOGRAPH

GROUND FLOOR AXONOMETRIC

OLD AND NEW - THE GRAND HALL

EXPLODED AXONOMETRIC

FOCUS - BATTERSEA ARTS CENTRE, HAWORTH TOMPKINS

A PLACE FOR COMMUNITY Building on my research of the Baltic Triangle I developed a strong social agenda that informed a large part of Staging. As discussed, I became particularly interested in the idea of a place for community, this led me to producing a brief for a community centre on the outskirts of the Baltic Triangle - located on the site of an existing, poorly resourced health centre. Staging began with a second visit to the Baltic Triangle, this was a chance to identify a site for my proposal. Whilst we were in Liverpool we also visited various case study precedents and in response produced group booklets. This was not only opportunity to further analyse community oriented architectural approaches (in the form of the Everyman Theatre), but also a chance to work closely with my studio colleagues. After a brief return to the Baltic Triangle the studio group spent several days in the post-industrial city of Turin, much like Liverpool it has undergone extreme transformation. This was again an enjoyable field trip as it allowed for the studio to work as a group. I was intrigued as to how I could incorporate aspects of Italian community projects, such as Via Baltea, into my project. In response to my Primer analysis and field trip research I used the medium of collage and composite drawing to explore ideas of space and programme - these subsequently became very important in developing my final proposal. I produced a celebration relief collage that explored both space and programme. I believe my staging project was an incredibly important element of my design work as I was able to translate a social agenda into the beginnings of a community centre proposal. The spatial and material collages were arguably the foundations of the architecture realised in Synthesis.

STAGING - A PLACE FOR COMMUNITY

FIELD TRIP The first part of the field trip involved returning to Liverpool and the Baltic Triangle. This was a great opportunity to identify a site for my final design proposal and also further analyse the context of the city. As part of the trip, in groups, we produced case study booklets of various interesting, alternative architectural precedents from across Liverpool. My group analysed the award-winning Everyman Theatre, an extract of the sections of the booklet I produced are included in the following pages. The next few pages also highlight key moments of the field trip in the form of a short photo essay. The Granby Street project particularly caught my attention due its unique community land ownership approach. Similarly, the rather humble Via Baltea project provided great insight into an architectural programme that has community at its core.

STAGING - FIELD TRIP

SITE EXPLORATION: During the site visit, I became intrigued by an area located just outside the Baltic Triangle. Located on the principle route between Liverpool’s Chinatown and creative quarter sits a tired looking health centre.

SITE EXPLORATION: This area of Liverpool is also undergoing extreme regeneration with many houses marked for demolition to make way for large neoliberal development.

SITE IDENTIFICATION: Having analysed the Baltic Triangle and its vicinity it occurred to me that there was a real opportunity to improve the social and health facilities of the area by providing the health centre with a new and improved home.

VIA BALTEA: Next we visited the neighbourhood workshop Via Baltea. The hybrid space works in the field of local urban development. The centre provides workspaces, a social cafe, community kitchen and multifunctional hall.

PARCO DORA: A fantastic group photo opportunity. The former industrial wasteland is now the setting of a delightful park. We briefly visited Mario Botta’s extravagant Church of Santo Volto that sits just beyond the park.

FIAT LINGOTTO FACTORY: “YOU WERE ONLY SUPPOSED TO BLOW THE BLOODY DOORS OFF”! The Fiat Factory and its incredible roof top race track provided great views across the city and Alps beyond.

THE EVERYMAN - CASE STUDY REPORT: As discussed, as part of the Staging brief, in groups we produced a case study report on the impressive Everyman Theatre. The theatre provides several community oriented spaces.

GRANBY STREET: Another group in the studio analysed the Granby Street project. I was fascinated by the way in which empty homes were brought back into use as affordable houses through a community land ownership scheme.

TOOLBOX COWORKING: The first visit in the Italian leg of our trip was to a coworking centre, a creative hub home to 150 different businesses. Freelancers, professionals, start-ups and businesses, all work under the same roof.

TORINO ESPOSIZIONI: This abandoned convention centre designed by Pier Luigi Nervi displays an incredible roof structure which makes use of a ferrocemento construction approach. The centre was used as an ice-rink in the 2006 Winter Olympics

CASTELLO DI RIVOLI MUSEUM OF CONTEMPORARY ART: The final day of our trip saw us visit this incredible gallery. It is a building of many ages and many architects, the result is rather sublime - the castle provides a grandiose space for contemporary art from all around the world.

MISSED TRAIN: This photograph captures the exact moment we realised we were waiting at the wrong the platform for our train to the airport. We got home in the end . . . eventually.

FIELD TRIP - PHOTO ESSAY

SOCIALLY DRIVEN DESIGN One of the case studies that we visited which showed an alternative to market-led development was Granby Street. It is an example of an innovative form of community land ownership. The Granby Four Streets CLT brought empty homes back into use as affordable housing. A community land trust (CLT) is a non-profit corporation that develops and stewards community oriented buildings. Working closely with the Granby Four Streets CLT, Assemble architects proposed developing the Four Streets to include ten affordable homes to own and rent. In 2015 Assemble were nominated for and won the Turner Prize, the practice were praised for their “ground-up approach to regeneration, city planning and development in opposition to corporate gentrification” (Granby 4 Streets, 2018). Soon after plans for a winter garden were also proposed for development. Ultimately, the approach was characterised by its celebration of the value of the area’s architectural and cultural heritage - a contrast to the Baltic’s neoliberal approach that seemingly revolves around superficially referencing the creative aspects of the area. While researching the project I was surprised to learn than Falconer Chester Hall, the architects of the ghastly Cargo Building, have designed part of the Granby project (Pitcher, 2019). Perhaps it shows that despite the good intentions of some practices, developers hold the power in what is a competitive construction industry.

FIELD TRIP - SOCIALLY DRIVEN DESIGN

ARCHITECTS’ JOURNAL, 2019 - SOCIALLY DRIVEN DESIGN?

THE EVERYMAN THEATRE

TYPOLOGY

The following pages show the work I produced for the Staging case study booklet. I analysed the typology and material strategy of the Everyman Theatre. The full document has been submitted separately to the portfolio.

The requirements of theatres have changed over time, segregation by class and cheap wooden seats are a thing of the past. Haworth Tompkins believe theatres “should provide spaces where you feel at home at any time of the day”. In order to contextualise this approach by Haworth Tompkins, the analysis of three other projects can provide insight into the broader architectural approach to the design of theatres. - The Liverpool Philharmonic, located on the same street as the Everyman, is an example of a more traditional space. - The Royal Danish Playhouse shows an alternative contemporary approach to theatre design. - Finally, an evaluation of the Bridge Theatre, also designed by Haworth Tompkins, provides further insight into the architect’s wider approach to this typology. Despite clear contextual differences, one can conclude that all the theatres analysed share similar design characteristics.

Designed by architects, Haworth Tompkins, the Everyman of Hope Street Liverpool has been through many iterations, from the Hope Hall built in 1837, to the subsequent rebuild and rebranding of the place in 1975, and finally a demolition and rebuild in 2014 awarding it the RIBA Stirling Prize 2014. The rebuild followed in the legacy of the previous builds, using a typeface designed around the old, and repurposing the bricks that had been used in the previous Everyman. The façade of the building embodies the idea of the Everyman, taking regular people from Liverpool and placing them onto a ventilated façade system of corrugated aluminium.

