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THE NON-CELEBRATORY PIECE ‘SOCIAL INEQUALITY’
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FIELD TRIP – LIVERPOOL & TURIN
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GROUP CASE STUDY – HOPE FOR LIVERPOOL
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THE PERIPHERY AS A BRIDGE
56 - 69
DE-CONSTRUCTING THE ‘MAN-MADE’ ENVIRONMENT
70 - 71
THE CELEBRATORY PIECE ‘THE BIRTH OF THE MOTHERS OF GINGERBREAD’
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THINKING THROUGH MAKING WEEK – A PIECE FOR CHILDREN
82 - 89
THEORY INTO PRACTICE – A HÖCH REVIVAL
90 - 91
AOC & MUF
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CREATING A COMMUNITY – NURTURING THE MOTHERS OF GINGERBREAD
106 - 109
PETER SALTER PART 1 – WALMER YARD
110 - 129
HOUSING THE MOTHERS OF GINGERBREAD
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PETER SALTER PART 2 – YURTS
132 - 137
THE DAYCARE… THE HEART OF FEMALE EMPOWERMENT
138 - 139
THE COMMUNITY KITCHEN… A PLACE FOR WORKING, GATHERING, LEARNING, AND SHARING
140 - 145
STRUCTURE INFORMING DESIGN
146 - 149
THE RISE OF SOCIAL EQUALITY, THE FALL OF HEIGHT
150 - 173
THE CHILDREN’S PICTURE BOOK
174 - 195
CELEBRATING THE MOTHERS OF GINGERBREAD
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DISSERTATION TRIP
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ADDITIONAL FIELD TRIP STUDIES
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JUDY CHICAGO AT THE BALTIC
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WORKSHOPS
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LIVING IN THE CITY – A FIGHT AGAINST GENTRIFICATION
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= WORK THAT HAS BEEN ALTERED SINCE THE REVIEW
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CASE STUDY – CELEBRATING THE MUNDANE
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have to start by thanking my tutors, Kieran Connolly and Luke Rigg. Their continued support and advice throughout the year will not be forgotten - they nurtured the Höch Revival!
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GATHERING – A STUDY OF A COMMUNITY
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BIBLIOGRAPHY
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LIST OF FIGURES
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R e F l cTi v E R ep o T
Whenever I lost faith in my design process or lacked inspiration, I returned
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to the work of Höch and listened to David Bowie’s music. Dadaism came in several forms, Bowie expressed himself as a Dadaist through his lyric writing techniques, his personas, and performances. His Berlin Tour was a catalyst for the fall of the Berlin Wall, with lyrics from the song ‘Up the Hill Backwards’ becoming the words of the protests. If Dadaism can be a catalyst for the fall of the Berlin Wall, I believe that Dadaism can also be a catalyst for true change in archaic mindsets and the urban fabric, eliminating female oppression through architecture.
It was not until this year that I truly understood the capability of architecture to
change society. I used to see architecture in a similar way to how most people see it, something that can: provide shelter, be a piece of art etc. basically, the more literal aspects of it. Now, I realise that architecture has the potential to change mindsets and even start revolutions. Throughout this year, I have learnt that my design practice does not begin with the architecture, but with wider issues that need addressing, including capitalism and gender equality. For my Dissertation, I turned my focus to the gender and sexual politics of the statues of Foro Italico, a sports complex in Rome, which was built under Mussolini’s fascist regime. Having researched a great deal about gender politics, I felt the need to introduce it to my design practice too. In September, I began my initial feminist research within the design field and discovered practices such as MATRIX, a feminist group that made me realise just how necessary womenorientated design is, in such a MAN-made environment. They also made me realise how certain small design moves can make a huge difference in terms of accessibility and usability for women, especially those with children in prams. With this knowledge, I decided that I wanted to design a complex for women and children that includes: housing, a daycare and a community kitchen, and will become a hub for ‘Gingerbread’ - a UK charity for single-parents.
I believe that the current urban fabric needs reform, and a key turning point that
4
gave me faith in this happening was through Theory into Practice. I explored the art movement Dadaism, an art movement that at the same time was an antiart movement, which began in 1919. It was anti-war, provocative, audacious, and addressed key issues regarding politics and identity. My focus turned to the work of Hannah Höch, revolutionary collages that also addressed female identity. Even though I heavily worked in collage during college, I did not do so in architecture, but why? Höch influenced my design practice to change, I recognised that I did not have to try to design and represent conventionally, with CAD for example, but to utilise more aleatory and creative techniques, like the Dadaists. I began designing with collage; I followed a process of collaging, tracing, re-organising, simplifying, re-tracing etc. until I acquired a spatial layout which I then wanted to extrude to form the complex ‘the Mothers of Gingerbread’.
My Thinking Through Making Week model also acted as a piece of inspiration
Primer NON-Celebratory INEQUALITY’
Piece
-
‘SOCIAL
for myself. I created a 1:2 children’s worktop with a splash-back board that was inspired by Judy Chicago’s feminist paintings, which express female empowerment. Through using her colour scheme and idea of blooming, a glance at the model re-iterated the need to design progressive and innovative architecture. The model also directly informed my design; in each home and in the community kitchen there are allocated children’s lab spaces, where these worktops feature.
FIG. 1 & 2) Bowie as a Catalyst (From ARC3015)
The Technology module also informed my design significantly. Through it I
Theory into Practice Collages of Politics and Gender (From ARC3015)
developed the daycare pods which are complex, fluid structures within more constraint ones, structures which were hard to design without actual structural consideration. Before the module, the theory behind the design of the complex was there but buildability was not; technology considerations turned feminism/ social equality from an idea to a potential reality. The Professional Practice module asserted this transformation too. The considerations for each section made me not only understand more about how the industry actually works, but also made me understand my design and practice better. I knew I wanted to use local materials but the ‘keeping to budget’ section made me understand the true benefits of this. For me, the key element that I took away from the module was having analytically thought about how my practice and design sits in industry and in society from a relatively early design phase.
Thinking Through Making Week Piece
My site, the Baltic Triangle in Liverpool, is a post-industrial area that is going
Designing with Collage Iterations
under regeneration and I found that it has lost its connection with surrounding communities. With my site sitting on the periphery, my aim for the project is to bring back a true sense of community for not only the immediate inhabitants, but also wider society. In terms of my practice, the introduction of women and children-orientated design features would not only benefit society, but also the industry. It creates architecture for the people, for individual and community empowerment, of all ages and genders. This empowerment is what I have brought to the project, and this empowerment and urge for change is what I hope to bring to the industry.
Axo of Daycare Winter Garden Pod Structures (From ARC3013)
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My Charrette group was ‘Gathering’, led by
Leah Miller. The themes of our group were documentation by photography and film, reusing, and community. This year’s Charrette theme was ‘Highstreet’ and our location was Coatsworth Road, Gateshead. We mapped the street with photography, using both our phones, and a disposable camera. We also visited some community projects, learning how different groups re-used, recycled, and re-created things, like plastic bottles to make a greenhouse. The output of our group was a sculptural installation, involving our photography, films, and objects that we gathered from the site.
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GATHERING – A STUDY OF A COMMUNITY
Coatsworth Road:
Coatsworth Road in Gateshead is a highstreet
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which has a very diverse nature, as it is a central point for several surrounding communities. We visited the highstreet on the 30th September, which was Rosh Hashanah (Jewish New Year), so many shops were closed, like the Kosher Bakery. However, we still got a sense of what the street would usually be like. We noticed that the street has several overlaps cultures, an aspect that makes it quite unique.
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We visited and were welcomed by the Comfrey
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Project, a charity that works with refugees and people seeking asylum to improve their quality of life. The top four photographs were taken in one of their greenhouses, which is where the team grow the food that they cook. We gathered some plant material from their greenhouse to add to our installation, adding a piece of their community and work to ours. We spent the rest of the days learning different photography and film techniques at the Newbridge Project (bottom image).
