Agata Malinowska Portfolio

layers// change of pace

STAGE 3 ACADEMIC PORTFOLIO GHOST IN THE MACHINE STUDIO 180337314 AGATA MALINOWSKA 2020/2021

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CONTENTS

Illustrated Reflective Diary

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Illustrated Cultural Bibliography

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Project Framing

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Project Testing

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Project Synthesis

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Bibliography

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References

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Illustration List

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Appendix - Thematic Case Study Report

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KEY previously submitted as part of the ARC3013 module previously submitted as part of the ARC3014 module previously submitted as part of the ARC3015 module new and improved work

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ILLUSTRATED REFLECTIVE DIARY

ILLUSTRATED REFLECTIVE DIARY

Stage 3 was a challenge in many respects. The new online ways of working have continued to highlight any

Being part of the Ghost in the Machine studio my project was a direct response to researching the existing

gaps in clarity of visual representation and the importance of communication of narrative. As there were less

fabric of Redcar. Being so heavily embedded in the real-life context made integrating professional issues in

opportunities to present the work in person, more often than ever the ideas needed to be self-explanatory. Per-

the Professional Practice module highly specific. I reveled in developing my project in line with the current

sonally, I have experienced moments when I struggled to communicate ideas, which has pushed me to work

methods and trends in the profession. As a result of grounding the project in impacts and responsibilities to the

on developing a clearer visual narrative throughout the year. Particularly being part of the Ghost in the Ma-

wider society, I am aware now how it might have limited the poetic and atmospheric aspects of the project.

chine studio, mapping and visualising research were fundamental for establishing and later communicating

Learning from that experience in the future I will make the division between forming the brief and early stages

the project brief. Looking back at the early stages of design I can see how the work becomes more intentional

of designing more obvious, to be able to focus on the design proposition as a response to the brief rather than

as the project developed. Working on ways of transforming research into the intangible systems of community

a dialogue between the two.

and employment into a visual narrative was particularly useful for me as a learner. The accompanying essays in other modules reinforced the need to communicate clearly and concisely the story of the project.

My design methodology focuses on the perspective of a user and their experience of particular spaces. I find hand drawing particularly useful in establishing the relationship between the user and the space. Reflecting on the method in the Theory into Practice essay I realised how it compliments the rational approach to embedding the project in context.

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ILLUSTRATED REFLECTIVE DIARY

ILLUSTRATED REFLECTIVE DIARY

I have felt that the Theory into Practice seminars with Ed Wainwright were an opportunity to reflect on the com-

The intensity of the year without the usual studio environment that naturally provokes discussion and inspires

bination of our studio design methods with someone who was not part of it and therefore offered a different

new iterations of ideas required finding new ways of challenging the self while designing. I particularly found

perspective. In particular I have enjoyed discussing ‘The Ecological Thought’ by Timothy Morton, as exploring

podcasts, webinars and books helpful in rooting my design process in the wider context of the architectural

different ways of understanding sustainability has influenced the materiality of my design, as well as its concep-

profession. Hearing real life professionals discuss the materials I considered for my project was reassuring and

tual objectives. It was also informed by my Dissertation in which I traced the early understanding of sustainabil-

thought provoking. It has also helped me understand the technical implications of my design and translate

ity from the 1960s hippie communes. All that combined resulted in sustainability being the centre of my design

them into an architectural language. It is particularly visible in the structural details for the technology module,

decisions, starting with the adaptable timber structure.

where the idea of layers of experience emerged from layering of materials that formed a range of different spaces.

Developing this approach throughout the year made me more inclined towards reuse and adaptability, rather than the high-technology sustainability approach consisting of green roofs and heavy structures, and I am

I believe the personal challenge this year was combining all aspects of different modules. While frustrating

content with how it came to fruition in the project. In the future I hope to build on this approach and resolve

with complexity at times, designing around interconnected systems has helped me define every detail of the

more complex schemes with the same principles.

project. The narrative that emerged is not a linear one, but rather a combination of many paths that resulted in the resolved project. Consequently, the most important lesson I have learnt this year is that there are infinite factors and perspectives that influence architecture, and discussing them is the most effective way to grow as a designer and push the design forward.

