Aya Mordas Portfolio by PDF Uploads

PORTFOLIO Stage 3 A y a Ro s e M o r d a s 180243521

INTRODUCTION

I chose the studio Ghost in the Machine with the intention to challenge myself. The themes of systems and user centric architecture appealed from the start as I think architecture especially on larger scales has in some cases become more out of touch. Designing for the user is a fundamental part of good architecture but I wanted to delve deeper into understanding the ways in which this can be achieved more sensitively to both the direct user and the wider community. To push the boundaries of design. Furthermore, I found the site, Redcar alluring but also somewhat daunting as the once industrial town is interlaced with history. Architecture in such places must be sensitive to the preexisting architecture and structures and is far from anything I’ve ever thought to approach. However, I found the prospect intriguing and this being my graduation project I wanted to push myself out of my comfort zone and explore the possibilities this setting might bring. What follows is the journey of my project and how it came about. Initially we focused on the site as a whole and the studios ideologies and approach to understanding it. Through explorations of the site in sections varying from 2D to 3D alongside my peers I was able to take in the extensive site and get a much richer understanding of the place while not being able to physically visit the site. A lot of the research into the greatly varying but abundant systems brought about the inspiration for my project as I became evermore interested in the fisherman community and the ways in which they fit into the landscape. I also became increasingly aware of what seemed a decline in their prominence through both dilapidated infrastructures, abandoned boats but also as a result of external factors pushing people away from what was once also a fisherman’s town. Reflecting on the system of fishing, and thinking about the different aspects required, I came across other interrelated systems such as local boatmaking, fish markets and seaside restaurants which, looking at the big picture all rely upon each other for existence. This interrelated dependence drove what would become my project. This studio encouraged a different way of working and approaching the design process, focusing far more on processes and intricate details of how the design interacts with the user and systems which it inhabits. This manner of designing pushed me to approach my project from a different angle and to design more intuitively, often encouraging me to set aside my initial inclinations and predetermined biases to strive for more grounded architecture.

contents

INTRODUCTION semester 1&2

ILLUSTRATED REFLECTIVE DIARY semester 1&2

FRAMING semester 1

TESTING semester 2

SYNTHESIS semester 2

APPENDIX semester 1&2

103

BIBLIOGRAPHY

110

LIST OF FIGURES

111

T A N G I B L E + I N T A N G I B L E

00 ILLUSTRATED REFLECTIVE DIARY

ILLUSTRATED REFLECTIVE REPORT

STAGE 3 Architecture remains an amalgamation of fascination, inspiration, curiosity that never ceases to be daunting. Third year has been no exception. In some ways it has been the most rewarding year of the degree as I’ve found the way it has been set up especially with the year long project, allowing us to delve into it at a much deeper level has been so thought provoking and inspiring. I feel like this has allowed me to finally develop and resolve a project at a much greater depth and thoroughly understand the different aspects of development unlike my projects from previous years. Thats not to say that it hasn’t come with its challenges. It has been somewhat devastating to go through third year in the current circumstances, thinking about what we’ve missed out on and the things I would’ve wanted to explore such as model making, material studies, the site itself and all together more interaction with my peers and tutors. But this has equally pushed me to tackle alternative methods and ways of working which perhaps I would’ve have ventured into. CHALLENGES This year has been particularly challenging in the ways of motivation and maintaining a steady flow of work. This course is very demanding and largely relies on the interaction between people for ideas and inspiration. This is something I have really grown to understand as often I lean toward self motivation and figuring things out on my own. But with the limited moments of interaction with other people this year I’ve noticed the true value in collaboration. I’ve found in times when I’ve been stuck thinking over the same thing over and over, listening to someone elses perspective has been so helpful and has pushed myself to be more perceptive to other peoples opinions. Once again I feel quite bittersweet about this as on the one hand I’ve really come to value these things more and understand the impact on my work and the possible wider impact on architecture and my future endeavors. But again, I feel like I’ve missed out largely on what could’ve been this year. Working throughout this pandemic has has a huge effect on the way I’ve worked on a day to day. I think my greatest challenge this year has definitely been trying to stay motivated and inspired. I’ve always had certain difficulty when it comes to my creativity when I’m stressed and this year has been especially stressful. I’ve noticed the beginning of a project is often the stage I find most difficult as I second guess myself a lot but having a year long project helped in that respect as it allowed me to build on the themes I established in the beginning of the year

PROGRESSION There are many aspects that contributed to the development of my project this year. One of the more prominent aspects was the approach which was largely as a result of my studio, ghost in the machine. This was particularly new and I found it to be a much more effective way of developing a project. As it was able to stem from a much more thorough understanding of the site and the context both physical but also social, economic, historic and in some ways political. This approach to better understanding the context of the place really allowed me to find and ground my project finding ways in which to better incorporate aspects of the local surroundings and better understand how to integrate a scheme within the site. I’ve always known the importance of context within architecture, but this year I was able to delve into aspects that I normally hadn’t considered such as the local and wider impacts on both the user, the site but also the communities and economic and political influence architecture can have. INTEGRATION The incorporation of other modules within the same project I think was particularly successful. It allowed for focused research and understanding into different aspects of the project; theoretical, technical and professional management. I found that instead of halting the progression of design it helped to ground and forced us to think about different aspects of the project that perhaps I wouldn’t have paid much attention to otherwise. I found that my initial hesitations toward these assignments particularly the theory into practice and professional management were more useful than I had thought they would be. The theory into practice provided me with a much more clear narrative and helped to organise my thoughts toward the project. Developing this narrative made me hone into the key elements that I wanted my project to embody. Professional management was a module that I had underestimated, through better understanding the processes of a project in practice I was able to ground my own project and consider factors such as the wider planning priorities in Redcar thus incorporating this into my project made me reflect on the real implications and ways my architecture could create change.

miro board showing work progression

CULTURAL BIBLIOGRAPHY

Figure 1 Genius Loci

Figure 2 AD February 1971

Figure 3 AD February 1974

PHOTOGRAPHY As a result of covid, I’ve spend a lot less time communing and have found myself going on more walks and taking in my surroundings much more than before. Furthermore, these casual walks prompted me to do more photography which in turn helped me to reflect on the more atmospheric qualities of design. Taking time to reevaluate my surroundings and reflect on the impact of the natural and built surroundings on a day to day basis was quite interesting as I found myself contemplating the effect of one on the other. This idea of journeying and experiencing the surroundings became quite a big theme within my project this year despite not being able to visit the site physically.