Photographs of Our Sculptural Installation
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The first decision that I made for this project
was the scenario; I chose Living in the City. I decided upon this as I believe that there is a lack of sustainable, innovative, communityorientated, yet affordable homes on the market. The announcement of the 2019 RIBA Stirling Prize winner, Goldsmith Street by Mikhail Riches, gave me a spark of hope that this will become the new way forward. This led to my case study being that social housing project. Another element of Primer included the initial explorations of the site, Baltic Triangle in Liverpool, and the key themes that I wanted to focus my project around. One key theme is reconnecting the Baltic Triangle with surrounding communities.
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CASE STUDY – CELEBRATING THE MUNDANE Goldsmith Street is an innovative social housing
14 FIG. 3) The Alleys (Tim Crocker, 2019)
project by Mikhail Riches, located in Norwich. It was awarded the 2019 RIBA Stirling Prize, the first social housing scheme to have ever won. The scheme consists of approximately 100 homes of 11 different typologies, which all meet the passivhaus environmental standards. As well as its environmental excellence, it also links back to traditional English homes, that being terrace houses in a grid-like structure. Mikhail Riches successfully modernised this typology of housing by the landscaping of communal/ green spaces within the ‘alleys’, and surrounding it. To reach Passivhaus standards, the architects had to put certain features into place, like minimising the surface area of openings. To achieve this successfully, Mikhail Riches set back windows and created large boarders, as shown on the image on the left, creating the illusion of larger openings. Additional to this, the roofs have been angled specifically to allow winter sun to enter the homes in the street behind and brise-soleils have been placed above all openings, which provide shade from the summer sun.
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Site Plan - Highlighting the green spaces
Ground Floor Plan
First Floor Plan
Second Floor Plan
Roof Floor Plan
Sun Sha
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Zoomed-in Plan - Highlighting the particular building that I am focusing on, as well as the initial idea of the winding communal spaces in the ‘alleys’
b
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A Diagram of Some of the Scheme’s Environmental Qualities - Mainly in ways in which sunlight is controlled
Section a-a
Section b-b
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Conclusion: When Goldsmith Street was announced as the 2019 RIBA Stirling Prize winner, I was
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delighted as it was the first social housing scheme to win such an honourable prize. This was a key reasons for choosing this project as my exemplar study. Another reason is due to its importance for the housing sector, as it is a key example in showing how new homes do not have to be made in luxury high-rise buildings, but that they can thrive in their traditional, modest yet innovative ways. Our site for this year is the Baltic Triangle in Liverpool, which has many new high-rise buildings, including residential ones, springing up within it, but my aim is to go against the gentrification of the area; I propose to do this by following in the footsteps of Mikhail Riches, focusing on key elements like: a dense scheme yet no feeling of oppression, meeting the Passivhaus standards, being sensitive to its surroundings, but most importantly, focusing on society and how people can connect with one another and as well as their homes.
Isometric
Drawing
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Highlighting
the
communal green spaces between the rows of houses
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LIVING IN THE CITY – A FIGHT AGAINST GENTRIFICATION
Baltic Triangle, Liverpool.
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The Periphery. The Key Elements of the Baltic Triangle - Constant rebuilding, gentrification, capitalism, neo-lioberalism, standardised residential blocks and existing warehouses, etc.
The Key Elements of the Periphery of the Baltic Triangle - mundane housing, drives, gates and fences, a fight against gentrification, and community etc.
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Test Collage no.1 - Focusing on the faรงades of mundane houses: doors, windows, drives, etc. A study of the under-rated ordinary elements.
Test Collage no.2 - Focusing on the gardens and gates of mundane houses: hedges, fences, trees, etc. A study of the transition between public and private.
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THE NON-CELEBRATORY
PIECE ‘SOCIAL INEQUALITY’
For my celebratory piece I decided to work with
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mixed media, creating a collage that focuses on the key elements that should be addressed. This A0 piece contains photography of the Baltic Triangle and its periphery, highlighting the differences and the disconnection between the Baltic Triangle and the surrounding communities. I began my collage by mapping out the key roads of the Baltic Triangle and the surrounding area to create a sort of abstracted map, with the images being placed in almost the correct locations. Apart from focusing on the key issues, I also mapped out key tourist points like Liverpool Cathedral to gain an idea of the centrality of the site. My key aims were to address the social/ political issues regarding the Baltic Triangle, issues that revolve around gentrification. As I was layering up the different elements, the passion for this aim grew. This has become evident by the chaotic nature of the piece, especially within the text. At the top of the Baltic Triangle area (framed with orange string) I depicted a crown by reconstructing a photograph of scaffolding; this sums up the area, an area of constant yet standardised change. On the next pages, I have created further collages that consist of zoomed in elements of the celebratory piece, to be able to grasp a better insight of my aims.
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Zoomed in collage no.1 - Highlighting the political/ social features of my celebratory piece. It contains some collages pieces of photography from the site, of the new-builds, but also of protesting graffiti. I amplified the importance of addressing these issues with large pieces of text throughout my piece.
Zoomed in collage no.2 - Highlighting the modest, more traditional homes of the periphery, but also of the remaining low-rise residential area within the Baltic Triangle, which faces risks of demolition. I also highlighted the brutal fences which run along the periphery, and the difference in scales between the standardised new-builds and the low-rise homes.
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The second part of the project includes further
site readings, picking the site, and setting up the brief. The book ‘Making Space: Women and the Man-Made Environment’ by MATRIX ultimately led to the decision of designing homes and a community for women and children. I carried out further site analysis, especially regarding women and children to understand the needs for them in Liverpool. I used the case study of Granby Street to gain a true understanding of how to create a sense of community for them. I also explored ways to create admirable spaces, which aid accessibility, and a child’s curiosity. The key design ideas were then mapped out in my celebratory piece ‘The Birth of the Mothers of Gingerbread’.
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FIELD TRIP – LIVERPOOL & TURIN
SUNDAY 24TH NOVEMBER
We
We
visited both Liverpool and Turin for our field trip. Although culture and architecture can be seen as very different in England and Italy, Liverpool and Turin share some significant similarities: a postindustrial urban landscape, and thus, regeneration, but most importantly, a real sense of community, with vital communitybased projects in both cities. I will document the trip from day to day, highlighting the 3 photographs that I found most significant.
began our field trip in Liverpool. On the first day we re-visited the Baltic Triangle for further site analysis. The 3 key photographs of the day depict: yarn-bombing near my site, a children’s entrance to a school, and new yet traditional industrial windows.
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MONDAY 25TH NOVEMBER
The second day of the trip was also in
Liverpool. We visited the three places for the group case studies, as well as other significant buildings around the city. The 3 key photographs of the day depict: my case study - Granby Street, one of the other case studies - Everyman Theatre, and the Bluecoat (art gallery). The top image shows community inhabitation, and the bottom images both share similar interesting threshold qualities.
TUESDAY 26TH NOVEMBER
Although Tuesday acted merely as the transitional
period of going from Liverpool to Turin, I still found moments worthy of documenting. The 3 key photographs of the day depict: an article in the plane magazine, reinforcing the need for gender equality, and two images of the apartment I was staying in, showing traditional Italian living, with unique thresholds and spatial qualities.
WEDNESDAY 27TH NOVEMBER
On
the first day of the Turin trip, we visited several locations that tied into our studio themes, including Toolbox, a co-working place, Parco Dora, and the Church of Santo Volto. The 3 key photographs of the day depict: two images from Toolbox, showing recycling of materials and a light study from an extruded window, and an image of Parco Dora and the Church, showing how the Church sits within the unique, reinvented, post-industrial landscape.
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THURSDAY 28TH NOVEMBER - DAY
THURSDAY 28TH NOVEMBER - NIGHT
FRIDAY 29TH NOVEMBER
As
well as showing Turin throughout the day, I thought it was also important to highlight it’s atmosphere and my experiences of the city at night. Turin holds a whole new character, with street art and certain buildings coming to the foreground because of the lighting, aspects that would be missed during the day. Turin at night made me appreciate how places and spaces can change character so easily with different lighting conditions.