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BLING BLING: CDs & MEDICINE BLISTERS HARDEST HOUSEHOLD WASTE TO RECYCLE

ILLUSTRATED CULTURAL BIBLIOGRAPHY

ILLUSTRATED CULTURAL BIBLIOGRAPHY CDs have a lifespan of 20-25 years.

After that it might take one a MILLION years to decompose in a landfill.

FESTIVAL OF THRIFT

SERIES OF WEBINARS ON THE SUBJECT OF TIMBER IN ARCHITECTURE

Medicine blisters are a mixture of plastic and foil - therefore are not recyclable.

Both CDs and medicine packaging cannot be put in household recycling bins, therefore the challenge is upcycling them instead of throwing away.

PANEL DESIGN Installing CDs and empty blisters on strings in wooden palets.

Quick sketches of various possibilities that don’t require additional glue.

The installation could take the form of an interactive threshold or a static background to which the A1 and A4 boards could be attached to.

Together with RIBA Teesside I volunteered to design a pavillion for the Festival of Thrift in summer 2020. The above pictures show the final outcome to which my ideas contributed. The collaboration has been ongoing and a more developed pavillion will be presented at the Festival of Thrift 2021 edition.

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As part of my research on the subject of sustainable materials I took part in a series of webinars about timber in architecture led by the best lecturers of Polish technical universities. They helped me understand the application of specific types of timber and contextualise my project.

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

ILLUSTRATED CULTURAL BIBLIOGRAPHY

PHOTOGRAPHY WORKSHOPS IN QUARANTINE

SMALL TALKS: VPPR ARCHITECTS Other than the subject of the lecture, I was impressed by the clarity of images supporting the presentation and how they helped convey certain points.

Taking part in photography workshops by Lewis Davidson has allowed me to spark creativity despite not being allowed to leave my flat.

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

ILLUSTRATED CULTURAL BIBLIOGRAPHY

THEMATIC CASE STUDIES

REDCAR SITE VISIT

FRAC DUNKIRK

HOUSING IN MULHOUSE

LACATON AND VASSAL

LACATON AND VASSAL

- exhibition spaces combined with intermediate spaces

-reuse of an existing structure

TERRASSENHAUS

URBAN HOUSING

BRANDLHUBER+ EDME, BURLON AND MUCK PETZET ARCHITEKTEN

SERGISON BATES ARCHITECTS

- external circulation encouraging interactions

- maximised use of natural light

As a studio we were unable to do a site visit, however I have managed to take the train to Redcar halfway through the design process. It was rewarding to see the town we already knew so much about in real life and imagine my own project on site.

BALTIC GALLERY VISIT / OCTOBER 2020 11 HEBELSTRASSE APARTMENT ALONG A PARTY WALL

HONOR OAK WALTER SEGAL

HERZOG & DE MEURON

- vertical oak shutters on facade

- Segal method timber construction

DAWSON’S HEIGHTS

WALMER YARD

KATE MACINTOSH

PETER SALTER

- ziggurat-like modular repetition

- oak shutters on facade I found taking a break to visit art galleries very refreshing during early design phases. This particular exhibition was an interesting take on abstract expression and emotion.

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FRAMING: SYSTEMS, CONNECTIONS The framing phase in the Ghost in the Machine studio was an introduction to the studio themes of systems oriented and user centred design. It was unlike any previous experience with design, as the tasks we completed initially did not feed directly into our designs, but rather were a series of tools that we could use later on. Because the tools were digital, as a person who was not previously particularly experienced with softwares like Sketchup, it was an intense learning period for me. I found it incredibly challenging to visualise intangible systems at first, and learned a lot through simple tasks. Looking back now I appreciate how it was a good introductory phase to the design process later, as it has set the foundations for thinking and representing the ideas. I understood the importance of being intentional with the use of colour, shapes and sizes in mapping, and how every detail needs to mean something in order for an image to be easy to read. I was happy to begin to reintroduce my personal ways of representation mixed with the newly acquired skills by the end of the framing phase and felt that it broadened my possibilities of graphically representing more complex concepts.