Figure 4 AD M

May 1971

READINGS A series of readings have been interlaced throughout the year and have provided me with insight and inspiration in different forms. JG ballard was introduced to us a studio but through reading some of his work I was intrigued with the dystopian worlds presented and they influence on architecture. I’ve read other books such as Orwells 1984 and Farenheit 451 that present these dystopian worlds but Ballard has a way of exploring the phenomenological aspects in a very visceral manner. Prompting considerations of the parallels and ways in which these themes have been perpetuated in architecture. Through my dissertation I was introduced to a wide variety of architectural magazines from times spanning the present back to the 1960s. I was particularly interested in this form of representation and it was intriguing to pick up on the similarities and differences within the architectural discourse. It sparked my interest in themes such as sustainability, flexible design but also in the representation of architecture as magazines have a highly visual nature. Figure 5 Vermillion Sands

TALKS AND LECTURES I attended quite a few talks this year, most of which were organised by the RIBA. One that I found particularly inspiring was a live drawing session with Neil and Jonathan in which they talked about their drawing techniques and the value of this as a skill. It was really interesting to hear about the different means of representation in practice and how they still encouraged and highly valued hand drawing. Other talks included talks with architects on the effects of covid on the industry and talks by architects on projects that addressed issues such as sustainability in third world countries and the challenges and responsibilities as an architect. I found these talks and lectures really interesting and they help to ground my understanding of architecture beyond the university level. I’ve also kept in touch with my second year mentor from the RIBA mentorship programme. Having occasional calls has been very insightful and helpful at this stage.

T A N G I B L E + I N T A N G I B L E

01 FRAMING

GHOST IN THE MACHINE

The site is set in Redcar, a seaside town situated in North Yorkshire, in the North-East of England. It was originally a fishing town, and with the rise of the steel industry, the town prospered, attracting tourism and trade. However, the closing of the steelworks and the decline in the local fishing industry, highlights a need for revitalisation in the area and improved infrastructure. Ghost in the machine is a studio that looks to address these issues and explore the preexisting systems that exist in Redcar and identify ways in which these can be developed. To build a narrative for a project that seeks to explore a system or series of interconnected systems that revolve around a protagonist.

STUDIO MANIFESTO

A ghosts project for Redcar should... 1. Consider User-Centricity in the Ballardian world, where the architecture is designed around the protagonist’s experience; protagonists including human, animal, even non-living entities. 2. Stimulate a circular economy in hopes for a better future. Placing emphasis on renewable energy sources which lose their value as little as possible. 3. Consider scale from the international to the individual. Encouraging pluralistic design, unique to place in order to create more emotive architecture. 4. Explore the legacy of a seaside town taking into account the rise of staycationing to bring a new vision of sustainable tourism to Redcar. 5. In regards to everchanging systems, take into account Timothy Morton’s ‘Ecological Thought’ by considering the environmental effects of rapid industrialisation, living habits, and large scale globalisation. 6. Work with both tangible and intangible systems in tandem. The tangible being the obvious, its presence seen and felt by all who come across it. The intangible being systems without a physical presence, however equally valid. 7. Bring together complex systems allowing for connections between places, people and objects. Encouraging interconnectedness at a multitude of scales. 8. Change the systems in place by augmenting, disrupting, nurturing and projecting in order to improve their functioning by cultivating distinctive concepts which challenge their significance in the presence and future. 9. Consider that modernity and technology are intertwined, as great infrastructure dies due to new technological means we must address the politics of its nature; design must transcend time, adapt and become usable within the future technological world.

REDCAR

Redcar, located in Middlesbrough, in the North-East of the United Kingdom is small seaside town. Being in such close proximity to the ocean, it was originally a fishing town which grew as a result of the steelworks which shut down the steelworks fueled the economy and led to the development of the town to what it is today. To explore the systems throughout Redcar, as a group we analised a series of sections through the site. The image above highlights the distribution of section cuts.

Ink and watercolour sketches (steelworks and fishermans huts)

S Y S T E M S

SYSTEMS

An interconnected network of things that share a particular purpose or work together. Systemic design is such that it considers the pre-existing systems and interrogates ways in which to improve upon them. A careful consideration of the ways in which a system functions and an imagination for the possibilities that could be brought about through either disrupting or augmenting them.

S Y S

system: tidal movement

T E M S

This is a paper model that explores the movement of tides and the interlacing movement that shifts as the water moves in and out. The section I worked onmeets a water front on either side, and thus, has a strong relationship with the sea. The tides coming in and out determine the span of the dry land.

Section 3 an investigation of systems

S Y S T E M S

Taking the same section from 2D into 3D allowed for a more in depth analysis of the section. In order to accurately map the section, I used sketchup to create a 3 dimentional cut to explore the system of tides and their relationship to the geography and seasonal cchanges. This system is explored in conjunction with the the circulation and movement of fishing boats prominent in the area which are directly impacted by the flow and changing of tides.

3D mapping tidal effect on boat circulation

U S E R C E N T

USER CENTRIC

R I C

Architecture that puts the user at the forefront of the design process. Designing for the user meaning that the intricate needs of the user are considered. That the architecture focuses on the moment it meets the user and how it interacts with them. Thinking always about how the user interacts with the design, and how this could change. Always considering all possible users to create more inclusive, considered architecture.

Protagonist perspective projector

U S E R C E N T R I C

Site exploration reimagined through sound

T A N G I B L E + I N T A N G I B L E

TANGIBLE AND INTANGIBLE

Things with a perceptible presence and things that are less obvious or lack a physical presence. The idea that the two coexist and are equally important. Fundamentally, architecture should understand the tangible and intangible things, systems, concepts within which it exists but also the possibilities and ways to create both tangible and intangible opportunities.