Liverpool Philharmonic, 1939 (2015) Architect: Herbert Rowse, Caruso St John (refurbishment) Structural Engineers: Price & Myers Location: Liverpool, England

The Royal Danish Playhouse, 2008 Architect: Lundgaard & Tranberg Architects Structural Engineers: Cowi Location: Copenhagen, Denmark

Bridge Theatre, 2017 Architect: Haworth Tompkins Structural Engineers: Momentum Location: London, England

Group members: Alexandra Bramhall Site, Atmosphere Abdrakhman Talip Programme, Spatial Sequence Ethan Medd Design Strategy, Structure Joseph Caden Typology, Materiality Linxi Zhao Architects, Environmental Strategy Oyinkansola Omotola Thresholds, Studio Relevance

CASE STUDY SUBMISSION - THE EVERYMAN

TYPOLOGY

Liverpool Philharmonic

The Royal Danish Playhouse

A common feature of performance buildings is the use of contrasting ceiling heights. This in order to build up anticipation as visitors get closer to the auditorium. Haworth Tompkins examined the way the nearby Liverpool Philharmonic achieved this. On the entry level a more homely atmosphere is created with low ceilings, in contrast, a large staircase then reveals a much grander space and “piano nobile” level. On a slightly smaller scale, this approach is evident in the Everyman.

The Everyman relates closely to its context in its use of materials, the use of red brick is a response to the nearby listed buildings, this allows the theatre to sit comfortably in the existing urban fabric. Furthermore, to add to the contextual sympathy of the design, the walls of the old Everyman were carefully dismantled, and the bricks were reused in the main wall of the curved auditorium. The Royal Playhouse responds to its context in a similar way. The selection of its brick was inspired by the historic warehouses nearby, architects Lundgaard & Tranberg stated “If you can make a building look like it’s always been part of its setting, then I think you can call the building a success”. In order to further respond to the architectural surroundings, the vertical joints of the brickwork were staggered to avoid any repetitive patterning. This created a ‘rough, rustic quality’ to the façade – much like the nearby traditional warehouses.

Building Anticipation - The grand level of the Everyman and entry to the auditorium

Journey to the foyer level of the Everyman displaying the use of contrasting ceiling heights

Context - The Everyman in relation to its brick neighbours (highlighted red)

Detail - the rebuilt brick wall of the Everyman’s auditorium

At home - The Danish Playhouse next to traditional harbour warehouses (highlighted red)

Detail staggered vertical joints add a rustic feel to the brickwork

A Grand Space - The principle floor of the Liverpool Philharmonic has similar spatial qualities to the Everyman’s version

The Liverpool Philharmonic uses a similar design strategy in order to build anticipation

CASE STUDY SUBMISSION - THE EVERYMAN

TYPOLOGY

MATERIALITY

Bridge Theatre

Context

Haworth Tompkins have a clear interest in the community aspect of theatres. ‘Theatres have such an important role to play as places of public meeting and congregation.’ Both the Everyman and the Bridge theatre provide very open and ‘homely’ foyer spaces, this invites members of the public to explore their buildings. The clear design intention of both theatres was to create as space that is both intimate and generous. The Theatres also both make use of flexible performance spaces, a thrust stage and modular stage zone allow for a range of formats, increasing the variety of performances at the venues. Haworth Tompkins have applied similar approaches to both theatre projects.

Replacing an old building Howarth Tompkins wanted to be considerate to the history of the institution and indeed the surrounding environment. The Everyman is on the historic Hope Street, surrounded by 18th and 19th century listed buildings. Sensitivity to theses surroundings was key. It is the rear façade of the building and the careful use of a local brick stock that interests me most. “It is a common material in the area, both in the nearby Georgian terraces and in the industrial and warehouse buildings to the rear, so brick serves to tie the theatre in with the surrounding streets”, this measured use of material shows a considered response to context.

Entrance space of the Everyman - accessible to all

The open foyer and flexible thrust stage in the Everyman theatre

Performance space in the Everyman

1. Grade II listed former industrial building

2. Listed red brick building accompanied by the Everyman

3. The rear façade of the Everyman

4. Grade II listed Medical Institution built in a Greek Revival style

5. The animated aluminium façade references the stone detail of the Medical Institution

6. Further brick housing close by to the new theatre

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2 3 Welcoming foyer of the Bridge

The generous entrance hall and multi-functional thrust stage in the Bridge theatre

CASE STUDY SUBMISSION - THE EVERYMAN

Flexible stage in the Bridge theatre

CASE STUDY SUBMISSION - THE EVERYMAN

MATERIALITY

Interior

Continuity

The interior materials of the Everyman reflect the intention the theatre to be an exemplar of sustainable good practice. Over 90% of the materials of the old building were recycled, the building even reuses over 25,000 reclaimed bricks, forming the internal walls of the foyer and auditorium. The concrete structure is also left exposed throughout the building, “We looked for materials that would be robust and age well”. The use of brick and concrete contributes to the thermal mass of the building, reflecting the intention to achieve a BREEAM Excellent rating. Haworth Tompkins chose to use recycled iroko wood throughout theatre, this is sustainable and adds to the ‘homely’ feeling of the foyer areas. A comfortable atmosphere is also achieved by Antoni Malinowski’s large painted ceilings.

A key material design strategy was the reuse of brick from the old building in the new development. The walls of the old Hope Hall had to be carefully dismantled, as mentioned these bricks now form the new wall between the main stage and surrounding foyer space. Haworth Tompkins recognised the importance of continuity and the use of original material certainly adds to this, recognising the rich history of an important local organisation.

1. Visual artist Antoni Malinowski produced a large painted ceiling piece for the bar and foyer spaces - complementing the range of internal materials

Wall between the foyer and auditorium built from reclaimed brick

The old Everyman theatre

Reclaimed brick wall

Whilst exploring the Everyman, it was clear that a lot of thought had gone into the hierarchy of material use. The finish of publicly accessible spaces is refined yet rustic, in contrast, the back of house areas use less polished and more functional materials. It must be said that these spaces have still been designed with exceptional consideration. The rehearsal spaces are generous in space, and make use of acoustic boarding throughout, to avoid distracting noise in the public foyer.

4. Exposed concrete structure

2. Recycled iroko wood is used throughout the theatre

3. The reclaimed brick of the old building now forming the main wall between foyer and performance space

Functional yet majestic auditorium

Less grandiose yet equally characterful back of house

5. Detail - the variation of concrete colour tones shows the process of construction. Adverse weather conditions meant that not all structural concrete could be poured at the same time. This adds character to the exposed structure.