On
Tuesday, we met up with Ghost in the Machine studio and visited some grand industrial buildings. The 3 key photographs of the day depict: two images from Torino Esposizioni, showing the incredible widows, and the thresholds between inside and out, and one image from inside Il Lingotto, a former Fiat factory, and its unique circulation route to the race track on top of the building.
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On Friday, we visited Rivoli, a municipality about 14km west
of Turin to see Rivoli Castello, a contemporary art museum. The place varied greatly from Turin, we were removed from the post-industrial landscape, to a rural, mountainous area. The 3 key photographs of the day depict: an image of the typical streets in Rivoli, and two images of Rivoli Castello, a historic building, re-purposed to display art installations the new meets the old.
SUMMARY OF THE TRIP Not only was the Turin trip great for experiencing
a similar post-industrial urban landscape in a different cultural setting, it also ended up being particularly useful to my individual project. Visiting the small-scale community projects, proved to me that community is the most vital part of society, regardless of the grand buildings that may be present in a place. Thus, it verified the need to emphasise the importance that architecture for the people holds. However, I also gained a lot from visiting the more grand buildings, especially regarding thresholds, from internal to external, but also thresholds within buildings.
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Studio Relevance:
GROUP CASE STUDY – HOPE FOR LIVERPOOL
IC BALT GLE N TRIA
Granby Street Case Study: Granby
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Street is a 10 house project, located in Toxteth, Liverpool, a walking distance away from the Baltic Triangle. It is highly relevant to our 3 studio scenarios: living in the city, working in the city, and community. The key themes of our studio can be seen in practice with this project.
NBY GRA ET STRE
Isonometric Cut-away Drawing of One of the Homes - Depicting how the rooms are organised, and how they are inhabited
(My sections of the Group Field Trip Case Study)
Collage of the Façades and the Greenery - All planted by the community
Collage of the Façades - A key aspect of these homes are that all the doors are located adjacent to their neighbours, creating a closer connection between dwellers. This is an aspect that I would like to bring to my project too.
SCENARIO 1: LIVING IN THE CITY The key themes include: erasing the disconnection
between communities and new-builds, and creating affordable and sustainable alternatives. Renovating instead of rebuilding the houses of Cairns street helped this happen.
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Collage of Work Opportunities on Granby Street
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Collage of Granby Street’s Tight-Knit Community
SCENARIO 2: WORKING IN THE CITY
SCENARIO 3: COMMUNITY
The key themes include: affordable builds,
The
and focusing on the human-scale. There are three main occupations within the Granby Street Project: ceramics - in the Granby Workshop, construction - part of renovating team, and volunteering working for the community i.e. planting.
key themes include: Bringing back a true sense of community and culture. The Granby Street community is successfully striving towards this in many different ways. Granby Street Market is one way of doing this, hosting different themed markets each week.
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Thresholds:
Collage Depicting the Key Unique Elements of Granby Street
Collage of the Approach to the Winter Garden
Photographs of the Thresholds Connecting the External to the Internal - The front door and some of the windows
APPROACH/ EXTERNAL TO
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STUDIO AS A WHOLE
INTERNAL
The
Approach
Granby Street Project also holds strong political, social, and economic views, especially linked to gentrification. They bring these views to the forefront by displaying posters in the windows and on the trees, but also through their evident true sense of community, through the mundane.
is arguably the key threshold to a building, the lead up to entering the place. The Winter Garden is almost like a secret mythical forest. From the outside it looks like an ordinary home, but upon entering, the double-heighted space and the plants create a true sense of astonishment.
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Collage of the Internal Thresholds - Arranged in similar locations as they literally are
THRESHOLDS WITHIN THE BUILDING
Due to the double-heighted space, many internal
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thresholds have been created. These range from: the partitions created by blue-painted structural beams, to the single-heighted spaces that you experience when moving further in the building.
Photographs of the Internal Thresholds The staircase and the threshold between a singleheighted space and a double-heighted space
Collage of the Thresholds Between the Ground and the Sky Depicting how the buildings and plants connect the two
Photographs of the Thresholds Between the Ground and the Sky - The glass roof
CONNECTING GROUND TO SKY One of the key aspects that connects the ground, to
the building, to the sky, is through the application of a glass roof. This creates a layer of transparency, making the winter garden even more connected to the natural environment. The indoor plants and trees also act as connecting pieces.
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THE PERIPHERY AS A BRIDGE
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The Chosen Site: When
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choosing the site to focus on, I had key elements in my mind which I wanted it to include. These were: a link with the periphery, avoiding the potential risk of being demolished due to new high-rise buildings being erected, and having a part of an existing building to incorporate.
I then decided that I wanted my site to actually sit on the periphery, to make a bridge between the Baltic Triangle and its surrounding communities. My proposal is to demolish the blue warehouse, and incorporate the attached existing brick building into my project.
Above: Drawing of the Site in Context - I coloured in the building I will be incorporating and the Nordic Church opposite
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A Photograph of the Site and the Nordic Church Opposite - Walking from the centre of the Baltic Triangle
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To the left: The Existing - A photograph of the facade of the existing building that I will be incorporating into my design
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Above: 360° View through Collage - Of the existing building, as well as the Church across the street
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A Photograph of the Site and the Top of the Nordic Church opposite - Focusing on the existing wall behind it
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Collages that hold key features of how I see Liverpool and the Baltic Triangle. I created these from leaflets and magazines, found in a coffee shop, central within the site.
Left: Highlighting the creative, cultural aura of Liverpool as a whole; Bluecoat is an art gallery in the Ropewalks
district.
Centre: A contradictory piece made from two leaflets of so-called ‘affordable’ art markets that take place within the Baltic Triangle; contradictory due to the high prices of the area.
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Right: Focusing on the night-life of the Baltic Triangle; a collage created from a magazine article of ‘Baltic Weekender’.
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A Collage of Liverpool and Women - How women are perceived (with ignorance) and how they should get their say; created from the Liverpudlian magazine BIDO LITO.
A Children-Orientated Collage - A collaboration of two different leaflets from Liverpool that focus on families and communities; they touch up on how the architecture ‘accommodates’ for families.
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DE-CONSTRUCTING THE
‘MAN-MADE’ ENVIRONMENT
MUF ARCHITECTURE/ART
JUDY CHICAGO, MIRIAM SCHAPIRO & STUDENTS WOMANHOUSE
MATRIX DESIGN COORPORATION
FIRST-WAVE SOJOURNER TRUTH EMMELINE PANKHURST SECOND-WAVE GLORIA STEINEM BETTY FRIEDAN
MODERN CHESS SET
RACHEL WHITEREAD
THIRD-WAVE OPRAH WINFREY NAOMI WOLF
FOURTH-WAVE EMMA WATSON MALALA YOUSAFZAI
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More than 1 in 5 children (21%) will be in absolute poverty in 2020, compared to 17% in 2010/2011. (Great Britain. Social Mobility & Child Poverty Commissions, 2014)
82,205 children live in poverty in the Liverpool city region, 25.6% of all children, much higher than the national average of 18.6%. (Knowsley Council, 2015) 3 out of 4 children living in poverty in Liverpool live in single-parent families. (Knowsley Council, 2015) Around 90% are single mothers. (Gingerbread, 2019) I created this collage of just some of the headlines
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regarding single-mother families, to highlight two key issues: the real shocking statistics of singlemother families, especially in the Liverpool region, but also the shocking way that the government and the media portrays them. Boris Johnson once portrayed single mothers as raising delinquent children, a false accusation, highlighting the neglect that the conservative government has towards nonconventional families in the UK.
Although
government neglect is evident, it is vital that the statistics of single-mother families are highlighted. This is not to show their ‘incompetence of raising children’, but to show the need for a true, safe support system for them, including women and child-friendly design. I disagree with the stigma around the so-called ‘men deserts’, a sense of safety and community is needed to raise children, regardless of male presence.