Tangible and intengible systems in relation to the fishing industry

T A N G I B L E + I N T A N G I B L E

Figure 6 South Gare fisherman huts

Figure 7 Site photographs

T A N G I B L E + I N T A N G I B L E

moment design Within the system of fishing I thought about how a building could interlace indoor and outdoor spaces in a similar way to that of the water meeting the land. Thinking specifically about the tangible and intangible aspects that I could bring into a design I wanted to encorporate a moment that highlighted the ideas of a journey and the sensory moments that could occur upon each stage. This illustration envisages a user travelling through a space that overlooks an outdoor space through the structure.

T A N G I B L E + I N T A N G I B L E

Sound mapping and implications of architecture

S U S T A I N A B I L I T Y

SUSTAINABILITY

The concept of being able to continue over a period of time. But beyond that, sustainability is about making more conscious decisions to reduce our impact on the environment. To design sustainably is to take into account all aspects of architecture and consider their impacts on not just the physical environment but also the wider and long term impacts.

history and life cycles The importance of the history of a place or a site becomes increasingly relevant as understanding the context in which a project sits is key to developing a sustainable scheme. Taking South Gare for example, and the progression of the breakwater had a huge impact on the physical composition of the site and has had long term effects on the wildlife in the area. Considering ways in which to design sustainably must revolve around the existing conditions and utilise local resources where possible.

circular economy The concept of circular economy revolves around the idea of moving away from a linear economy. Whereby, materials, objects, processes are created and used a limited amount of time leading to disposal. This is funamentally a lack of consideration for the lifespan and future, a disregard to the implications of such actions and where things end up. A circular economy is a way of creating a cycle, of considering how to fuction more sustainably. In the context of fishing, thinking about ways in which the system is linear for example outsourcing materials and mass fishing both of which create a huge unbalance of raw materials and excess waste not to mention the energy required for not only the processes but also transportation. Understanding the complex network of systems that are interlaced and finsing ways to reduce the negative impact while simultaneously emproving the local economy could create a much more sustainable and thriving local economy.

S U S T A I N A B I L I T Y

Figure 8 South Gare 1850

Figure 9 South Gare 1890

Figure 10 South Gare 1920

Figure 11 South Gare 1980 29

S U S T A I N A B I L I T Y

1850

1880

1960

2020

Geological history and development of the breakwater

S U S T A I N A B I L I T Y

Exploration of the fishing industry and how it could move towards a more circular economy

I N T E R C O N N E C T E D

INTERCONNECTED

A series of things that are connected or related to one another. To consider how different aspects affect and interact and how to design in a way that celebrates such connections. But also facilitates and creates new purposeful connections that lend themselves to the design and the users.

causal loop diagram The diagram above explores how systems within my section are interconnected and the ways in which they influence eachother. An exploration of movement throughout the site, physical movement, movement within the economy and the ways fishing interracts with it, movement of knowledge. To try to understand the complexity of the interconnected systems and how they interract.

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group analysis of redcar systems As a studio, we expored a series of systems on the different sections throughout redcar. Putting them together, we formed a model that visually communicates the wide variety of systems within the area.

6 3 5

7 9

13 11

15 8

summary of systems 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Tides and impact of lighthouse construction. Fishing and interaction of the physical environment. Boat circulation and impact of tides and seasons. Climate change impacts on the enviroment. Population distrbution through time. Water systems and consumption. Infrastructure development. Sustainable energy development and improvement. Tourism in the area. Increasing lonliness and distribution. Historical development and recovery from war. Developing touristic attractions. Education distribution. Unemployement in the area after the closure of the steelworks. Food systems and the impact of covid 19.

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Group model depicting systems in Redcar

T A N G I B L E + I N T A N G I B L E

02 TESTING

I N T E R C O N N E C T E D

INITIAL CONCEPT AND LINE OF INQUIRY

s i t e : s o u t h g a r e, r e d c a r

key questions 1

How can architecture help to improve and reinvigorate the local fishing industry?

How can architecture help us become more in touch with the processes surrounding our consumption?

In what ways can the systems surrounding fishing encourage tourism and improve the local economy?

identifying gaps in the system and defining a brief lack of infrastructure for fishing decline in local boatmaking reliance on non-local produce lack of tourist attractions

building that responds to the local needs and provides facilities for fishing integrated space for boat making to encourage the continuation of the craft facilities that encourage and provide opportunities that prioritise local produce architecture that integrates a range of systems creating space for tourism

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moving towards a circular economy

I N T E R C O N N E C T E D

CONNECTIONS

Understanding the site as in a series of differnt contexts became a crucial aspect to design around. Developing architecture that responds to the tangible and intangible connections was a key aspect of this project. Mapping users and communities of people helped to gain insight into circulation and ways in which to bring differnt users together for example the fisherman community and the visitors be that local or tourists. Locating the building towards the end of the breakwater provides the facilities for the fishermen within the area where this is needed and is able to integrate most successfully. For the visitors while the building sits at a considerable distance from the town it creates a journey that celebrates the seaside and the historical features of Redcar such as the steelworks. Creating visual connections to the surroundings and the features on site such as the fishermans huts and paddys hole is important but also to think about the ways in which these can be integrated into the wider scheme.

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T A N G I B L E

GEOLOGY AND FLOODING ANALYSIS

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T A N G I B L E

SITE ANALYSIS “The site of my project is situated in Redcar. Following the road that runs somewhat parallel to the beach, from the neat rows of houses and shops in the town, past the now closed steelworks, eventually you reach South Gare. An area quietly inhabited by fisherman’s huts and marram grass that sways in the wind. A stretch of land that seems a serene juxtaposition to the now muted but once blazing steelworks that have become a historic backdrop.” ??