Aesthetic ceiling and ambient lighting of the foyer

CASE STUDY SUBMISSION - THE EVERYMAN

Back of House

Front of House

Hierarchy

CASE STUDY SUBMISSION - THE EVERYMAN

Acoustic boarding and practical lighting of the rehearsal rooms

VIA BALTEA As previously mentioned, whilst exploring Turin we visited the Via Baltea. The centre describes itself as a “neighbourhood workshop” (Via Baltea, 2019). A former printing house, the building has been adapted in numerous ways to now house a social cafe, community kitchen, carpentry workshop, co-working space, as well as a large multiuse hall. I think opening a multifunctional space in the suburbs of Turin was a deliberate choice, in terms of fulfilling the aim of improving the quality of life to local people but also in providing a cultural centre that isn’t in the affluent city centre. The project provides services and activities to citizens through self-financing, this comes from the commercial functions of the centre - cafe, bakery and the rental of spaces. The programmatic approach of Via Baltea influenced my design project. The organisation of multi-use spaces around an inviting courtyard has clear similarities to my final design proposal. With the UN calculating that 68% of the world population will live in urban environments by 2050, it has never been so important to develop social spaces that are designed specifically for local communities.

FIELD TRIP - VIA BALTEA

UNITED NATIONS, DEPARTMENT OF ECONOMIC AND SOCIAL AFFAIRS, 2018

COMMUNITY ORIENTED ARCHITECTURE?

A FORGOTTEN COMMUNITY? After visiting continental examples of community orientated architecture and exploring the Baltic Triangle for a second time, I began to identify a site for my proposal. As indicated earlier, the Baltic Triangle lacks day-time community facilities. The conceptual mappings illustrated, led me to analyse a more low rise area of Liverpool - located on the outskirts of the Baltic Triangle. The first map explores how recent development in the creative quarter of Liverpool is ignoring the needs of existing and diverse communities. For example, Chinatown is just a short work from the Baltic Triangle. I began mapping local institutions in relation to local housing in order to evaluate community focused facilities beyond the trendy Triangle. In doing so, I came across a small health centre that is situated opposite a public park and on the main route between Chinatown and the Baltic Triangle. This area of interest is highlighted on the second map. Several schools and churches exists in the vicinity of the triangle. Nevertheless, it is clear that the area is in need of a community focused building.

Local Institutions Local Housing Area of interest The Creative Quarter

A FORGOTTEN COMMUNITY? - SITE IDENTIFICATION

A PLACE FOR COMMUNITY

ST JAMES HEALTH CENTRE

This aerial photograph highlights the tired looking St James Health Centre. I propose to rebuild a community on the site - integrating the current health centre within the design of the building. My research conducted in Primer uncovered that amenities in the Baltic Triangle tend to out-price much of the local community and focus on evening activities. It is clear that there is an existing community in the periphery of the area that has not been recognised by recent developments. St James Health Centre lacks suitable community provisions for local residents.

St James Health Centre lacks suitable community provisions for local residents. The centre is housed in a rather depressing structure. The centre was once known as a â&#x20AC;&#x153;neighbourhood centreâ&#x20AC;?, however over recent years the institution now only provides a small NHS surgery service - with just two permanent general practitioners (St James, 2020). As an institution, the St James Centre has existed for over a hundred years. My proposal represents a new chapter in the history of this public amenity, and is opportunity to expand the currently facilities of the centre.

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The institution is located amongst low rise housing. The centre is also extremely close to Chinatown, it is clear that are many opportunities to reflect the history of Liverpool in my proposal. Furthermore, as the site is faces on to a public park, there is an opportunity to expand the public realm.

1. ST JAMES HEALTH CENTRE

A PLACE FOR COMMUNITY - SITE IDENTIFICATION

2. BALTIC TRIANGLE

3. GREAT GEORGE SQUARE

4. CHINATOWN

A PLACE FOR COMMUNITY - SITE IDENTIFICATION

NEOLIBERAL ENCROACHMENT

ST. MICHAEL’S II

This area of Liverpool has its own fair share of neoliberal development. The identified site backs on to the location of the St Michael’s II development that will bring luxury flats to the area.

St Michaels II project will provide 120 apartments within the massing of two large blocks. The development by Tim Groom Architects claims to provide public “community” space on the entry level on the building (Groom Architects, 2019). In reality this is simply a commercial unit. The development will also likely out price many ordinary Liverpudlians with Phase I of the project charging extortionate prices for studio apartments. Whilst visiting the site, I noted that locals had made there thoughts clear, the phrase “AFFORDABLE HOMES NOT LUXURY ONES FUCK OFF” can be seen all over the construction site. This substantiated my social agenda that a community centre would be a welcome addition to the area.

The so-called ‘New Chinatown’ development sits a short walk from the identified site. The project has existed in many forms and is now known as the Great George St. Project. The project is controversial in the sense that it may block views from the Baltic Triangle towards the magnificent Liverpool Cathedral. These projects are not too dissimilar to the Baltic Triangle regeneration developments analysed in Primer.

NEOLIBERAL ENCROACHMENT

Site identification

THE GREAT GEORGE ST. PROJECT

This project has stalled many times in the past due financial issues and fraudulent activity and still isn’t without controversy. Ultimately the project will provide around 40,000 sqft of commercial space as well as 600 apartments. The developers have promoted the project with the tag line “Community is coming” - ignoring the existing housing stock of the area. The Liverpool Echo has reported extensively on the controversial development.

VANDALISM ON SITE OF ST MICHAELS II

THE GREAT GEORGE ST. PROJECT

A RICH HISTORY St James Health Centre and Liverpoolâ&#x20AC;&#x2122;s Chinatown both have fascinating backgrounds. This rich history had to be recognised and taken into account whilst developing my proposal. This remarkable panoramic map produced by Ackermann in 1847 shows both the site and public park that still exist to this day. The site context has clearly been ignored by the colossal proposals that I have previously outlined. My project is an opportunity to reinvigorate the area and respond to economic context of a struggling Chinatown. As the centre has been a feature within a community for generations, I began to explore theme of permanence.

STAGING - AN INQUIRY INTO PERMANENCE

NEOLIBERAL ENCROACHMENT With ideas of permanence and durability in mind I noticed how many of the new developments lack of sense of honesty - a result of cheap construction and cladding solutions. The idea of permanence can be related to durability, and durability can be explored in terms of resistance to decay, as well also its value to the users. I chose to explore these themes through a series of collages. Firstly I explored materiality, in particular robust and weathered materials. I was also interested in the idea that flexible spaces can contribute towards creating durable buildings. Functions and facilities can adapt to the needs of different user groups. All these drawings explore space and form, they were used as a design tool which informed my final proposal. AN INQUIRY INTO PERMANENCE

PERMANENCE - A ROBUST EXPLORATION

PERMANENCE - AN HONEST WEATHERING

SCENES OF COMMUNAL LIFE These drawings set out the programme of my design in a spatial sense. The initial drawings set out a typical inventory of the space in order to indicate ideas of scale and function. Further to this I developed abstract composite style drawings, again these explore ideas of space and programme. Both drawings influenced the final design. For example, the proposed courtyard and multiuse hall were developed from these drawings. I analysed my use of collage, or rather the notion of collage, in my ARC3015 Theory into Practice essay. The ambiguous nature of the drawings was used to develop and realise formal proposals for the spaces explored.