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1890 - THE HOUSE OF HELP WAS SET UP, OFFERING SHORT-TERM ACCOMODATION TO WOMEN STRANDED/ LOST IN LIVERPOOL 1717 - BLUECOAT OPENED AS A CHARITY SCHOOL
1854 - ST. GEROGE’S HALL BUILT 1846 - ARCHITECTURAL TRIUMPH, ALBERT DOCK COMPLEX WAS COMPLETED
1235 - LIVERPOOL CASTLE WAS BUILT
1894 - LIVERPOOL’S WOMENS 1957 - THE CAVERN OPENED SUFFERAGE SOCIETY FORMED CLUB 1960’S - THE BEATLES 1911 - LIVER BUILDING WAS CONSTRUCTED
1830 - ONE OF THE FIRST CITIES TO HAVE AN INTERCITY RAIL LINK
1800’s
EMERGED
2008 - AWARDED EUROPEAN CITY OF CULTURE
1880 - LIVERPPOL OFFICIALLY BECAME A CITY
1978 - NEO-GOTHIC ANGELICAN CHURCH WAS COMPLETED 2008 - ECHO AREA OPENED ON THE WATERFRONT
1967 - LIVERPOOL METROPOLITAN CATHEDRAL COMPLETED
1904 - NEO-GOTHIC ANGELICAN CHURCH WAS FOUNDED
1849 - PHILHARMONIC HALL BUILT
1200’s
1970’S-80’S - SUFFERED BADLY IN THE RECESSION, TOXTETH STREET RIOTS
1994 - LIVERPOOL WOMEN’S HOSPITAL WAS FOUNDED
2000’s
1900’s
1852 - CENTRAL LIBRARY BUILT
LATE 1800’S - 40% OF THE WORLD’S TRADES PASSING THROUGH LIVERPOOL 1715 - FIRST EVER COMMERCIAL DOCK WAS COMPLETED
1860’S - MANY CHINESE MIGRANTS FIRST ARRIVED IN LIVERPOOL
1870 - STANLEY PARK OPENED 1872 - SEFTON PARK OPENED
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The History of Liverpool - Key events ranging from Liverpool Castle being built to Liverpool becoming an UNESCO World Heritage Site on a timeline, key events regarding women are highlighted in pink.
1940’s - SUFFERED HEAVILY IN THE BLITZ, ST LUKE’S CHURCH NOW ‘THE BOMBED OUT CHURCH’
1988 - TATE LIVERPOOL OPENED
2004 - LIVERPOOL BECAME AN UNESCO WORLD HERITAGE SITE
NOW
2015 - HONOURED WITH A ‘CITY OF MUSIC’ UNESCO
2004 - 920M INVESTMENT, LEADING TO LIVERPOOL ONE
1933 - PHILHARMONIC HALL WAS DESTROYED IN A FIRE 1939 - LIVERPOOL PHILHARMONIC HALL WAS BUILT
1970’S - LIVERPOOL BLACK SISTERS WAS SET UP
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DO YOU THINK THAT OUR CITIES ARE DESIGNED WITH WOMEN AND CHILDREN IN MIND?
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A Series of Four Illustrations - each one highlights a key idea that I want to focus on, including:
One - The Pram - Revolving around women and mobility Two - Different Topography Levels - For a child’s exploration
Three - The Community Kitchen/ cafe - For mothers to run and enjoy together
Four - Small Spaces within Larger Spaces - Creating hiding
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and ‘cosy’ spaces for children
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66
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Having
illustrated key themes, activities and design ideas, I then created some collages that spatially manifest these.
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Key Idea Collage no.1 - Combining a variety of colours, textures and shapes for a child’s exploration and development
Key Idea Collage no.2 - Combining a variety of levels and spaces
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THE CELEBRATORY
PIECE ‘THE BIRTH OF THE MOTHERS OF GINGERBREAD’
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For my celebratory piece, I created a large collage of key elements and spaces that I want to base my project around. To do this, I collaged: my illustrations, small parts of photographs from existing buildings, my own photographs, elements of leaflets, and pieces of text from some influential feminist architecture books. The key ideas include: small spaces within large spaces, a secure courtyard full of greenery and different topography levels, and a double-heighted communal kitchen/cafe with a glass roof, located in the existing shell of the ‘Essex House’ building.
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s
&
y T he n si
s
a
n
Re li s a T io
4 72
The last stages of the project were Realisation
and Synthesis; the stages which turned the theory into a community. We began with Thinking Through Making Week, and shortly after, Theory into Practice. Both of these played significant roles in my design. Throughout the whole design process, I worked in several scales and utilised several crafting techniques. As I had decided not to use design softwares, I adopted different processes to visualise and design in three dimensions. These include: collage, illustrations, and models. This chapter will demonstrate how the architecture of today and the future should be designed - architecture for the people, ALL people.
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FIG. 4) The Dinner Party, 1974-79
THINKING THROUGH
(judychicago.com) FIG. 5) Heaven is for White Men Only, 1973 (judychicago.com) FIG. 6) PEELING BACK, 1974 (artnet.com) FIG. 7) Reaching, Uniting, Becoming Free, 1979 (artnet.com)
MAKING WEEK – A PIECE FOR CHILDREN
“
” I turned my focus to the artwork of
Judy Chicago, a pioneer of feminist art from the 70’s. Her piece ‘The Dinner Party’ consists of 39 plates for significant females. The striking element for me is that they all manifest female empowerment by depicting butterfly-like vulvas on each one. For thinking through making week, I decided that I wanted to create a 1:2 children’s worktop with a splash-back board that also acts as a play and learning tool by applying relief. Judy Chicago’s blooming work inspired my relief work, to be a piece of female empowerment. Her feminist colour scheme of pink, orange and purple also became an influence to my project’s colour scheme.
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A Series of 3 Test Collages - Experimenting with colours, shapes, and compositions for the wooden mosaiced worktop
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A Series of Process Photographs - Documenting the key moves in the making of my final piece. I began by constructing a dowel jointed frame, and then created the mosaiced work surface and splash-back element with relief.
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Final Piece: After
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a week of working in the workshop, the children’s worktop was complete. I found the week initially quite challenging because I had barely worked in the workshop before, but eventually I found it a rewarding experience. I have gained and developed skills that I did not have prior to it, like working with wood/joints, and using a wax melting pot. Looking at the final piece, I believe that it was a very successful outcome. Although I had certain worries during the process like ‘what am I going to use to set the mosaic?’, I overcame them with research, testing and advice from the workshop team and colleagues.
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Höch’s ‘Aus der Sammlung: Aus einem ethnographischen Museum’, 1929.
THEORY INTO PRACTICE – A HÖCH REVIVAL (Content from ARC3015)
For theory into practice, I turned my focus to Dadaism. Dadaism
D
aD a
was founded in 1916, it is an art movement that is at the same time, an anti-art movement. Or actually a movement of life, a different way of viewing the world and expressing one’s self. Dadaist’s audacious and provocative works were bombarded with political commentary, art that was anti-war. My focus turned to Hannah Höch’s work especially because she wasn’t only dealing with political commentary, she was also addressing female identity, and what it was like for a woman in Weimar Germany.
Höch’s ‘Cut with the Dada Kitchen Knife through the Last Weimar BeerBelly Cultural Epoch in Germany’, 1919.
Raoul Hausmann and Hannah Höch at the Dada Fair, 1920.
“[…]
The
new materials’ ability to irritate, and in so doing lead to more fresh types of content.” – Raoul Hausmann
Höch’s ‘Das schöne Mädchen’ [The Beautiful Girl], 1920
“They all desired this ‘New Woman’ and her
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FIG. 8-12) Dada Images
Hausmann’s ‘The Art Critic’, 1919-1920. A photomontage depicting ultimate rebellion; a statement piece suggesting that Dadaist’s aims are not to please art critics, but instead to shock people, by producing controversial imagery.
ground-breaking will to freedom. But—they more or less brutally rejected the notion that they, too, had to adopt new attitudes” - Hannah Höch
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I
produced a set of collages responding to my view of the issues that current day Britain faces, from politics to gender, inspired by the work of Hรถch. I mainly used imagery from newspapers that I had in the house, showing how relevant these issues actually are. Current Page : Please Politicians,
Give Me A Chance.