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Sun path and prevailing winds

Circulation

Physical features and views

REDCAR FISHING TIMELINE

Y S T E M S

“Just what my familys always done, going back generations. We’ve all been fisherman”

- local fisherman

“it is actually a dying job. As long as the EEC leaves us alone y’know we’re still able to make a living, which is what we’re here for.” - local fisherman

yorkshire coble

The local fishing community in Redcar has steadily decreasing, largely influenced by internal as well as external systems such as the EU and the polices imposed as a result. For small scale fishing towns and local fishermen this had a huge impact as the strict regulations for many made it inafordable, pushing people away from the industry. Going back to the idea of circular economy, it becomes evident that one of the main ways to create a more sustainable fishing environment it to focus on the local fishing industry and find ways to support it. With Brexit, there is likely to be a shift in the fishing industry and possibly less restrictions for small scale fishing.

PROTAGONISTS

Y S T E M S

FISHING IN REDCAR

Y S T E M S

Fishing distances for shallow water fishing

S Y S T E M S

Systems research and understanding the processes

S Y S

A fishermens daily routine varies according to the season and the tides thus they often realise two trips a day depending on the species they are out to catch. Leaning towards longer days in the summer time and shorter days in the winter.

T E M S

Boats are propped up on wheels in order to move them from land into the water. A tractor is then used to push the boats across the sand and into the water where the motor is turned on and they can travel towards deeper waters.

They travel anywhere between 3 to 5km from the beach up to where the water is around 39m deep. For crabbing fishermen will use bouys attached to anchors to mark where the crabbing pots are left. A string of sround 20 pots are then hauled up to retrieve the crabs.

Once the crabs are retrieved they are measured to ensure they are fully grown if not they are released back into the water and then they are put into containers to be taken back.

Figure 12 Photographs of fishing process The crabbing pots are then released back into the water and the boat returns to the shore where a tractor pulls the boat in and then the containers with crabs or fish are unloaded from the boat to be taken to be sold.

S Y S T E M S

Figure 13 Designing in response to the process of fishing (inspired by Bernard Tschumi’s Manhattan Transcripts)

T A N G I B L E + I N T A N G I B L E

Process mapping on the site

T A N G I B L E + I N T A N G I B L E

Fishing circulation The process of fishing and how it would permeate through the building was quite intuitive as the interraction with the water is essential. The elements of this process include fishing, movement and processing of produce, and selling within a market and restaurant. Leaning towards this connection with the water largely vertical movement seemed to occur natually and would allow for the most efficient movement between fishing and processing while retaining and emphasising the connection to the water. Such spaces such as the market and restaurant would ideally include views that frame the seaside to celebrate and communicate this connection.

Boat making circulation My initial inclination was to juxtapose the horizonal movement of fishing with a more vertical movement for the process of boat making. This would result in the boats moving upwards in the building with view into the spaces that would highlight the building of the boats in stages ending with the finalised Cobles at the top of the building. However, this brought up a series of issues both logistically, the boats being fairly large but also after better understanding the actual construction process, understanding the fragility of the boats at certain stages made this arrangement quite difficult. Arguably the most obvious issue being this movement that seemed quite forced and counter intuative as the boats were to end up in the water not at the top of a building and led me to rethink how to celebrate this process in perhaps more subtle ways.

I N T E R C O N N E C T E D

PROGRAMME AND SPATIAL ORGANISATION

L A N D

W A T E R

I N T E R C O N N E C T E D

Massing and organisation sketches

T A N G I B L E

ORGANISING THE SYSTEMS

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T A N G I B L E + I N T A N G I B L E

Process circulation boat making (above) fishing (below)

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CENTRAL CIRCULATION

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View towards the sea

Connection to the ground floor

Connection to the market

visual connections The main concept behind the central circulation that spans almost the full length of the building is to create a strong sence of connection between the two main floors of the building. A connection between the ground level and the lower ground level that meets the waterfront. By framing the view towards the sea at the other end it leads users through from the enclosed to the open air space encouraging people to explore the system of fishing and all the processes this includes. The circulation also makes a visual connection to the market frame structure while also allowing light to seep through and illuminate this space.

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BOAT WORKSHOP

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Public space overlooking the workshop

Gantry crane for boats

Movement of the proces

systematic connections The workshop emphasises the movement from land to water. The layout allows the process of boatmaking to highlight this movement, from when materials are brought in to their eventual release into the water on the opposite end. Creating connections between the entire process is important as it communicates the process and the importance of the boats to the system of fishing. The cantelevered platform overlooking the workshop allows gives the users insight to the process and creaates a connction between the exhibition with completed boats to the equally important boats in process highlighting and celebrating the craft behind them.

U S E R C E N T R I C

Frame iterations

U S E R C E N T R I C

frame explorations Here I tried to wrap the market frame structure over the roof and explored how this could potentially inform the form of the roof.

roof iterations Linking the different elements of the building was particularly challenging as I had a series of diffent forms and languages. On the one hand the workshop structure which consists of a portal frame as it encloses a large open space. The central, quite boxy space and the external market frame structure. Marrying these forms and contrasting languages was a crutial part of the development. The adjacent diagrams highlight the series of roof iterations I went through to determine how the spaces would interract and how to encorporate the frame language that makes up the market structure.

U S E

PRECEDENT STUDY: TIMBER JOINERY

R C E N T R I C

Figure 14 GC prostho museum

Kengo Kuma GC Prostho Museum and the Nest We Grow project I drew inspiration from Kengo Kuma’s work with timber jointery as he has a series of projects that consist of timber frame structures. The open frame emphasises the ways in which the elements interract with each other. The open frame is also inviting as it allows light to seep into the space and can be at a more human scale. Figure 15 Nest we grow

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THINKING THROUGH MAKING

R C E N T R I C

frame structural exploration For thinking through making I explored the use of timber joinery for the open air flexible market structure. To understand how to create a structure that will respond to varying elevations and allow for both repetition and flexibility. The structure must also allow for floor panels where necessary but not be compromised by the lack of. What emerged was this series of structural vertical beams with notches for horizontal beams. The floor panels will also provide cross bracing to eliminate the need for external structural elements beyond whats already provided by the frame.

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Frame structure modular elements

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FISH SMOKING STRUCTURE INTEGRATION

R C E N T R I C

Initally the smoking structure was quite detached because of the proximity of the smoke, but there were issues with the form.