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GHOST IN THE MACHINE

GHOST IN THE MACHINE

studio introduction and manifesto

glossary of terms

Having worked together on refining our themes in framing we as a studio collaboratively came up with a manifesto that best describes the principles of design we will be following this year.

Ghostly architecture will:

SYSTEM

A net of tangible and intangible factors that mutually affect each other and result in a different outcome than the parts alone.

SYSTEMS ORIENTATED DESIGN

Design in response to system analysis, taking into consideration all scales and factors specific to the site of interest.

USER CENTRIC DESIGN

Designing with a specific protagonist in mind in order to perfect their experience of interaction with the system.

1) Prioritise the user by placing emphasis on creating the ideal user experience.

2) Contribute to the transformation from a linear economy to that of a circular economy.

3) Design in response to both the macro (system) and micro (individual) scales.

4) Encourage sustainable, environmentally friendly tourism.

5) Address the issues of climate change.

6) Take into consideration both the tangible and intangible systems.

7) Change the systems in place by augmenting, disrupting and projecting in order to improve their functioning by cultivating distinctive concepts which challenge their significance in the presence and future.

8) Design in response to the complexity of the context.

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GHOST IN THE MACHINE

REDCAR

line of enquiry

project location

How can the feeling of community in Redcar be strengthened while improving the employment situation in the area?

Redcar is a seaside town just over an hour South from Newcastle by train. It is a post-industrial town once thriving off a steelworks. Their closure caused the town to lose its prosperity.

In the Ghost in the Machine studio we explored systemic design and learned to apply it to Redcar. We imagined ways of integrating tourism back into the fabric of Redcar and positively impacting the already existing systems. Analysing it in depth allowed us to create opportunities for architecture that is highly specific for Redcar.

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REDCAR

REDCAR

seaside views

town fabric

Own photographs

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Own photographs

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2D SYSTEMS MAPPING

POP UP SYSTEM BEHAVIOUR MODEL

tangible and intangible systems

littering / marine life

“The performance of the system depends on how the parts fit, not how they act taken separately.” Russ Ackoff, lecture 1994*

Very simple pop up paper model of a system, coloured where touched - start of looking at how systems can be responsive to changes.

* Systems Thinking Speech by Dr. Russell Ackoff - https://www.youtube.com/watch?v=EbLh7rZ3rhU 24

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CAUSAL LOOP DIAGRAM

3D SECTION SYSTEMS MAPPING 01 process work

The causal loop diagram as a tool based on Systemic Design principles was at first a challenge for me in terms of broadening the scope of any systems out of proportion regarding the scale and specificity of Redcar. Eventually, repetitive use of the exercise in my later exploration helped me understand the system I was analysing.

First attempts to map systems in 3D varied little from 2D mapping, as I was building up the understanding of spatial concepts.

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3D SECTION SYSTEMS MAPPING 01

3D SECTION SYSTEMS MAPPING 01

final individual outcome

final individual outcome

I chose to map the system of tourism on the assigned section. Experimenting with shapes and colours has drawn my attention to their importance and the need to be intentional with their use.

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3D SECTION SYSTEMS MAPPING 02

On my other section slice I spatially mapped the system of food. The difference was that the system was more dynamic, that is it has changed as a result of a change in the wider system.

There was an improvement from the previous exercise in terms of more conscious decisions about the choice of shapes and colours used.

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3D SECTION SYSTEMS MAPPING

SYSTEM SCALE MAPPPING

group work

Analysis of the causes of crime on the poster allowed me to pinpoint what parts of the system are impossible for me to tackle through my project. As a result the crime system boiled down to the issue of improving safety in Redcar and pushed me to analyse the community systems next.

Combining everyone’s slice sections into the Redcar coastline for the framing show has visualised the depth of our combined research and allowed to compare representation styles and learn from each other.