Opposite Page: The Tears of Brexit, Brexitears.
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(From ARC3015)
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Current
Page: Why Has The
Contraceptive Pill Become Normalised?
Opposite Page: Fig 16.- Now You
Can Spread Your Sex Too! - With the addition of collaged elements from the last centuries advertisements
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(From ARC3015)
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Current
Page:
Are We Actually Fighting The CLIMATE EMERGENCY? - Mainly created using imagery from a 1980’s National Geographic magazine
Opposite Page: Fig 18.- How Much
Does It Cost To Reverse These Issues? - A combination of the key issues
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(From ARC3015)
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FIG. 16) Arc on the Park 2007 (muf.co.uk)
AOC & MUF
FIG. 17) Four play spaces for Camden 2010
(muf.co.uk) FIG. 18) Claybury Security through Obscurity 2009 (muf.co.uk) FIG. 19) Italian Day Nursery 2009 (muf. co.uk)
AOC Architects:
MUF Architecture/ Art:
AOC‘s practice revolves around child-orientated design, in terms of space, colour and form. I was particularly influenced by the sloped pink polycarbonate canopy of the Janet Summers Early Years Centre, which creates small hiding/ play spaces for children, as well as the roof-scape of
the Spa School, utilising different simple forms to create a desirable and playful skyline.
MUF ‘s key themes include: Feminist art and architecture, child-orientated designs,
and embracing the mundane small details,
like materiality, and small-scale play areas.
Their feminist stance on design was the initial factor that drew me to their work, but
their detail to small-scale elements , like play areas, is what influenced my work the most.
FIG. 13 & 14) Janet Summers Early Years Centre (theaoc.
co.uk)
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FIG. 15) Spa School (theaoc.co.uk)
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CREATING A COMMUNITY – NURTURING THE MOTHERS OF GINGERBREAD
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The Families:
1 child
2 children
3 children
4 children
2 children
1 child
Age: 3
Ages: 2, 2 (twins)
Ages: 3 months, 1, 4
Ages: 1 months, 2, 4, 4 (twins)
Ages: 1, 5
Age: 2 months
In a Pram: 1
In a Pram: 2
In a Pram: 2
In a Pram: 2
In a Pram: 1
In a Pram: 2
The 6 Hannah Höch Inspired Families - mainly made up of photographs of myself, members of my family, and some photographs by Nan Goldin, a photographer whose main focus was around gender and identity.
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[About blind painting...] “trying to control
things doesn’t necessarily make them better.” – Martin Creed (Turner prize winner)
My initial design iterations are a process of both aleatory and non-
(From ARC3015)
aleatory. I began by tracing the shapes formed from my celebratory piece literally, and then followed a process of reorganising the
shapes, with a certain degree of consciousness; the awareness
lies within a brief knowledge of how I want to organise the three elements of the complex. I then began to extrude the initial
aleatory collages, that focus on colour and shapes, to create spaces. I added them into the iterations and beginning to extrude
them too, creating the initial arrangements of my design project.
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(Extract from ARC3015)
Above: Initial design Iterations Opposite Page: Aleatory Collage Series - Space, Colour & Texture, EXTRUDE.
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SURREY STREET
STREET
GREETHAM STREET
UPPER FREDERICK
A561
PARK LANE
SURREY STREET
CORNHILL
1:200 SITE PLAN
STREET
GREETHAM STREET
UPPER FREDERICK
This Page: Inserting the extruded
iterations onto the site plan
CORNHILL
A561
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PARK LANE
1:200 SITE PLAN
Opposite Page: Paper Model on Site - Depiction of the proposed massing, colour coded to highlight each separate element
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SURREY STREET
SURREY STREET
STREET
UPPER FREDERICK
STREET
GREETHAM STREET
GREETHAM STREET
UPPER FREDERICK
A561 PARK LANE
SURREY STREET
SURREY STREET
CORNHILL
CORNHILL
A561 PARK LANE
STREET
UPPER FREDERICK
STREET
GREETHAM STREET
GREETHAM STREET
UPPER FREDERICK
A561 PARK LANE
CORNHILL
CORNHILL
A561 PARK LANE
A
series of 4 initial iterations with immediate context:
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1) Simplifying the forms of the previous iterations 2) Adding the female form into the massing of the daycare, as well as the canopy 3) Abstracting the female form and inserting the rounded shapes into geometrical frames, depicting female oppression 4) Slightly altering the rounded forms and adding a butterfly-like canopy
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SURREY STREET
STREET
T GREETHAM STREE
UPPER FREDERICK
CORNHILL
A561 PARK LANE
To The Left: A Materiality Study on the Site Plan - Highly influenced by the materiality choices of AOC
Below: Elevation - Of one of the early iterations
Initial Masterplan for the Complex - highlighting the existing walls in red
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Initial MUF-Inspired Play Area
The Play Area:
In the same manner as the initial design process, by tracing the
forms of collages, I began to map out the play area. I used the
Hรถch inspired collages regarding women, and all the issues
combined to create the floor plans. I then followed the process of simplifying and rearranging the forms to create the optimum
layouts. Then, I began to extrude them, having a more permanent structure at the bottom, made from stone, with timber frames on
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top to create admirable spaces for children.
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Key Section - highlighting the existing walls and roof in red, and showing how I have perforated them
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The Roof-scape Plan - Highlighting the forms and sky lights of the pods, as well as the colours of them: the small pods being the primary colours for a child’s development, the main pod being pink to embody female empowerment, and the winter garden pod being green to highlight its link to nature
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PETER SALTER PART 1 – WALMER YARD Another
key theme for my project is fluidity within constraint, symbolising the swift from female oppression to female empowerment. A key architect who works with fluidity within constraint is Peter Salter. For the homes in my project, his Walmer Yard project was a key precedent. Walmer Yard is a housing scheme in London which consists of 4 interlinked homes that wrap around a courtyard. The mosaiced internal spatial arrangement within a more constrained structure, manifests fluidity within constraint.
FIG. 20 - 30) Walmer Yard
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Images (Hélène Binet, 2019)
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The extruded windows in his design influenced
the roof-scapes in my project because it make me realise how dramatically a space can change by doing so, in terms of form, lighting, and experience.
Alongside the unique spatial arrangement, he also
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put a lot of consideration into other aspects like materiality and light in architecture. The images above depict the unique bathroom pods, made from black carbonised steel. The images to the right are drawings of the windows of a bedroom, showing how he experimented with window shapes, sizes, and positions in order to create different atmospheres.
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HOUSING THE MOTHERS OF GINGERBREAD
Ground Floor Plan
I
began developing the internal
arrangement
of
standardised
ones
the
housing
plans by starting with relatively and
then
making key moves like curves in the walls. This aids accessibility
and circulation, and makes it more
desirable for children. A key aspect that informed layout was allocated First Floor Plan
110
pram storage spaces near the entrance of each dwelling.
Front Elevation of the Housing Highlighting the extruded elements in pink and the location of the rest of the complex (the orange square)
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Paper Model of the Homes - As I decided not to use conventional design and representational tools like CAD, I decided to create a paper model to visualise the housing better. I also modelled the existing wall.
Paper Model of the Homes on the Site Model - Showing how they would sit in context; I also highlighted the areas of the daycare and the community centre, to show how it would sit within the complex too.
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1
1
2 3
3
2 A Series of Perspective Illustrations of the Homes - Each one highlights a key design move that the plans alone do not translate clearly.
To the Left: The Entrance to the Homes that House the Two Families of One Mother, Two
Children - embracing the pram by having an allocated space for it without being hidden, as well as highlighting the playful use of different tiled flooring.