Moving the smoking structure into the frame structure helped to integrate it with the rest of the structure and helped with circulation.

I explored extending the structure vertically through the frame and creating circulation around it to form a viewing platform on top. However, this caused obstructions to the views from the market structure and restaurant. It also broke the market structure out of the grid and seemed a bit too bulky.

Returning to a similar previous iteration, I created a slanted roof that mirrored the workshop roof. I also pushed the immediate market structure back a bit to allow for the smoke.

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DEVELOPMENT OF THE GROUND FLOOR

1st iteration in plan (ground floor and exposed lower ground floor)

2nd iteration in plan (ground floor and exposed lower ground floor)

I N T E R C O N N E C T E D

1st iteration This was the first conceptualisation of the new layout, moving away from the initial more vertical concept to a more horizontal design that responds more to the site features processes. A realisation of the key concepts such as the central circulation from ground to lower ground level, open external market structure, and a long workshop space for boat construction. The building consisting of the central building focusing on the public aspect, then the workshop space on the left and the market structure on the right. Thinking a lot about circulation and how the different processes would interract.

2nd iteration Thinking about how the building responds to the site, the first change was to shift the building to align the market structure that resembles the geometry of the fishermans huts with the huts themselves which are located in the wider context. The other main focus was editting the central space, opening up the space and moving the staircase to the resaurant away from the entrance helped to open up the space and and secondary circulation path parallel to the main circulation. Also adding a lift for improved accessibility.

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3rd iteration in plan (ground floor and exposed lower ground floor)

4th iteration in plan (ground floor and exposed lower ground floor)

I N T E R C O N N E C T E D

3rd iteration The external space on the waterfront was the next focus, thinking about the relationship with the different elements and how they interract. The market structure and fish smoking room seemed disconnected so I explored a series of different frame structures and ways to better intergrate the different elements. Another element was the level changes between the main outdoor space and the pier, focusing on the outdoor circulation. I also began to think more about the workshop and how to make better use of the space.

4th iteration After the initial changes to the workshop I found there were still issues. I worked on making it more dynamic, thinking about the process and spaces the workshop needed in order to respond to this. For example moving the main entrace for materials to the lower floor allowing for this to become a multipurpose entrance for materials and boats. Another big focus was on language and detailing. I worked on better integrating the timber frame language throughout the building paying more attention to the concepts of circulation and public space.

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Initial materiality concept

S U S T A I N A B I L I T Y

PRECEDENT STUDY: FORM AND LANGUAGE

Figure 16 Exposed frame interior

Carmody Groarke Windermere Jetty Museum I found the language and forms utilised in this design very relevant to my design as itfollows a similar narrative. The portal frame with exposed timber creates an atmospheric space that almost resembles the structure of a boat. The way the building interracts with the water is also inspiring as I’m attempting to create a similar effect. Figure 17 Cantelevered roof

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DETAILING AND MATERIALITY

external frame The market structure is south facing thus allowing light to seep through generously. The timber frame creating even shadow patterns throughout the market space without obstructing the views towards the sea.

detailing 1

Most of the building is enveloped in timber rainscreen cladding, select areas dyed green creating a visual connection to the fisherman huts.

The market structure features glass and timber handrails so as not to obstruct the views.

The rest of the structure includes vertical timber batten railings, at a similar width to the cladding.

The pier is lined with vertical timber posts that resemble the dimentions of the market structure to emphasise the architectural language.

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TECHNOLOGY INTEGRATION

Figure 18 Lighting strategies 1 PV panels are located on the roof as it is a relatively open structure can help to supply renewable energy. 2 Thermochromic glazing is utlilized on south facing windows to manage the direct sunlight. 3 Glazing spanning the workshop space to supply natural lighting as the space is very large but must be constantly well lit. 4 Timber shading will be encorporated into the external open air structure to make the space more comfortable for users.

S U S T A I N A B I L I T Y

Figure 20 Ventilation and heating strategies 1 Mechanically operated windows are used for out of reach windows, these will open and close automatically depending on internal temperatures to regulate ventilation. 2 Underfloor heating as the primary meas of space heating. 3 A heat recovery system will be incorporated into key spaces such as the workshop, kitchen and restaurant to maintain air quality. 4 Ground source heat pump absorbs thermal energy from the ground which can then be pumped around the building through the underfloor heating helping to offset the energy required from the grid.

central windows A series of mechanically operated windows centrally located over the exhibition space create a stack effect for better natural ventillation. The windows also create a light shaft effect funnelling diffused light into building. The windows are located above the circulation toward the restaurant and cafe intuitively guiding the users toward these spaces located both on the ground and first floor.

Figure 19 Central lighting and ventilation

U S E

LANDSCAPING

R C E N T R I C

First iteration

U S E R C E N T R I C

Second iteration

T A N G I B L E + I N T A N G I B L E

03 SYNTHESIS

T A N G I B L E

SOUTH GARE FISHING AND BOAT MAKING CENTRE

+ I N T A N G I B L E

main axo

T A N G I B L E + I N T A N G I B L E

PLANS IN CONTEXT

Top view in plan

First floor plan

Ground floor plan

Lower ground floor plan

APPROACH VIEW FROM PIER

NATURAL LIGHTING AND CONNECTIVITY WITH THE INTERCONNECTED SPACES

T A N G I B L E + I N T A N G I B L E

KEY SECTION 94

Full site section through central circulation from lower gorund to ground level

South elevation

North elevation

APPROACH VIEW

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101

T A N G I B L E + I N T A N G I B L E

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04 APPENDIX

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FRAMING GROUP WORK

Miro board from framing group presentation Link to miro board: https://miro.com/app/board/o9J_lcBV7YI=/ Link to group model video 1: https://www.youtube.com/watch?v=u4sElkNj8AQ Link to group model video: https://www.youtube.com/watch?v=0axSFXCas3M