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PROTAGONIST - PERSPECTIVE - PROJECTION

PROTAGONIST - PERSPECTIVE - PROJECTION

Designing a device for an imaginary protagonist: - university student, male, early 20s - rented out a caravan for the weekend with friends to go for a cheap night out away from home and spend the day at the beach - leaving the club after a few drinks the man is loud and shows antisocial behaviour (30% of crimes in the area constitute of antisocial behaviour)

Looking at different protagonist perspectives, including those not human-centric.

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SYSTEM SCALE MAPPPING

USER INTERFACE / MOMENT DESIGN local protagonists

The most common crimes committed in Redcar were antisocial behaviour and violence. Such problems are closely linked to the feeling of anonymity and the resulting lack of respect towards others occupying the same space. This created an opportunity to improve the relationship between the two systems by strengthening the feeling of community in the area.

My first attempt at visualising users interacting with the system of community. I imagined a space dedicated solely to the community and projected interactions between people that could form there, which would be facilitated by the provision of a space designed especially for encounters.

I later focused on the concept of speed in a different series of user interface moment designs - people walking fast past each other on the street vs slowing down, stopping and greeting each other thus creating a sense of community in the neighbourhood.

Reflecting on the exercise as part of the design process the concept of changing / improving the system has emerged. In the case of an intangible system made up of a series of moments, the change occurs when moments occur that could never have happened before in the previous system.

Shifting the focus to community systems proved more successful and resulted in defining areas of interest for my forming brief.

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PROCESS MAPPING

LOCATING THE SITE

Choosing an unemployed person as a protagonist and creating a diagram of a model unemployed person’s day informed my spatial planning for what spaces the processes need.

As a studio we explored user-centred design. The first person experience of the building and the activities going on shaped the spaces from the inside out. In order to accurately respond to the needs of an unemployed person I researched a model day schedule to know what sorts of activities are beneficial to improving their situation. Three main components of the day stood out - the job search, personal development and social life.

That informed the primary programme of my project.

The map corresponds with the spaces for diagrammed activities that are already available near the chosen site.

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SITE ANALYSIS

Routes connecting to site

Analysis of social factors - the building blocks of community Diagrammatic site analysis

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SPATIALISED PROCESS ON SITE

SPATIALISED PROCESS ON SITE

“The system is not the sum of the behaviour of its parts, it’s a product of their interaction.”

Russ Ackoff, lecture 1994*

Connecting the layers of analysed systems and oportunities for their improvement

Initial attempt at spatialising the programme on site.

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* Systems Thinking Speech by Dr. Russell Ackoff - https://www.youtube.com/watch?v=EbLh7rZ3rhU 43

PRECEDENT ANALYSIS The Phillips analogue computer: an attempt to map the intangible

USES WATER TO REPRESENT MONEY WHAT IF WE TREATED KNOWLEDGE LIKE MONEY? WHAT IF WE BUILT THE MODEL FOR KNOWLEDGE? The aim of this exercise was to map the system of knowledge in a visual analogy to that of the precedent. The final aim of the project is to improve the system: increase creative output by increasing the flow of knowledge / skills / information in Redcar to eventually enrich the system.

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TESTING: CIRCULATION Testing reflection: how the building impacts its context During the testing phase my learning circulated around the reciprocal relationship between the building and its context. I continued testing ideas beyond site analysis and exploring how the existing context should dictate the design proposal. The interconnectedness of infrastructures as a key issue of the systemic design we explored implied that the project had the power to change the existing systems.

Being mindful of how those can be disrupted, I tested ideas around circulation. I found that approach challenging because while in theory it is possible to impact people’s behaviour with a successful design, in practice it is impossible to control how a building will be actually used. Reflecting on that process now I appreciate how exploring the existing circulation patterns and actively analysing ways to improve them has set the design in context well. I believe my less successful propositions in testing have reflected to me how important integration with context is for a new public building. Having that as the base of my design allowed me to try to manipulate the user’s experience. I intended to encourage visitors to slow down, for the building to be a valve from an anonymous fast-paced public space into a series of slow community moments. I believe having developed my design based on systems thinking as well as working on the theoretical approach for the accompanying modules has improved my understanding of the reciprocal relationship between the building and its context. The professional practice module in particular led me to reflect on the impacts of architecture as part of masterplanning helping to resolve wider issues. Looking forward into practice I believe incorporating this approach will be valuable when discussing real-life projects in a collaborative environment.