Middle: The Living Rooms - stair-like spaces for the children to play on that also act
that I want to focus on in order for my project to develop further.
To the Right: The Bathrooms - only entrances through the bedrooms creating
Above: A Mother’s Retreat - The mothers bedroom being located on the top floor with her own winter garden
as storage, as well as playfully arranged windows.
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These two illustrations revolve around elements
an interesting relationship of space and how the inhabitants experience it, with different sized doors from each.
To the Left: Storage Walls
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Ground Floor Plan
First Floor Plan
Key Section of a Home
Second Floor Plan
Third Floor Plan
To develop the housing plans, I incorporated the
illustrated design ideas. As children can be quite messy, with a lot of toys, I decided that each floor will have plenty of storage walls (highlighted in
pink). On the ground floor under the staircase, you can see the stepped storage which also acts as a
play space. The model above helped me visualise how the child would experience the storage/play space under the stairs. I also began to design the Roof Plan
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roof, with traditional roof tiles over the mother’s bedrooms, and polycarbonate sheets covering the winter gardens.
Elevation of Homes
117
Second Floor Plan
Third Floor Plan
The Homes Roof-scape:
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Axonometrics of Three Homes from the Second
Floor Up - Each diagram depicts a different key element:
1) Main Circulation 2) The Mothers Bedrooms 3) Furniture 4) Combination of Circulation and Bedrooms 5) Experimental Roof-scape 6) Combination of Circulation, Bedrooms and Furniture
Axonometric Combining All The Drawings
119
Collaged Roof-scape no.1 in Plan
Collaged Roof-scape no.1 in Elevation
To
take on a true Dadaist approach, I re-introduced collage as an early design process for the roof-scape, allowing me to work in an aleatory yet non-aleatory way. The first collages took on a slightly symmetrical approach, whereas the second ones took on a much more asymmetrical one, allowing me to test a variety of forms, and ways of providing shelter. The colours are to distinguish forms, they are not the actual colours.
Collaged Roof-scape no.2 in Plan
Top Two: Collaged Roof-scape in Plan Middle Two: Extruding the Collaged Roof-scape
in Plan
120
Bottom Two: Collaged Roof-scape in Elevation
Collaged Roof-scape no.2 in Elevation
121
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Extruded Roof Variations - Testing forms and different shaped openings, which will cast different shadows, and thus, create different atmospheres
Applying the Extruded Roofs - I applied different shaped extruded roofs strategically over the roof pitches. I looked at the plan of the third floor and extruded the roof in places where a change of atmosphere would be beneficial, i.e. at each stairwell.
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To continue developing the unique roof
structures, I returned to Salter’s Walmer Yard, taking inspiration from his use of light in architecture. I considered what areas of the rooms would benefit from certain lighting and followed a process of simplifying, reconsidering, and reconfiguring.
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Top Two: Simplifying and Reconsidering Collaged Roof-scape in Plan Bottom Two: Reconfiguring Collaged Roof-scape in Elevation
Reconfiguring
the windows alongside the roof-scape; breaking the symmetry of the roof and the window positionings on the facade. Doing so will cast unique light and shadows within each room in each dwelling, although the rooms may be similar, the experience is not. Top: Inhabitation in the Process of Reconfiguration Bottom Two: Roof-scape in Three Dimensions -
Axonometrics of all the dwellings from second floor up, initially mapping out the rooms on the pitched roof, and then adding the extrusions
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Materiality Development of the Homes ( the back) - I took the drawing from the previous page into photoshop to test different materials. I began with the bricks and the polycarbonate cladding of the winter garden, then experimented with the materiality of the extruded roofs, using timber, copper, and polycarbonate cladding.
Materiality Development of the Homes ( the front) - In a similar manner as the back of the homes, I also did the front. The doors of each dwelling will be a different colour to give each home a unique and personal aspect. I also added timber cladding to some of the front of the homes, to break up the strictly brick facade.
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127
Ground Floor Plan
Door Colours - Allocating a colour for the doors of each dwelling creates a fun and easily identifying feature for children, i.e. a child will recognise a friends house by the colour of the doors (From ARC3013)
First Floor Plan
Window Shapes and Sizes - Throughout the designing process, I discovered that a window openings are a great way of keeping buildings quite traditional (in terms of form), yet unique. I found that small windows would be key for a child’s curiosity, and larger openings make good window seats.
Second Floor Plan
(From ARC3013)
Third Floor Plan
Roof Plan
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I continued to develop the plans. Due to the building regulations regarding fire safety, I made a move to make the staircase protected, having a fire door leading to each roof around it. The blue shows the children’s labs, the orange shows pram storage, and the pink shows storage spaces/walls.
The Bay Windows of the Children’s Rooms - Openable windows at each side to create sociable housing (From ARC3013)
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PETER SALTER PART 2 – YURTS
Salter’s designs, even Walmer Yard, were highly
representative of Japanese architecture since he designed several yurt structures in Japan before it. He also subtly brought yurts into the Walmer Yard design. These structures truly embody fluidity within constraint and thus, became key precedents for the daycare pods.
FIG. 31 & 32) Walmer Yard
Images (Hélène Binet, 2019)
On
the previous page are the Walmer Yard yurts and on this page are the Japanese yurts.
130
FIG. 33) Inami Woodcarving Museum Sketch (lmdale.wordpress.com) FIG. 34) Walmer Yard Images (architectural-review.com)
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THE DAYCARE… THE HEART OF FEMALE EMPOWERMENT
The Pods:
Above: Mapping Out the Initial Circulation Route and Extruding the Pods To the Left: Perspective
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of the Pods - highlighting the children’s doors and handrails
Above: Initial Pod Iterations
- with issues regarding each design highlighted in red
To the Left: Perpective of the Main
Pod’s Form - A more monumental geometric structure
The
daycare is the heart of the symbolism for female empowerment, since the form incorporates the female body. There are 5 activity pods that are influenced by Peter Salter’s Japanese yurts. They are constrained timber frame structures with more fluid ones within them. I began testing different ways in which the fluid pods could be formed.
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Model Experimentation: Top Row: 1:100 Pod - with a 400mm thick timber
structure
Middle Row: 1:50 Pod - with a 200mm thick timber
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structure, showing a more realistic form of one of the smaller pods, with a height of 3m Bottom Row: 1:100 Pod within 1:50 Pod - I decided to play with adding a reduced version of the pod within the actual structure, a frame within a frame - loosely abiding by fluidity within constraint
A Series of Experimental Models of the Free Forms within the Frames - I used several different types of tights and socks to experiment with how the fluid structure would be formed, and where the points of attachment to the frame would be. They ranged from different levels of perforation to colour and shapes, elements that I want to experiment with to aid children’s development.
135
Top Row: Pod Form and Light - experimenting with
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pulling tights over lamps, for the form, textile quality, and how light could pierce through Middle Row: Winter Garden - a series of photographs of my house plants, ones to inhabit the Winter Garden collages Bottom Row: Experimenting Pod - I added different materials, patterns, and textures to the 1:100 pod to go within the 1:50 pod, fluid within constraint in terms of materiality and experience for the children
Atmospheric Winter Garden Collage
137
THE COMMUNITY KITCHEN… A PLACE FOR WORKING, GATHERING, LEARNING, AND SHARING
The
community kitchen has been placed in the existing shell of the current building. Initially, I was going to keep just the shell which faces the streets, but I decided to keep most of the existing shell with an extension that extrudes from it to embody fluidity within constraint. The community kitchen is where the mothers can work, where the community can gather, where the day-care children have their lunch, and where the older children can learn to cook.
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Earlier Variations of the Community Kitchen
The Community Kitchen in Context
Community Kitchen Perspective - showing the worktop that I designed and constructed for the children’s lab in the kitchen, as well as the coloured flooring to visually depict the allocated children’s space
(From ARC3013)
The Floor Plans with Colour - I made a design move to literally colour the floor as shown above. This will aid visually impaired people to navigate the building, as well as create a child-friendly space locator: Orange = circulation routes, green = seating areas, pink = private/ till, blue = kitchen, purple = children’s lab.