SCENES OF COMMUNAL LIFE

INITIAL SPATIAL EXPLORATION

CELEBRATION PIECE - A PLACE FOR COMMUNITY As part of my Staging review I produced a celebration piece. I believe this drawing is an integral part of the design project. Through composite techniques it attempts to convey a place for community. The use of continuous lines creates fragmentation and blends elements of the image. It is this component of the drawing that creates ambiguity and expresses notions of form. In contrast to my earlier spatial explorations, I introduced an element of relief to this celebration piece. This arguably allows the collage to exist at the threshold of two and three dimensions. The three dimensional element of the drawing assigns hierarchy to individual components - again, this further influenced my formal design proposal. The impact of this drawing and can clearly be seen in my massing development. Specifically this drawing attempts to convey the idea that spaces should connect, this would allow users to view otherâ&#x20AC;&#x2122;s activities. Arguably this can encourage curiosity and ultimately stimulate collaboration. STAGING CELEBRATION PIECE - A PLACE FOR COMMUNITY

STAGING CELEBRATION PIECE - A PLACE FOR COMMUNITY

CELEBRATED STRUCTURE Thinking Through Making Week was an opportunity to further explore some of themes considered throughout Primer and Staging. The brief was to produce an explorative model that embodied the material and tectonic qualities of my emerging design proposal. Building upon ideas of honesty and permanence I designed and built a side table that further investigated these ideas. Reflecting on the process, I think its clear that the project gave me the confidence to spend more time in the workshop. Shortly after Thinking Through Making Week, I built a physical site model in order to aid my massing studies. My workshop skills were greatly improved as result of making the side table. The design itself embodies the spirit of the collage work produced in Staging. Countering the often cheap construction and cladding solutions used in the new development of Liverpool, I wanted my model to celebrate the honesty of itâ&#x20AC;&#x2122;s structure. I chose to use both timber, a renewable material, and concrete, a material often associated with ideas of robustness. The bespoke concrete slab was cast to sit perfectly on top of the timber frame. The design made use of deliberately celebrated, exposed junctions and metal fixings.

THINKING THROUGH MAKING WEEK

SOCIALLY DRIVEN DESIGN: A REJECTION OF NEOLIBERAL DEVELOPMENT IN THE BALTIC TRIANGLE Realisation involved translating the ideas explored throughout Primer and Staging into a formal design proposal. The design process utilised various techniques, at various scales. The process also involved many massing iterations, both physical and digital. Reflecting on this stage of the project its is clear how important my Staging celebration piece was in terms of developing the design of the community centre - both in programme and in form. The angled nature of the fragmented collage can be seen clearly in the final design. At this stage of the project it was also vitally important to respond to the physical context of the site. After experimenting with various massings, it became clear that there was an opportunity for the building to act as landmark for community. As the site is situated between two neighbourhoods, the project can serve as a link between RopeWalks and the Baltic Triangle. To substantiate this intention further, I chose to include a clock tower, this allows the centre to act as a beacon for the surrounding area and reinforces the civic nature of the project. Whilst developing the design, it was important to embody the work carried out in the early stages of the project regarding the social context of the Baltic Triangle.

REALISATION - SOCIALLY DRIVEN DESIGN

PROGRAMME EXPLORATION

SITE CONTEXT

This schedule of accommodation was produced in response to my Staging drawings. It also responds to the physical constraints of my site. The building will provide a community hall, cafe, kitchen, and library. The small health centre is also integrated into the design. All of these functions are arranged around a permeable, fully public courtyard. A further design concept was to use visual links between the key functions of the building as well as the main courtyard. By linking these spaces together, encounters amongst different user groups and moments of collaboration can be stimulated.

Whilst developing a programmatic exploration in response to my Staging collages, it was also important to evaluate the physical site context. The process of designing the community centre took many iterations. Transitioning from 2D and 3D explorations made it easier to rationalise the spaces I wanted to create. I produced a physical and digital model of the site, this allowed me to quickly test ideas three dimensionally. I also spent time sketching on trace to develop the design. The following pages record what was very much an integrated process.

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As the site sits on a principle route between Chinatown and the Baltic Triangle it became apparent that a vertical element to the design would be most appropriate for the site - the building can therefore act as a focal point in the area.

It is important to note that all these functions will enhance the local community-oriented amenities, offering facilities that do not currently exist in the area. Fundamentally, this programme endeavours to create a place that local people will come to spend time.

Outside space Double-height space Vertical space

Physical connection Visual connection 0

SCHEDULE OF ACCOMMODATION DEVELOPMENT

SITE CONTEXT - DESIGN DEVELOPMENT

1. FOUR FUNCTIONS

2. ZIG ZAG

3. VERTICAL

4. ANGLED

This massing was based on my initial programmatic explorations.

This massing explored a repetitive roof form - inspired by fragments of my collages.

A vertical element is needed in order to respond to the immediate context.

This reformed massing made use of angled roof forms - more in keeping with local building forms.

5. GESTURE

6. SUNLIGHT

7. CLOCK TOWER

8. A CIVIC PRESENCE

As mentioned, a vertical element allows the building to act as a beacon - I experimented with sculptural forms.

It is vital that the tower is positioned in a way that allows the courtyard to gain sufficient sunlight.

The inclusion of a clock tower allows the building to have a civic presence.

This final form provides a permeable public courtyard, as well a tower that can be seen throughout the neighbourhood and beyond.

MASSING ITERATIONS

1. FOUR FUNCTIONS

2. COURTYARD

3. PERMEABLE

4. SKEW

Library, hall, health centre and cafe in one inclusive centre.

The four functions arranged around a courtyard.

Courtyard is made permeable and a truly public space is formed.

Courtyard space is skewed to allow for a more expansive space.

5. GESTURE

6. INVITING

7. TAPER

6. A CIVIC PRESENCE

Entrance to hall is extruded to signify the entrance to a grand space.

Form of cafe is altered to allow for a welcoming entrance to the courtyard.

Primary elevation is slightly tapered in order to give the building a more striking presence.

The introduction of a tower allows the building to act as a beacon.

ITERATIVE DESIGN These diagrams convey the development of my design in plan. The logic of skewing and angling forms onto street fronts was to give the building a more striking presence. It is important to note the influence of my Staging collages on the form of the building.

ITERATIVE DESIGN - PROCESS PLANS

PR O

LU XU

A CIVIC PRESENCE

MASSING DEVELOPMENT

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E BL D A E M YAR R T PE UR CO

MASSING DEVELOPMENT

OF N N IO TIO ISAT A U N IN RIA EET T N ST TR S CO DE PE EEN GR

This study examines a revised massing form. The new clock tower structure is taller in order to allow the building to be seen from surrounding viewpoints. The tower is also now skewed towards Chinatown - this is so that views can now achieved from the tower towards the Georgian Quarter. Furthermore, it means the tower itself will have a more dominant presence from the perspective of Chinatown. The Sean O’casey Community Centre had great influence on this aspect of the design.

E GH GL U N RO RIA TH IC T E T UT AL O B R N THE I A M DS R ET WA E R O ST N T N W O GE LS ATO R E N O N I GE CH T EA ARE R G QU S

This study explores the context of my proposal as well as key design features. At the back of the building I explored the idea of continuing an element of pedestrianisation and creating a ‘Green’ Street. Whilst experimenting with massing it became clear that the courtyard element of the design could be visually permeable from all elevations. This substantiates the intention of creating moments of collaboration and also allows the space to be an inviting centre piece of the building.