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PROGRAM AS A SPATIAL CONCEPT: VISUAL BRIEF

CIRCULATION: SPEED - MOVEMENT

During the Testing phase I analysed the circulation happening on and around my site of choice. I intended to explore how the existing movement patterns can be impacted by the project.

Expressing the programme visually initiated the idea that the use spaces would be connected with a wide circulation that can be used in conjunction with the pods.

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Site map

Site map including analysis of speed of movement

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DISRUPTING CIRCULATION

Two main existing axis of circulation (coloured) and attempt to disrupt the existing patterns shown in the Testing review (black).

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MASSING EXPLORATION AROUND CIRCULATION

Diagrams showing the differrent explorations of proposed pedestrian movement through the building in relation to the main axis of circulation studied to the left.

The linearity of the site and existing pedestrian bridge opened the possibility of a long circulation with ramps

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TESTING REVIEW DESIGN TESTING REVIEW PLANS

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PLAN DEVELOPMENT: ROOF / GRID PROCESS

The pitched roof shape emerged from the idea od extruding the shape of the existing station to give it importance over the new structure.

The grid made of supporting glulam columns was repeating the rythm of the elements in the old central station building. Later in the process the whole grid was shifted to add dynamic and allow trains to go underneath the structure.

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PLAN DEVELOPMENT: ROOF / GRID PROCESS

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THINKING THROUGH MAKING

FIRST ATTEMPT: DIGITAL

static, focus on knowledge

SECOND ATTEMPT: PHYSICAL MODEL

dynamic, focuss on the experience of slowing down

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SYNTHESIS: COMMUNITY, LAYERS OF EXPERIENCE

The project synthesis phase to me meant circling back to the concept of community, with the focus on public architecture accessible for all. Integrating the issues discussed in the technology assessment I wanted to finalise the project as a social hub that anyone can experience. That forced me to challenge the clean, conceptual idea of separate suspended pods underneath a canopy. I found it challenging to disrupt it, as I was convinced that changing the simplicity of the design would reduce the impact of the user experience. Following the process of integrating fire escapes, access for all and necessary structural amendments I was in fact not satifisfied with my design. I have felt the pressure of everyone else working on the representation of their final design when the synthesis of mine continued. However, at the end of that long process I was more satisfied with the design than before. What I have learned from that experience as an aspiring architect is that the process that disrupts the concept idea might end up enriching it on a different level. Nevertheless, if I were in that situation again, I would go into the next design phases sooner, which would allow me to have more refined outputs by the end of the project.

While I’m content with the final design, reflecting on the process now, producing final outputs sooner could have helped me refine the issues quicker and most importantly, visually communicate the final design better.

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SITE process on site

The project was built with the intention to feel human scale that encourages visitors to explore the public building. It adjoins the old station building and extends over the train tracks. As the site sits directly next to a level crossing, the building provides an alternative circulation route for pedestrians wanting to cross over the train tracks when the barriers are closed. The freed up ground plane is an extension of outdoor public space. From the ground level it is gently divided from the rail tracks with greenery, making the area more peaceful. A timber frame spreads above with suspended CLT pods underneath. The portal frame shape with a pitched roof responds to the shapes of the station building as well as fits into the surroundings. A glazed roof sits on top of the timber frame and connects to a glazed curtain wall, forming a sheltered outdoor space underneath the whole building.

Existing site context

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Change in context after

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WIDER CONTEXT: BEFORE

WIDER CONTEXT: AFTER

The site before, with the enclosed brick building. It is located between large carparks and residential areas, a site with a lot of potential for the community.