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105

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THEMATIC CASE STUDY

CONTENTS

Practice Typology Experience Theory Time Future Climate

1-2 3-6 7-9 10-12 13-14 15-16 17-20

ST. PETER’S SEMINARY GILLESPIE, KIDD & COIA

THEORY - AGATA MALINOWSKA

TYPE - AYA MORDAS

THEORY - AGATA MALINOWSKA

TYPE - AYA MORDAS

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TYPE - AYA MORDAS

LOCATION ANALYSIS

SPATIAL ORGANISATION

THE USER - EMMA BEALE

ANALYSING THE DAILY MOVEMENTS OF A PRIEST

THE USER - EMMA BEALE

THEORY - AGATA MALINOWSKA

SPATIAL EXPERIENCE

THE USER - EMMA BEALE

S(0,1$5< 2) 7+( 3$67: 5(/$7,216+,3 %(<:((1 L,0,7$7,216 $1' &/2685( 1. Limitation of this Unique Architecture: Special Spaces for Prayers Because this architecture only designed for prayers, it offers a plenty of study bedrooms (over 100). The unique layout only suitable for business format needing lots of "cells".

The Vicious Circle Loop Diagram Background During 1960s

After the Seminary was completed in 1966, the number of students entering college became to decline. Therefore, this building never be full with prayers.

Archdiocese of Glasgow is underfunded. Maintenance Difficulties Failure

Special Spaces for Prayers

Shifting Responsibility between owner and designer.

o us C ir

Maintenance Difficulties

Water Entry Problem

High Cost for this Architecture

Try to tranform the function of the building.

2. Limitation of this Unique Architecture: 0DLQWHQDQFH 'LIILFXOWLHV

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108

SYSTEM - XUHAN ZHANG

3. Limitation of this Unique Architecture: Water Entry

The KLVWRULFDO background for theological seminary in 1960s leaded to the decline of candidates and indirectly caused tight budget. Because of the leak problem and its unique structure, the maintenance of this architecture is GLIILFXOW. Although its power natural and structural expression seems right for doctrine, the above limitations still caused the seminary closed down. After the architecture transformed into a drug rehab FHQWUH for one year, it still faced PDLQWHQDQFH difficulties. Further, the particular spaces designed for seminary also restrict other businesses to take over it.

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DIFFERENT USERS

7,0(/,1( 2) 67 3(7(5'6 6(0,1$5< After the fire at old St Pater’s seminary, a new seminary was needed. The plans for new collage were finished in 1961, The new architecture wrap the old Kilmahew classical house, which including a concrete block, a sanctuary block and a classroom block. After the whole architecture completed in 1966, the number of candidates entering the priesthood has begun to decline. Also because of its unique structure and negative water entry, the seminary was closed in 1983. in the next year, the building was used as a drug rehabilitation but also closed. In the next 20 years, the maintenance of this architecture ended. Accidental fire at Kilmahew House made it demolished. The St Pater’s Seminary experienced neglect, corrosion and vandalism. Until 2009, archdiocese of Glasgow (the owner) tried twice to develop this abandoned architecture as the permanent art works. However, %oth plans failed.

According to history timeline, there are three dominating periods (showed in orange). The system section of this case study booklet will analyses systems in these three periods. 1. Past-Seminary period (1966-1980): Period when St Peter's Seminary was used as an architecture. 2. Decaying period (1980-2009): The decaying process after the maintenance stopped. 3. Restoration period (2009-2020): Infusing new life into old Seminary.

SYSTEM-XUHAN ZHANG SYSTEM - XUHAN ZHANG

THE USER - EMMA BEALE

R(6725$7,21: 1(: A&7,9,7,(6 $1' C+$1*(6 72 75$163257$7,21

D(&$<,1*: ,17(5)(5(1&( )520 1$785( $1' +80$16 The interference from nature came in corrosion of St Peter's Seminary. The main concrete GLG QRW chang too much but the wooden interior was totally corroded. In the 2016, NVA FRPSDQ\ did a cleaning job to the building so there are no multitudes of red pine or concrete now.

Main Building in 1960s

Main Building in 2020 'LVVLPLODU graffiti was made on each concrete pilers. The uniformity of Seminary was replaced by active and colorful personal artworks.

The bare concrete wall covered by red granite chips made the structure more durable. Therefore, the load baring structure GLG QRW decay too much during the past 40 years.

Bare Concrete

The light event was organized by arts charity NVA to be the launch of Scotland Architecture Festival of 2016 in St Pater's Seminary. This is the second attempt to rebirth this old seminary architecture. The name of this light event is Hinterland, which offers visitors a fresh and unusual chance to see this architecture in light. Although the initial incarnation of this seminary was closed down, the whole architecture is dramatic and artistic with lots of potenWials.

Although the light system is not really a direct restoration for the Seminary, it is a beginning of NVA company's long terms plans for the site to revive this old Seminary. 8QIRUWXQDWHO\, the NVA gave it up because of a core funding failure. Even though, the light installation brought a positive effect to its transportation system. 7UDIÀF 6\VWHP %HIRUH 7UDIÀF 6\VWHP $IWHU Accessibility for the St Peter's Seminary and surrounding is different from SUHYLRXV. The Seminary was not only a modernism relic, but also a tourist attraction of Cardross. This unique archiWecture was cleaned can open to public after the show, there are also a route connecting three Cardross attractions: Kilmahew Castle, St Peter's Seminary and Walled Garden.

The interior red pine planks were corroded and disappeared in 2020.

Red Pine Interior

Event Space in 1960s 1980

2000

Event Space in 2020 There is no more solemn silence in the events space in this Seminary. Disappeared roof and graffiti made it increasingly dynamic and cheerful.

2020

Side Chapels in 1960s

Artist toke the advantaged of arrayed 'cells' of each floor, illuminations came from each block to create a complex optical illusion. The creative light system presented potenWials of this abandoned Seminary, which also drawn concern for this relic.

Side Chapels in 2020 The irregular p i p e shaped structure was for side chapels. People tDke this advantage of light to create vivid new prayer room.

Staircase in 1960s

Kilmahew Castle

St Peter's Seminary

Walled Garden

Staircase in 2020 Modernist staircase was tranVformed into central viewing platform.