MASSING DEVELOPMENT

U O H S SE K RI AL W EW LO OP R

AT S

S NIFIE G I S L POSA G O R P N ETHI SOM RENT TO E GS DIFF NDIN U O SURR

ACE P S LIC GE PUB EOR G T GREA E AR SQU

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SEAN O’CASEY CENTRE

COMMUNITY

As discussed earlier, the site of my project is located opposite Great George square and is close by to a number of residential buildings. The inclusion of clock tower allows the centre to signify something quite different to the buildings around it. The presence of a clock tower also allows the building to act as a beacon for the surrounding area and reinforces the civic nature of the project. The Sean O’casey Community Centre uses a similar approach in the city of Dublin. The community centre provides social resources and facilities for the community of the East Wall, this includes theatre, day-care, educational and recreational facilities. These functions are organised around several courtyards. These provide diagonal transparencies between the different social activities of the centre, connecting old with young and relating passive and active recreations. The site is situated amongst low-rise density in the form of two-storey terraced housing. The community centre responds to this context by including a vertical high-rise element, this allows the building to almost act as way-finder in the local community. My design proposes something similar in order to allow the building to announce itself as a new and improved public amenity. The following pages explore my design development further and document the transitional process of designing through perspective and orthographical drawing.

A CIVIC PRESENCE - SEAN O’CASEY COMMUNITY CENTRE

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PHOTOGRAPHS AVAILABLE AT: https://odonnell-tuomey.ie/

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COURTYARD VISUALISATION

COURTYARD DEVELOPMENT

The following pages document my process work and experimentations at various scales. This spread explores the development of the courtyard design. It was important to create a space that didnâ&#x20AC;&#x2122;t feel overly enclosed and was visually permeable from all elevations.

These drawings highlight the process and development work that explored in the design of the courtyard. As discussed, I explored the design at various scales in order to achieve comprehensive design development. A key design progression was the decision to include an entrance in the courtyard - this would encourage more uses to take advantage of the new public space.

REALISATION VISUALISATION

REALISATION DEVELOPMENT

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CAFE VISUALISATION

DEVELOPMENT

This drawing explores the use of double height spaces in the building design. This visualisation touches on the idea of exposing and celebrating the structure of the building.

I often produced quick sketches of the interior of the building in order to create ideas, by doing this in conjunction with modelling I was able to develop a more coherent design. I chose to angle the main stair case in the cafe in response to the irregular footprint of the building as a whole.

REALISATION VISUALISATION

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REALISATION DEVELOPMENT

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CAFÃ&#x2030; VISUALISATION

DEVELOPMENT

This image again explored how a timber structure could be exposed throughout the building.

I found that working on trace allowed me to make quick changes and develop ideas through iteration. Having developed an initial plan I chose to move the library so that it occupied a space that overlooked the courtyard. The programme of the tower is a more flexible library space that can be used to hold small-scale presentations and events.

REALISATION VISUALISATION

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REALISATION DEVELOPMENT

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EXTERIOR VISUALISATION

DESIGN PROCESS WORK

This was an initial representation of how the sculptural clock tower would sit in surroundings. The form of the tower subsequently developed in order to allow the structure to as a way-finder. I also chose to angle the tower towards Chinatown to allow views towards the Georgian quarter and vice versa.

I developed the tower in a way so that it achieved a civic quality. Ultimately, my initial tower design was too small to make a real impact and act as a landmark for community. Furthermore, it was important to increase the floor area of the tower so that the centre could house a well resourced library.

REALISATION VISUALISATION

REALISATION DEVELOPMENT

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ELEVATION STUDY Building upon my relief work in Staging, I produced another collage that explored the elevation of my building. This large scale piece was the basis of my facade development which expresses moments of relief though the use of timber panelling.

REALISATION ELEVATION STUDY

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REALISATION ELEVATION STUDY

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ST JAMES COMMUNITY CENTRE Realisation saw the translation of my Primer and Staging research into a design that ultimately responds to the needs of the local community. Synthesis gave me the opportunity to refine the project and delve into the architectural details of the proposal. During this stage of the project we completed an integrated technology module. This was a vital stage of my design development, it saw the resolution of my structural strategy as well as the inclusion of bespoke ceiling features. The integration of a diagrid ceiling, over the cafe and library, and dropped ceiling, over the main hall, allowed the spaces to represent something really quite unique. The process around developing these architectural features relates closely to countering the often generic development of the Baltic Triangle and beyond. These architectural components contribute to a building design that is unique as it signifies something quite different to the buildings around it. Looking back on this phase of the project, I think that the final design embodies my early design work and exploration. For example, the unique ceiling design of the Battersea Arts Centre adds a sense of grandeur to a multi-use hall, I have a taken similar steps in the design of my community centre. In terms of representing the scheme, I wanted to convey the community centre in a way that celebrated the socially driven design. My celebration drawings all illustrate the building being used by people, and fundamentally show that is a place designed specifically for community.

SYNTHESIS - A BEACON FOR COMMUNITY

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SYNTHESIS - A BEACON FOR COMMUNITY

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PROPOSAL IN CONTEXT

New Development: Sanctuary Students

These drawings show how the final scheme responds to the context of the Baltic Triangle and the RopeWalks neighbourhood. The site section below also shows how the building achieves a civic quality. The clock tower overlooks Great George square and can be seen from the historic Chinatown. It is intended that the project will increase the vibrancy of the area and increase the use of the existing public oriented spaces such as Great George Square.

City Centre (Liverpool Lime street 15 minute walk from site) New Development: St Michaels II

Chinatown

These drawings also analyse the environmental context of the scheme. The proposed St Michaels II luxury flat development does not effect the sun exposure of the site. The placement of the clock tower to the east of the site not only allows the building to act as a beacon along a principle route, but will also allow sufficient sun light into the public courtyard. This is noted in the summer and winter shading diagrams.

RopeWalks neighbourhood

Public Park Great George Square

te rou g in alk w e l

nc Pri

Baltic Triangle

St James Community Centre

Baltic Triangle

Liverpool Cathedral

Public green space

CONTEXT - NOLLI MAP AND LONG SITE SECTION

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200

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CONTEXT - ENVIRONMENTAL ANALYSIS

ARC3013 EXTRACT

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A DEGREE OF CEREMONY The following drawings show how the building is deeply rooted in its immediate context. The massing iterations and approach of transitioning between 2D and 3D explorations resulted in a design that could expand the public realm of Great George Square. It also resulted in a form that the local community can take ownership of: a beacon that announces the arrival of improved public amenities. There is an appropriate degree of ceremony to the form, on the one hand it embodies a strong statement of civic values, yet is also rather elegant and is considerate to the local context.

A DEGREE OF CEREMONY

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A DEGREE OF CEREMONY

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TOWNSCAPE

AXONOMETRIC

This image shows how the proposed scheme sits amongst the existing urban landscape of the Baltic Triangle and beyond. The clock tower, clad in distinctive Corten steel, pokes its head above the surrounding townscape.