(From ARC3013)
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STRUCTURE INFORMING DESIGN
FIG. 33) Timber Framed Home by Yoshichika Takagi + Associates - a
precedent for the timber frame structure
(From ARC3013)
FIG. 34) Asymmetrical House in Hokkaido by
Yoshichika Takagi + Associates - a precedent for the timber frame structure (From ARC3013)
Elevation Slither Through a dwelling of a family with a mother and two children
140
(From ARC3013)
1:20 Section - Timber frame construction, with brick cladding, and a polycarbonate clad winter garden (From ARC3013)
Axonometric of the Timber Frames - A combination of the primary and secondary structures (From ARC3013)
141
Axonometric of the Pod’s Build-up Primary structure = timber frame, secondary structure = timber frame, tertiary structure = ETFE (From ARC3013)
End Pod - The Library
142
Small
Pod
no.1
Colour and Shape
-
Small
Pod
no.2
Building Blocks
The Primary and Secondary Structures of the Daycare Pods - The bottom orthogonal structures are the timber frame, and the fluid structures that sit within are the Secondary Structures (From ARC3013)
-
Winter Garden Pod
Main Pod - The Hills
Axonometric of Winter Garden Pod (From ARC3013)
the
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b
b
a
a Ground Floor Plan of the Complex
Elevation a-a
144
Elevation b-b
Key Section
Axonometric of the Complex
145
THE RISE OF SOCIAL EQUALITY, THE FALL OF HEIGHT The periphery of the Baltic Triangle merely consists
of Bungalows and 2-storey homes. I realised that my 4-storey homes would be an injustice to the surrounding homes and gardens as it could cast shadows over them. This led to the removal of a storey. I realised that due to the slightly temporary nature of the residencies, and how young the children are, I could house two children in each room. I decided to split the rooms up, there are partitioned spaces with curtain walls that acts as their ‘chill out’ library space. As a child’s bedroom is their territory, I believe that it is important to have a space away from chaos.
First Floor Plan
Second Floor Plan
146
Reconsidered 1:20 Section
147
148
Key Section - Showing how the new height of the housing fits in with its surroundings
149
THE CHILDREN’S PICTURE BOOK
S
id
a
h The children’s picture book ‘Who Said Pink Isn’t for
Everyone’ is a celebratory piece showing my social and political stance through the eyes of a three and a half year old inhabitant, Yves. It addresses key child-friendly design moves that I made throughout the project, for the homes, the daycare, the community kitchen, but also depicts how the complex operates as a whole. I chose to create this Dada-inspired book in order to sell the project to children, showing how architecture, in particular child-friendly architecture, can truly change the quality of life.
in
k
y
150
n’T
or
n
e
r
F
e
EV
is
151
I open my eyes and there she sits...
This is a story on a day in the life of a boy named Yves. Yves and his mum live at the ‘Mothers of Gingerbread’ complex in Liverpool.
They live in one of the six homes that are next to a day-care and a community kitchen.
The story will show you the special experiences that the complex can give to people like Yves and his mum.
2
152
3
153
I go to get dressed and pick out my favourite t-shirt...
S
I go downstairs on the...
t of
ol o u 4
154
r
f
u
l 5
155
ak
i ng
I am ready to go...
i
e
Br
kk
E at
my
I
Gr
a
M
I am in the kitchen...
b
mY o
at
a b
6
156
7
157
I am in the...
D
a
Y
e
I am out the door and on the courtyard...
Y C ar e
w
ith
Ma r
8
158
Y
9
159
I am...
l iM
I...
bi n
g
u N
n
h
e
th
t
e
on
10
160
l
s
rtYa
d
r
Hi
ou
11
161
D
nn
r-
t i
m
e
D i nn at
t he K i t ch eN 12
162
t
r h
e
at
e
i
e
I am hungry, it is...
I love having...
Di
ab
dd
Y
L es 13
163
w
a t
g
Ho M
e
th i nT e ar
T
im
e
r
D n e
M
G
-
e
rin
e
I go back to the daycare, and I am...
I am ready for...
H i
P od 14
164
15
165
I go to...
PL
I ask Mary to stay for tea...
ay
H
a
vi n
in
T
r
e
int
166
rDe
n
o
g
T
e
16
G
a
a
e
r
u
o
he
r 17
167
I an beginning to get sleepy, so I am...
I was quite dirty, but now I am...
B low
i
Pi
ck
i n
n
a
e
Bub bl s in
Bo
o
k
f or
t he
r
Sto y 18
168
h
m
e
BaT
i t
19
169
It has been a tiring day for Yves, so now he has gone to bed. Lets hope his dreams are sweet and not scary...
I close my eyes...
ig h i gh
20
170
Then tomorrow, he can explore the complex all over again with Mary.
t
t 21
171
D N E E H ...T
172
173
CELEBRATING THE MOTHERS OF GINGERBREAD
174
Plan of ‘The Mothers of Gingerbread’ Complex
Axonometric of ‘The Mothers of Gingerbread’ Complex
175
176
Elevation of ‘The Mothers of Gingerbread’ Complex
177
178
Perspective of ‘The Mothers of Gingerbread’ Complex
179
180
Elevation of ‘The Mothers of Gingerbread’ Complex
181
182
Perspective of ‘The Mothers of Gingerbread’ Complex
183
184
Close Up Plan of ‘The Mothers of Gingerbread’ Complex
185
Ground Floor Plan
First Floor Plan
186
Housing Plans of ‘The Mothers of Gingerbread’ Complex
Second Floor Plan
Roof Plan
187
1:50 Section
I chose to cut my section where I did to emphasise the different purposes of each floor for the homes,
the ground floor is the live and play space, the first floor is the children’s floor, and the second floor is the mothers bedrooms and communal winter garden floor. The section manifests some of the key design ideas like the children’s partitioned spaces and the child-sized doors to the bathrooms, which give them a unique threshold experience. Colour was also key when designing the homes as they can stimulate, inspire, or relax the mind, I therefore chose the colours of each room depending on the activity.
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1:20 Section
I chose to cut my section where I did to depict the thresholds between public (the street), to private (the
homes and their gardens), to semi-public (the courtyard), and to public again (the street). I expanded on my 1:20 technology section in order to show the timber framed structure which makes up the homes.
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Salteresque
Axonometrics
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Axonometric of One of the Children’s Bedrooms - Drawn at scale 1:20; focusing on the partitioned ‘chill out’ space.
Axonometric of One of the Mother’s Bedrooms - Drawn at scale 1:20; focusing on the threshold between the private winter garden and the bedroom.
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Axonometric of the Daycare Winter Garden Pod - Drawn at scale 1:50; focusing on the timber structure and its functionality, since its designed for plants to grow up.
Axonometric of the Children’s Lab within the Community Kitchen - Drawn at scale 1:10; focusing on the features of the worktops, inspired by my Thinking Through Making Piece.
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L
a
Cu l T ur
ADDITIONAL FIELD TRIP STUDIES
Whilst on the field trips to both Liverpool and Turin, I
collated female imagery. This included images relating merely to stereotyped colours (pink), as well as images of women-related posters and magazines. When I returned from the trip, I created a collage of some of the significant female imagery that I saw (on the left). The top left images are some found in Liverpool, and the top right are some found in Turin.
DISSERTATION TRIP My dissertation played a big role for my design
project due to realising the importance of gender and identity in art and architecture. My dissertation trip was to Rome, where I studied the statues and murals of Foro Italico, a sports complex built under Mussolini’s rule. I covered topics of fascism, power, ‘masculinity’, gender and more. Ultimately, the lack of female presence throughout these statues, led to the urge to address women in design.
At
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the end of the Turin trip, it was optional to join the tutors on a trip to Rivoli, where we visited Rivoli Castello, a contemporary art gallery. To the right are just a few of the photographs of the contemporary art installations in such a historic building. The colours of the walls in each exhibition room influenced my project, as it created totally different atmospheres in each one.