Cyclist and Pedestrain

9HKLFOH DQG %XV

The above collage LOOXVWUDWHV the relationship between the relic and the nature. The cleaning work stopped the further corrosion. The bare concrete structure was left with moss and small clumps.

SYSTEM-XUHAN ZHANG 12 SYSTEM - XUHAN ZHANG

SYSTEM-XUHAN ZHANG SYSTEM - XUHAN ZHANG

REFERENCE THEORY -AGATA Baines, M., n.d. Themes And Variations:The Post-War Designs Of Gillespie, Kidd & Coia. [online] Web.archive.org. Available at: <https://web.archive.org/web/20051220125149/http://www. c20society.org.uk/docs/casework/gkc.html> [Accessed 2 December 2020]. BBC News. 2017. Life After Death? Resurrecting A Modern Ruin. [online] Available at: <https:// www.bbc.co.uk/news/in-pictures-38884020> [Accessed 5 December 2020]. Collections, G., 2013. Gillespie Kidd & Coia – GSA Archives And Collections. [online] GSA Archives and Collections. Available at: <https://gsaarchivesandcollections.wordpress.com/tag/ gillespie-kidd-coia/> [Accessed 1 December 2020]. Concrete Quarterly, 1967. St. Peter’s College, Cardross. [online] (72). Available at: <https://www. concretecentre.com/getmedia/26f37fce-9e11-4148-96de-ea5fc8be9912/CQ_072_Spring1967. PDF.aspx> [Accessed 5 December 2020]. Designasresearch.tumblr.com. n.d. Lightenings. [online] Available at: <https://designasresearch. tumblr.com/> [Accessed 5 December 2020]. Doors Open Day. n.d. Ardrossan: St Peter In Chains RC Church. [online] Available at: <https:// www.doorsopendays.org.uk/places/ayrshire/ardrossan-st-peter-in-chains-rc-church/> [Accessed 6 December 2020]. Flickriver.com. n.d. Flickriver: Michelle O’connell Photography’s Photos Tagged With Drumchapelroad. [online] Available at: <https://www.flickriver.com/photos/shellewill79/tags/drumchapelroad/> [Accessed 8 December 2020]. Flickr. n.d. St Benedict’s, Drumchapel, Glasgow - 1970. [online] Available at: <https://www.flickr. com/photos/gsalib/albums/72157619397442025> [Accessed 3 December 2020]. Sometimes Inte resting. 2015. Specter Of St. Peter’s Seminary | Sometimes Interesting. [online] Available at: <https://sometimes-interesting.com/2015/03/14/specter-of-st-peters-seminary/> [Accessed 9 December 2020]. The Cosmic Inspiro-Cloud. n.d. The Cosmic Inspiro-Cloud. [online] Available at: <https://www. cosmicinspirocloud.com/post/61435130526/gillespie-kidd-and-coia-st-marys-boness-1962> [Accessed 6 December 2020]. Watters, D. and Farquhar, A., 2016. St Peter’s, Cardross. THE USER - EMMA BBC News. 2017. Life After Death? Resurrecting A Modern Ruin. [online] Available at: <https:// www.bbc.co.uk/news/in-pictures-38884020> Collections, G., 2013. Gillespie Kidd & Coia – GSA Archives And Collections. [online] GSA Archives and Collections. Available at: <https://gsaarchivesandcollections. wordpress.com/tag/gillespie-kidd-coia/>

SYSTEMS - XUHAN Cement and Concrete Association, 1967. Concrete Quarterly. 20(63), pp.16-23. Dirtymodernscoundrel.blogspot.com. 2020. St Peter’s Seminary, Cardross (1966). [online] Available at: <http://dirtymodernscoundrel.blogspot.com/2016/03/st-peters-seminary-cardross-1963. html> [Accessed 17 December 2020]. Movingimage.nls.uk. 2020. Full Record For ‘ST. PETER’s COLLEGE, CARDROSS’ (3961) - Moving Image Archive Catalogue. [online] Available at: <https://movingimage.nls.uk/film/3961> [Accessed 17 December 2020]. NVA. 2020. Hinterland – NVA. [online] Available at: <http://nva.org.uk/artwork/hinterland/> [Accessed 17 December 2020]. Sometimes Interesting. 2020. Specter Of St. Peter’s Seminary | Sometimes Interesting. [online] Available at: <https://sometimes-interesting.com/2015/03/14/specter-of-st-peters-seminary/> [Accessed 17 December 2020]. TYPOLOGY - AYA BBC News. 2020. Life After Death? Resurrecting A Modern Ruin. [online] Available at: <https:// www.bbc.co.uk/news/in-pictures-38884020> [Accessed 10 December 2020]. Sometimes Interesting. 2020. Specter Of St. Peter’s Seminary | Sometimes Interesting. [online] Available at: <https://sometimes-interesting.com/2015/03/14/specter-of-st-peters-seminary/> [Accessed 10 December 2020]. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=KVxMFwbWmz4> [Accessed 10 December 2020]. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=5K8d2n1j-ak> [Accessed 10 December 2020]. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=gCaCkbgbqRo> [Accessed 10 December 2020]. Stjoseph-seminary.com. 2020. The Current Seminary. [online] Available at: <https://www.stjoseph-seminary.com/About/The-Current-Seminary> [Accessed 10 December 2020]. ArchEyes. 2020. Japan Lutheran Theological Seminary In Tokyo By Togo Murano | Archeyes. [online] Available at: <https://archeyes.com/japan-lutheran-theological-seminary-togo-murano/> [Accessed 10 December 2020]. ArchDaily. 2020. St Joseph Seminary / DIALOG. [online] Available at: <https://www.archdaily. com/908153/st-joseph-seminary-dialog> [Accessed 10 December 2020]. Aasarchitecture.com. 2020. ST. JOSEPH SEMINARY BY DIALOG – Aasarchitecture. [online] Available at: <https://aasarchitecture.com/2013/01/st-joseph-seminary-by-dialog.html/> [Accessed 10 December 2020].