This axonometric shows how the final proposal in embedded in its context. St James community centre will offer new socially driven facilities that donâ&#x20AC;&#x2122;t currently exist in the area. This image shows how the building signifies something quite different to those around it - yet does so with considered grandeur.

A DEGREE OF CEREMONY

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A DEGREE OF CEREMONY

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3 1

6 1

3 4

13 9 10

12 11

1. Main Hall 2. Storage 3. GP Office 4. Examination Room 5. GP Reception 6. Waiting Room 7. Accessible WC 8. Main Reception 9. WCs 10. Kitchen and Storage 11. Plant Room 12. Cafe 13. Courtyard

GROUND FLOOR PLAN

A 1. Plant Room for Hall 2. Staff Room 3. WCs 4. Library Reception 5. Library 6. Accessible WC 7. Cafe

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FIRST FLOOR PLAN

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2 1

1. Library (Mixed-use space) 2. Accessible WC

SECOND FLOOR PLAN

1. Library (Mixed-use space) 2. Accessible WC

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THIRD FLOOR PLAN

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APPROACH TO THE BUILDING

The plans show how building makes use of numerous entrances. The building is skewed in several places, this gives a striking presence on to the principle street fronts. This image shows how the elegant tower sits from the perspective of south Nelson Street - close to the Baltic Triangle.

This perspective looks down towards Chinatown, and shows the corner entrance of the cafe. The material palette of concrete, silver larch, and Corten steel compliments the tonal qualities of the surrounding area.

COMMUNITY CENTRE APPROACH

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COMMUNITY CENTRE APPROACH

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APPROACH TO THE BUILDING

This perspective shows the main entrance to the community hall. It shows how the footprint of the building interrupts the repetitive street pattern that currently exists in the area. This quietly adds a sense of grandeur to the scheme and signifies the presence of an entrance to the community centre.

Approaching the building from the perspective of Great George Square reveals this rather powerful view. A mural, cast into the front of the building, celebrates the rich history and diverse culture of the area. The clock tower functions as a wayfinder across the city skyline.

COMMUNITY CENTRE APPROACH

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COMMUNITY CENTRE APPROACH

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PRIMARY ELEVATION This drawing shows the primary elevation of the building. The drawing conveys the beaconlike quality of the clock tower in relation to the low-rise housing of RopeWalks as well as the new St Michaels II development. The drawing also displays the animated frontage of the cafe, highlighting the visual links through the building into the courtyard of the community centre.

SECTION A-A This section is cut through the health centre, courtyard, and double-height cafe space. Moments of exposed structure can be seen in the form of fair faced concrete walls and an exposed glulam frame. The activity of the building was a really important feature of this drawing - I wanted to convey the community atmosphere of the building. The angled form of the clock tower can also clearly be seen.

PERSPECTIVE SECTION B-B This perspective section conveys community orientated activities. A lecture is taking place in the hall, whilst locals exercise in the courtyard. The perspective nature of the drawing also exhibits the unique ceiling designs of the centre. A timber dropped ceiling sits above the main hall, with an impressive diagrid covering the library.

MATERIAL PALETTE The material palette responds to the site context. Some materials were also chosen in response to early material collages explored in Staging. 1 Concrete - The use of exposed concrete allows for moments of celebrated structure throughout the building. The thermal mass of the material reflects the environmental strategy of the design. The material choice is also influenced by my Staging collages exploring honesty and robustness. 2 Silver Larch - The use of larch cladding was heavily influenced by my collage explorations in Staging. The material can be sourced locally to Liverpool and is of course a renewable material. The skin of the building allows it to represent something quite different to the structures around it. 3 Corten Steel - Corten Steel is currently used throughout Great George Square. The no maintenance skin accompanies the red brick surroundings and contrasts with larch cladding also used in the building conveying a beacon-like quality. 4 Glulam and CLT - A glulam primary frame allows for moments of exposed structure. The manifestation of the renewable material in diagrid and dropped ceilings counters the recent standardised neoliberal development. 5 Glazing - The heavy use of glazing throughout the courtyard allows for visual connections directly through the building as well as between different functions of the centre. 6 Nature - A Green roof and planted courtyard will provide pleasant views from the high rise clock tower and surrounding developments. It also allows for an inviting, public space. MATERIAL PALETTE

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SITE CONTEXT: Corten steel surfaces give the building an industrial character, reflecting the rich history of the nearby Baltic Triangle.

SITE CONTEXT: The heavy use of brick in the Baltic Triangle and throughout RopeWalks has tonal similarities to Corten steel.

SITE CONTEXT: This aerial photograph shows how Corten steel is a prominent material in Great George Square - located directly opposite the site.

STAGING COLLAGE: This exploration explored how weathered materials could convey themes of permanence and influenced the choice of Corten steel cladding.

STAGING COLLAGE: This exploration again explored weathered materials and the contrast of silver larch and Corten steel. The juxtaposition between the material added to the landmark quality of the building.

STAGING COLLAGE: This exploration explored robust and honest materials and influenced the choice of exposed concrete in the building.

5 2

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MATERIAL PALETTE INFLUENCES

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A HYBRID STRUCTURE As discussed, a driving concept of the design was to counter much of the development seen in the Baltic Triangle. My proposal makes use of moments of celebrated structure in order to oppose the often formalised construction solutions that can be seen in many of the recent additions to Liverpool. The low rise element of the building will be supported by an exposed glulam frame. In the tower and service based sections of the building are supported by a cast in-situ concrete structure. The use of unique ceiling structures was key feature of the building. This was refined whilst working on the ARC3013 submission. The integration of my technological research enhanced my scheme greatly. A dropped ceiling adds grandeur to the main hall and fundamentally makes the space unique. A diagrid roof structure presented itself a solution to the irregular form of the building. It also relates to the angular forms explored in my spatial collages completed in Staging. The motivation to use renewable materials and respond to the current climate crisis is reflected in the decision to use timber throughout the building.

TECH. include material palette.

STRUCTURAL STRATEGY - EXPLODED AXONOMETRIC

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CEILING STRATEGY - CELEBRATED STRUCTURE

ARC3013 EXTRACT

139

CONSTRUCTION SEQUENCING A requirement of the ARC3013 submission was to produce a series of construction sequencing diagrams. I found this process was extremely useful in terms of further refining the final proposal. The integration of the technology module was vital in realising the building. The design was greatly improved by the process of designing in detail. The construction sequencing presented shows how the community centre develops, from the demolition of the existing health centre, to completed building in a landscaped context.