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After it will be much more permeable and inviting, and certainly much more lively.

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CROSS SECTION _ INHABITATION

CROSS SECTION _ BRIDGE

The possibility of crossing over the train tracks was part of the design process from the beginning. It embeds the design in the existing fabric and provides an introduction to the building without the committment of entering internal spaces. It was crucial for local people to be able to use the building without commitment, passing through it and becoming more acustomed to what the public spaces have to offer, and in that way welcoming new users to the building.

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SUSPENDED PODS

SUSPENDED PODS

process

technical principles

Helsinki National Library

Helsinki National Library

Progress sketchup model

FRAC DUNKIRK LACATON AND VASSAL

- exhibition spaces combined with intermediate spaces

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SUSPENDED PODS internal, conservatory, and semi-internal spaces

conservatory space between pods

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internal and semi-internal spaces behind the glazed roof and curtain wall

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GROUND FLOOR PLAN public square

From the ground floor plan you can see how the building becomes an extension of the old central station, which would be adapted as business spaces for the potential entrepreneurs in the local area. The underneath of the building is a public square with greenery and paths accentuating the linearity of the site in a way characteristic for train tracks. At that level there are public toilets which are the only part of the building sitting on the ground. public toilets

existing disused railway station - reused as business spaces

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FIRST FLOOR PLAN

community living room daycare

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SECOND FLOOR PLAN

meeting room

library 76

daycare

job centre 77

THIRD FLOOR PLAN

meeting room

meeting room

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library

job centre

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SECTION

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PROTAGONISTS experience through the eyes of users

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A single unemployed parent like Amy will likely not have the time of day to focus on her career, as she is taking care of a toddler. While walking underneath the building she reads all about the new facilities and notices that they include an affordable daycare. She enquires at the daycare reception and decides to start signing up for the offered educational events at the centre. She starts spending more time outside her house, has met likeminded people and gets her social life back.

AMY

ROB

SHARON

single unemployed parent

low income local

tourist

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65 year old Rob was used to spending his afternoons sat in front of the telly in his living room. On his weekly walk to the supermarket he decides to cross the train tracks via the bridge of the building, as the barriers are closed. He spots a few of his friends sat around a table playing cards at the community living room. They notice him and wave invitingly. Rob is happy to have an alternative spot where he can meet with others and bring his own cup of tea as he can’t afford frequent visits at the pub.

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40 year old Sharon likes to occasionally take the train to Redcar as it reminds her of her childhood summer vacation. When she arrives at the station she is positively surprised by how lively and busy it is. She walks through the old station building, amazed at how many new businesses have set up inside it. She remembers her parents stories about being able to walk through the building but his is the first time she sees it being used again. She walks out the other side onto a sheltered public square and immediately thinks to herself - after my usual walk I’m bringing the takeaway fish and chips here!

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ELEVATION

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BIBLIOGRAPHY

REFERENCES

Garcia, Mark, ed., The Diagrams of Architecture, AD Reader (Chichester: Wiley, 2010) Lim, C. J., Inhabitable Infrastructures: Science Fiction or Urban Future (New York, NY: Routledge/Taylor & Francis Group, 2017) Morton, Timothy, The Ecological Thought (Cambridge, Mass: Harvard University Press, 2010)

page 20: https://www.nomisweb.co.uk/reports/lmp/la/1946157062/printable.aspx pages 24 and 43 - Systems Thinking Speech by Dr. Russell Ackoff - https://www.youtube.com/watch?v=EbLh7rZ3rhU

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APPENDIX

GROUP WORK CASE STUDY

page 44 https://www.sciencemuseum.org.uk/objects-and-stories/how-does-economy-work page 58 (top) https://www.archdaily.com/956877/unstudio-introduces-new-flexible-urban-living-concept-in-the-van-b-residences-in-munich page 58 (bottom) https://pl.pinterest.com/pin/141652350749692594/ page 68 https://www.archiscene.net/education/helsinki-central-library-radionica-arhitekture/

Individual slides marked with *

IMAGE LIST

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