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JUDY CHICAGO AT THE BALTIC
WORKSHOPS
During the academic year, I attended three Thinking
A
week before Thinking Through Making Week, I went to the BALTIC Centre of Contemporary Art and stumbled across Judy Chicago’s exhibition. I had been admiring her work from earlier in the project so this became one of the most significant exhibitions that I had been to in this academic year. The powerful feminist messages in her works were even more prominent in real life.
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Through Making workshops: ‘Transforming Objects’ with Poppy Whatmore, ‘Casting’ with Hope Stebbing, and ‘Collage’ with Mirko Pugliara. For the Transforming Objects workshop, Ming Harper and I transformed a standard coat hanger into a lingerie hanger (photographs to the left). We added a touch of femininity to a rather masculine object. For the Casting workshop, we were taught how to cast plaster, by creating moulds from scrap materials. For one of my casts, I created a triangular pyramid paper weight, with a heart embedded into it. For the Collage workshop, we were initially instructed to create a collage from coloured paper, and one sheet of images that we were given. It showed how many possible outcomes can come from just a few images. For the second collage, we were asked to create a self-portrait using coloured paper, a challenging, yet rewarding exercise.
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BLACK LIVES MATTER PROTESTS
The
three photographs on the right are taken by myself from where I was stood. The other photographs are by Lauren Musson (Fig. 35 - 38).
Hull
has currently hosted two Black Lives Matter protests, which I attended. One was on the 4th June, and one was on the 10th June. Both of them were in the pouring rain, but greatness does not come without a cost. The protest was so powerful and eye opening, with several speakers who all had stories to tell. One of the speakers was Christopher Alder‘s sister Janet. She told Hull about her fight for justice for her brother, who was brutally murdered in police custody, a few meters away from where the protest was held. Racism and police brutality is not just in America, it is present all around us. BLACK LIVES MATTER.
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re nc
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Ref
LIST OF FIGURES
e
R ea d in G li
s
&
FIGURE 1 - 2)
ts
FIGURE 3)
BIBLIOGRAPHY Artsy. “Hannah Höch.” Accessed 5 February 2020. https://www.artsy.net/artist/hannah-hoch. Benson, Timothy O. “Mysticism, Materialism, and the Machine in Berlin Dada.” The Art journal / College Art Association of America 46 (1987): 46-55. Dachy, Marc. (2006). Dada: The Revolt of Art. London: Thames & Hudson Ltd. Cogsdale, C., (2009). Building a Brighter Future Through Education: Student Housing for Single Parent Families. Thesis, University of South Florida. [viewed 25 March 2020]. Available from: <https://scholarcommons.usf.edu/cgi/ viewcontent.cgi?article=4886&context=etd> Collingridge, F. et al. (2019). Peter Salter Walmer Yard. London: Circa Press. Fezer, J. (2013). Design In & Against the Neoliberal City. London: Bedford Press. Gingerbread, (2017). Available at: <https://www.gingerbread.org.uk/what-wedo/media-centre/single-parents-facts-figures/> Great Britain. Social Mobility & Child Poverty Commissions, (2014). Available at: <https://assets.publishing.service.gov.uk/government/uploads/system/ uploads/attachment_data/file/318073/3b_Poverty_Research_-_Final.pdf> Jones, P. and Wilks-Heeg, S. (2004). Capitalising Culture: Liverpool 2008. Local Economy, 19 (4), 341-360. Knowsley Council, (2015). Available at: <https://www.knowsley.gov.uk/ knowsleycouncil/media/Documents/liverpool-city-region-child-poverty-andlife-chances-strategy-refresh-2015-18.pdf> Kilick, A. (2017). Building a Small Cinema: Resisting Neoliberal Colonization in Liverpool. Architecture_MPS, 12 (3) pp. 1-16 Koolhaas, Rem; Foster, Hal. (2013). Junkspace with Running Room. London: Notting Hill Editions.
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FIGURE 4) Lavin, Maud. “Androgyny, Spectatorship, and the Weimar Photomontages of Hannah Höch.” New German Critique 51 Special Issue on Weimar Mass Culture (1990): 62-86.
FIGURE 5)
Maloney, Meghan. “Hannah Hoch and the Dada Montage.” In the In-Between, 29 April 2013. Accessed 8 February 2020. https://www.inthein-between.com/ hannah-hoch/. Manufacturing Intellect. “Dada: The Original Art Rebels Documentary (2016).” Filmed 2016. YouTube video, 57:12. Posted February 2018, https://www.youtube.com/watch?v=ed1NfFMkYmE. MATRIX, (1984). Making Space: Women and the Man-Made Environment. London: Pluto Press.
FIGURE 6)
FIGURE 7)
Mould, O. (2014). Tactical Urbanism: The New Vernacular of the Creative City. Geography Compass, 8(8), 529–539. Petrescu, Doina. (2007). Altering Practices: Feminist Politics and Poetics of Space. Abingdon, Oxon: Routledge. Richter, Hans. (2016). Dada: Art and Anti-Art. Trans. David Britt. London: Thames & Hudson Ltd. Van Doesburg, Theo. (1923). Wat is DADA?. Amsterdam: Nijsen. White, Michael. (2016). Introduction to Dada: Art and Anti-Art. by Hans Richter. London: Thames & Hudson Ltd.
FIGURE 8 - 12)
FIGURE 13 - 14)
FIGURE 15)
FIGURE 16)
Bowie as a Catalyst. REFERENCED IN ARC3015.
FIGURE 17)
Four play spaces for Camden 2010. Available at: <http://muf.co.uk/portfolio/camden/>
The Alleys. Tim Crocker, 2019. Available at: <https://www. dezeen.com/2019/10/08/stirling-prize-2019-winnergoldsmith-street-social-housing/>
FIGURE 18)
Claybury Security through Obscurity 2009. Available at: <http://muf.co.uk/portfolio/claybury/>
FIGURE 19)
The Dinner Party, 1974-79. Available at: <https://www.judychicago.com/gallery/ the-dinner-party/dp-artwork/>
Italian Day Nursery 2009. Available at: <http://muf.co.uk/portfolio/italian-daynursery/>
FIGURE 20 - 32)
Heaven is for White Men Only, 1973. Available at: <https://www.judychicago.com/gallery/ early-feminist/ef-artwork/>
Walmer Yard Images. Hélène Binet, 2019. in Collingridge, F. et al. (2019). Peter Salter Walmer Yard. London: Circa Press.
FIGURE 31)
PEELING BACK, 1974. Available at: <http://www.artnet.com/artists/judychicago/peeling-back-yvAf8eyVfTAeXC8OjmS0wg2>
FIGURE 32)
Reaching, Uniting, Becoming Free, 1979. Available at: <http://www.artnet.com/artists/ judy-chicago/reachingunitingbecoming-freeFgLF9CZXJnIX4rEL4TwRfQ2> Dada Images. REFERENCED IN ARC3015. Janet Summers Early Years Centre. Available at: <https://www.theaoc.co.uk/projects/ janet-summers-early-years-centre>
Inami Woodcarving Museum Sketch. Available at: <https://lmdale.wordpress. com/2010/02/27/peter-salter/> Walmer Yard Images. Available at: <https://www.architectural-review.com/ buildings/the-rest-hut-pavilion-at-kamiichi-japan-bypeter-salter/10009595.article>
FIGURE 33)
Timber Framed Home by Yoshichika Takagi + Associates. REFERENCED IN ARC3013.
FIGURE 34)
Asymmetrical House in Hokkaido by Yoshichika Takagi + Associates. REFERENCED IN ARC3013.
FIGURE 35 - 38)
Black Lives Matter Protest Photographs, Hull. Lauren Musson, 2020.
Spa School. Available at: <https://www.theaoc.co.uk/projects/ spa-school> Arc on the Park 2007. Available at: <http://muf.co.uk/portfolio/ark-on-thepark/>
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