3. FOUNDATIONS - Concrete foundations are laid, necessary cabling and services are also prepared

STRUCTURAL STRATEGY - CONSTRUCTION SEQUENCING

1. DEMOLITION - The initial stage of the project will see the demolition of an existing Health Centre. Bricks will be recycled as concrete aggregate

2. EXCAVATION - Excavators will remove approximately 1m of top soil in preparation for the laying of foundations

6. DIAGRID - The complex diagrid roof structure will be built insitu. A birdcage scaffold will be assembled above and below to aid construction

7. DROPPED CEILING - A multi-layered timber roof structure will be constructed over the main hall

8 . CLT - CLT wall and floor panels (secondary structure) will be fixed to the glulam structure, CLT decking will also be implemented on the timber roof structures

4. CONCRETE STRUCTURE - The service zones and vertical element of the building is cast in-situ, providing stability for the rest of construction

5. GLULAM FRAME - The construction of the primary structure of the low rise element of the project begins

9. GLAZING - Following the implementation of insulated wall components, the glazed curtain wall is fixed and roofing is completed. The building is now weathertight, interior features can be concluded

10. CLADDING - Timber cladding and aluminium facade panels are fixed to the solid walls and curtain wall respectively. Corten steel cladding will be applied to the vertical element of the building. The clock face and mechanics will also be installed

11. LANDSCAPING - Final interior finishes will be concluded. The courtyard and surrounding streets will be planted to finalise the project

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STRUCTURAL STRATEGY - CONSTRUCTION SEQUENCING

ARC3013 EXTRACT

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1:20 TECHNICAL SECTION This technical section is taken through the vertical concrete structure of the building which houses the library in the community centre. Clad in Corten steel, the clock tower has a rather sculptural tectonic quality. The section shows how perforated facade panels are used to cover window openings. This allows the facade to control natural light levels in the library space. The section also highlights the use of recessed service hatches, these are cast into the fair-faced concrete walls and ceilings. This not only allows for exposed thermal mass, but it also fulfils the design intention to celebrate exposed internal structure.

1 Corten-steel roof panel, 6mm Stainless steel supporting construction, 160mm Vapour control layer Kingspan Thermaroof TR26, 140mm Reinforced concrete cast in situ, 350mm Recessed service hatch cast in reinforced concrete slab, 100mm 2 Concealed guttering for drainage (this guttering will be positioned at the lowest point of the roof, shown here for illustration purposes) 3 Corten-steel faรงade panel, 6mm Ventilated Cavity, 110mm Stainless steel supporting construction, 100mm Vapour control layer Kingspan Thermawall TW50, 100mm Damp proof membrane Reinforced concrete parapet, 350mm 4 Corten-steel faรงade panel, 6mm Stainless steel supporting construction, 100mm Fire rated cavity barrier Kingspan Thermawall TW50, 100mm Insulated window head, aluminium frame (interior plywood surround) 5 Perforated Corten-steel faรงade panel, 6mm Double glazing, 6mm + 14mm cavity + 6mm 6 Screed floor finish, 100mm Underfloor heating pipes, 20mm diameter Acoustic separating layer, 5mm Reinforced concrete slab, 400mm 7 Corten-steel faรงade panel, 6mm Ventilated Cavity, 110mm Stainless steel supporting construction Kingspan Thermawall TW50, 100mm (sloped for drainage) Insulated window head, aluminium frame (interior plywood surround)

8 Double glazing, 6mm + 14mm cavity + 6mm 9 Recessed service hatch cast in reinforced concrete slab, 100mm 10 Expressed Corten-steel faรงade panel, 6mm Corten-steel trim Stainless steel insect mesh Ventilated Cavity, 200mm Fire rated cavity barrier Stainless steel supporting construction, 200mm Vapour control layer Kingspan Thermawall TW50, 100mm Damp proof membrane Reinforced concrete, 350mm Plywood window seat covering, 6mm 11 External paving block, 300mm x 600mm Drainage channel Packed gravel 12 Steel grating Insulated aluminium door frame, 80mm ACO drainage channel Rigid phenolic insulation (starter block), 150mm Reinforced concrete slab, 500mm Reinforced pile foundation 13 Double glazing, 6mm + 14mm cavity + 6mm Aluminium door frame mullion, 80mm 14 Screed floor finish, 150mm Underfloor heating pipes, 20mm diameter Vapor control layer Kingspan Thermafloor TF70, 100mm Damp proof membrane Reinforced concrete slab, 500mm

ARC3013 EXTRACT

PETER HALL ARTS CENTRE

PERFORMING

The Peter Hall Performing Arts Centre served as key precedent in terms of developing the diagrid roof structure of my proposal. The centre, designed by Haworth Tompkins, includes a 400 seat auditorium, an adaptable foyer space that incorporates a large, day-lit rehearsal and teaching room, an exhibition space and full back of house dressing rooms. The centre makes use of a diagrid timber roof structure over a triple height foyer (TRADA, 2019). The space is naturally daylit and overlooks a landscaped courtyard, the highly glazed foyer allows views in and out of the building and “blurs the boundary between interior and exterior” (TRADA, 2019). In contrast to the Peter Hall Performing Arts Centre, my roof structure has been designed to utilise a perimeter beam, this is due to the irregular form of the roof of my design. The following pages breakdown the technical resolution of my exposed timber roof structures. It must be said that precedent analysis was vital in terms of realising my unique design.

10m 1750mm

24m

FOCUS - PETER HALL PERFORMING ARTS CENTRE

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FOCUS - PETER HALL PERFORMING ARTS CENTRE

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DIAGRID CEILING

TIMBER DROPPED CEILING

The inclusion of a diagrid ceiling counters the often standardised construction methods utilised in the Baltic Triangle. The diagrid also serves as a structural solution to the complex and irregular form of my building. By exposing this roof structure, the space realised becomes even more architecturally intriguing. The structure allows for a vast open double-height cafe that isnâ&#x20AC;&#x2122;t interrupted by centralised recurring columns.

A multi-layered dropped ceiling allows for a grand gesture to be made in what my otherwise be considered a regular community space. From a technical perspective, the dropped ceiling will allow for mechanical ventilation ducts to be integrated into the design. These will sit within the ceiling where necessary. Structurally, due to the irregular shape of the hall, a perimeter beam will be installed. Beyond that, a regular grid will form the structure of the layered ceiling. Custom-made steel brackets will connect the layered timber.

The diagrid will be constructed in-situ and fixed to a perimeter beam with concealed Y-shaped flitched steel fin plates, secured with exposed bolts - like my Thinking Through Making exploration. The individual beams will be made of a beech laminated veneer lumber (LVL), much like the Peter Hall Performing Arts Centre. The beams will be connected with a circular hollow section (CHS) steel fixing, that will be custom made to the dimensions of the LVL (400mmx200mm). The roof structure will be completely exposed to form a delightful celebration of material. An acoustic ceiling will sit above the structure to ensure it is appropriate for both a cafe and library space.

400mm

1600mm

200mm 800mm

The use of contrasting tones of stained timber enhances the celebration of structure. The use of stained timber throughout the building is a reflection of the objective to create a space that is breathtaking, yet homely. The following pages encapsulate this atmosphere and ultimately reiterate the community orientated programme of the building.

500mm

300mm

400mm

CELEBRATION OF STRUCTURE - DIAGRID

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CELEBRATION OF STRUCTURE - TIMBER DROPPED CEILING

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8:25 - EARLY START AS THE CENTRE OPENS This Day in the Life will show how the centre functions throughout the day and caters for various users - unlike the neoliberal development of the area that is often focused on night-time activity. A DAY IN THE LIFE OF ST JAMES COMMUNITY CENTRE

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9:30 - BREAKFAST IS SERVED

11:00 - STUDY TIME

The community centre is accessible to all, the cafe can be used a breakfast space as well as an evening venue. The inclusion of contrasting timber finishes gives the space a rather warm atmosphere.

The library space is covered by the grand diagrid ceiling structure. The space is designed to be have intimate spaces, as well as larger, collective areas that aim to encourage collaboration.

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13:00 - GONE FOR LUNCH

14:25 - THE FIRST WEALTH IS HEALTH

Ultimately the centre aims to be a place that local people will come to spend time. This perspective highlights the spectacular double height space within the warm and light cafe.

This perspective shows the reception area to the health centre. The new health facilities are much improved in comparison to the existing NHS centre. The exposed concrete walls represent another moment of celebrated structure. 153

152

15:20 - PLAYTIME

16:00 - A ROOM WITH A VIEW

The courtyard makes use of the materials used throughout the scheme. Corten steel and timber feature in the benches and planters respectively. The courtyard is fundamentally a fully public space and expands the public sphere beyond Great George Square. 154

As well as collaborative spaces, the library also has quieter areas. This view shows a timber surrounded window seat that overlooks Great George Square and beyond. The concrete and timber compliment each other to create a warm, and relaxed space - perfect for a reading spot. 155

17:15 - THE MAIN EVENT OF THE EVENING This perspective shows the multifunctional hall being used to host an event. The fact that the use of this space is flexible, allows the building to cater for the local community in countless ways. There is an appropriate degree of ceremony to the dropped ceiling that covers the space.

156

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EXTRA-CURRICULAR ACTIVITIES This chapter will briefly highlight the ‘extra curricular’ activities I took part in throughout the year. Taking up the role of Small Talk Coordinator meant I was directly involved in organising and presenting the Newcastle University Architecture Society lecture series. This was a fantastic experience, and gave me the opportunity to converse with well-respected industry leaders. The Small Talk team was organised so that members could arrange several lectures over the course of the year. Working with fellow student, Ethan Medd, I organised the first two talks of the programme which saw Olly Wainwright, and the Architecture Den podcast team visit the University. It was an honour to welcome Olly Wainwright, the Guardian’s architecture and design critic to Newcastle, it was a rather surreal experience giving him a tour around the city. Incidentally, Olly’s talk related closely to themes of my Future City Studio. Form Follows Finance explored the ways in which our urban environments are developing - for better and for worse. It was also a privilege to host Bill Webb and Ben Stuart from the wellreceived podcast Architecture Den. Bill and Ben spoke about the podcast and their individual journey’s from university to accomplished architects. I was subsequently invited onto the second series of the podcast to discuss my experiences as student working remotely. This was an incredible experience and one I will never forget. Overall, the series was a great success with additional talks from Andy Groarke, PLP Architecture, and David Chipperfield Architects completing the series. I have also documented my visits to the Gleadless Valley estate, S1 Artspace, and finally my participation in a casting workshop - this was organised as part of the university’s Crafting Architecture programme.

ILLUSTRATED CULTURAL BIBLIOGRAPHY

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SMALL TALK HIGHLIGHTS

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OLLY WAINWRIGHT

BEN STUART AND BILL WEBB

As discussed, the first talk we organised was from Olly Wainwright. Whilst organising the talk he asked us to send him topics that he could explore in his lecture. As Ethan and I were both in the Future City studio we thought it would be interesting to hear his thoughts on urban development and the ongoing housing crisis.

The other Small Talk I organised was from Ben Stuart and Bill Webb , presenters of the wellreceived podcast Architecture Den. At the time both the presenters worked for the large scale practice MAKE. They explained the design approach of the practice and offered advice as to how excel in the construction industry. The talk also saw the launch of the second series of the podcast that I was subsequently asked to feature on. The experience of being a small talk coordinator allowed me to do things I’d never done before. I think the position improved my public speaking skills significantly.

“Every major city in the world now faces a housing crisis. The UN calculates that 68% of the world population will live in urban areas by 2050 – but where and how will they live? The 21st century has seen the relentless financialisation of housing: homes are no longer just places to live, but places to store wealth, and commodities to be bought and sold on the global stage. What effect is this having on our cities, and what are the alternatives? The Guardian’s architecture critic, Oliver Wainwright, will trace how form follows finance, and ask what is the role for architects in addressing the urgent challenges ahead.” Olly explored various issues from the pencil towers of New York, to the return of council housing in the UK. Organising the talk was a long process that involved various strands of organisation. This was a vital learning experience.

OLLY WAINWRIGHT - FORM FOLLOWS FINANCE

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BEN STUART AND BILL WEBB

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ARCHITECTURE DEN PODCAST

GLEADLESS VALLEY ESTATE WALK

As mentioned earlier, I was delighted to be invited onto the Architecture Den podcast. The podcast explores a wide range of architectural issues such as education, awards, money, tech money, health, and much more. Listening to the podcast gave me insight into areas of the profession I previously had little knowledge about. Whilst on the podcast I spoke about my experience as student experiencing remote teaching.

ARCHITECTURE DEN PODCAST

At the start of the year I spent a lot of time at the Sheffield Archive Library as part of my dissertation research in to the largely forgotten Gleadless Valley estate. I came across some previously unseen newspaper articles that refer to the estate. To aid my research I attended a Gleadless Valley tour, organised by Our Favourite Places. Local history enthusiast Mick Nott, who grew up on the magnificent estate, took us on 2 mile circular walk around Gleadless Valley. Throughout the tour he shared his thoughts on why its buildings and design deserve more appreciation and attention. The tour enhanced my research into the estate and led me to completing an enjoyable and original dissertation.

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GLEADLESS VALLEY ESTATE WALK

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S1 ARTSPACE SHEFFIELD

CRAFTING ARCHITECTURE

At the start of the year I visited the S1 Artspace in Sheffield. Based in the heart of the Park Hill Estate, S1 host annual public exhibitions and events. The exhibition I attended was called Love Among the Ruins: A Romance of the Near Future. It presented the work of two social documentary photographers Roger Mayne and Bill Stephenson, who documented the first residents of Park Hill from 1961-65 and the last remaining residents of Park Hill’s sister building Hyde Park in 1988 – both landmark buildings which were the product of City Council Architect J. L. Womersley’s pioneering vision for social housing in Sheffield.

At the start of the year, I also attended a casting workshop. Local artist, Hope Stebbing demonstrated the fundamental casting techniques. Working with plaster and clay, I explored quick and experimental casting processes. Carving damp plaster to create specific shapes and forms; using pigments to change its colour; and working with clay to create formwork for casting plaster. Although my final casts weren’t all successful the process was a great learning experience.

Both Gleadless Valley and Park Hill reflect the ambition of the Sheffield City Architects to provide progressive housing to the people of Sheffield. These projects were thoughtful in both in appearance and in their attempt to meet the social needs of community. However, they are perhaps examples of projects that have lacked permanence and durability - in a physical and societal sense. I think this has clear parallels to my design project in developing projects that people can rely on. As stated earlier, the idea of permanence can be related to durability, and durability can be explored in terms of resistance to decay, as well also its value to the users.

S1 ARTSPACE SHEFFIELD

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CRAFTING ARCHITECTURE WORKSHOP

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