Miller, Ana. ‘Scottish Arts Council award for St Peters Seminary Development Proposal’ (2009) NVA Architects Website ‘ http://nva.org.uk/artwork/kilmahew-st-peters/’ Rodger, J. ‘Gillespie, Kidd and Coia Architecture 1956 - 1987’ (2008) Russell, L, ‘St Peters College Cardross’ Scottish Catholics Institute Film (1963) ‘Spectre of St Peters Seminary’ < https://sometimes-interesting.com/2015/03/14/specter-of-st-peters-seminary/> Watters,D and Farquhar, A.‘St Peters, Cardross, Birth Death and Renewal’(2016)

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BIBLIOGRAPHY ‘An Introduction to the Yorkshire Coble’ <http://www.tradboat2.co.uk/sourcepages/cobles/cobles.htm> [accessed 4 February 2021] Around & About Yorkshire, Filey: Last of the Coble Fishermen, 2020 <https://www.youtube.com/watch?v=S2NN7uoK3EE> [accessed 4 February 2021] Bates, Quentin, ‘Environment Agency Threatens Filey Fishery Shutdown - FiskerForum’, Https://Fiskerforum.Dk/, 2020 <https://fiskerforum.com/environment-agency-threatens-filey-fishery-shutdown/> [accessed 4 February 2021] ‘Carmody Groarke — Windermere Jetty Museum’, Carmody Groarke <https://www.carmodygroarke.com/windermere-jetty-museum/> [accessed 7 June 2021] Dick, ‘The Yorkshire Coble’, Lodestar Books, 2019 <https://lodestarbooks.com/the-yorkshire-coble/> [accessed 4 February 2021] ‘FISHING – Review In Redcar | Redcar.Org | Past & Present’ <http://www.redcar.org/fishing-review-1935/> [accessed 7 June 2021] Forse, Andy, Ben Drakeford, and Jonathan Potts, ‘Fish Fights: Britain Has a Long History of Trading Away Access to Coastal Waters’, The Conversation <http://theconversation.com/fish-fights-britain-has-a-long-history-of-trading-away-access-to-coastal-waters-112988> [accessed 7 June 2021] ‘[Four Issues of Architectural Design, 1971] - Monica Pidgeon Ed.’, Tenderbooks <https://tenderbooks.co.uk/products/four-issues-of-architectural-design-1971-monica-pidgeon-ed> [accessed 7 June 2021] ‘GC Prostho Museum Research Centre by Kengo Kuma’, ICON Magazine, 2010 <https://www.iconeye.com/architecture/architecture-news/gc-prostho-museum-research-centre-by-kengo-kuma-2> [accessed 7 June 2021]. ‘Geology Roam’ <https://digimap.edina.ac.uk/roam/map/geology> [accessed 7 June 2021] ‘Historic Roam’ <https://digimap.edina.ac.uk/roam/map/historic> [accessed 7 June 2021] ‘History of Redcar’, This Is Redcar <https://www.thisisredcar.co.uk:443/history> [accessed 7 June 2021] Mordas, Aya, ‘An Exporation of Architectural Phenomenology’, 2021 ———, ‘ARC3013: Detailed Technical Study’, 2021 ‘Nest We Grow / Kengo Kuma & Associates + College of Environmental Design UC Berkeley | ArchDaily’ <https://www.archdaily.com/592660/nest-we-grow-college-of-environmental-design-uc-berkeley-kengo-kuma-and-associates> [accessed 7 June 2021] ‘New £20m Windermere Jetty Museum Launches Restored Steamboats on the Lake’ <http://www.theartnewspaper.com/news/new-gbp20m-windermere-jetty-museum-launches-restored-steamboats-on-the-water> [accessed 7 June 2021] Norberg-Schulz, Christian, Genius Loci: Towards a Phenomenology of Architecture (New York: Rizzoli, 1980) ‘North East England | Britishseafishing.Co.Uk’, 2012 <https://britishseafishing.co.uk/north-east-england/, https://britishseafishing.co.uk/north-east-england/> [accessed 7 June 2021] ‘Photographs of Northumberland by Peter Loud, Coble Construction, Dawson’s Boatshed, Seahouses, c.1976’ <http://www.peterloud.co.uk/photos/Seahouses/Boat_ Building.html> [accessed 4 February 2021] ‘Pinterest’, Pinterest <https://www.pinterest.co.uk/search/pins/> [accessed 7 June 2021] ‘Redcar’, Redcar <https://www.google.co.uk/maps/place/Redcar/@54.6370411,-1.1388815,1143m/data=!3m1!1e3!4m5!3m4!1s0x487ee4c33764606d:0xeebef83125d843d0!8m2!3d54.5974636!4d-1.0779515> [accessed 7 June 2021] ‘Scarborough Maritime Heritage Centre | Yorkshire’s Last Traditional Sailing Fishing Coble’ <http://www.scarboroughsmaritimeheritage.org.uk/article.php?article=10> [accessed 4 February 2021] smacmillan13, The Fishing Town Of Redcar, 2011 <https://www.youtube.com/watchå?v=zm3OJse1y0E> [accessed 4 February 2021] ‘Tide Times and Charts for River Tees Entrance, England and Weather Forecast for Fishing in River Tees Entrance in 2020’ <https://tides4fishing.com/uk/england/river-tees-entrance> [accessed 4 February 2021] ‘Traditional Craftsmanship: The Coble Restorer’, Countryfile.Com <https://www.countryfile.com/how-to/crafts/traditional-craftsmanship-the-coble-restorer/> [accessed 4 February 2021] ‘Vermilion Sands’, Wikipedia, 2021 <https://en.wikipedia.org/w/index.php?title=Vermilion_Sands&oldid=999067316> [accessed 7 June 2021]

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LIST OF FIGURES Figure 1 Genius Loci Norberg-Schulz, Christian, Genius Loci: Towards a Phenomenology of Architecture (New York: Rizzoli, 1980) Figure 2 AD February 1971 ‘[Four Issues of Architectural Design, 1971] - Monica Pidgeon Ed.’, Tenderbooks <https://tenderbooks.co.uk/products/four-issues-of-architectural-design-1971-monica-pidgeon-ed> [accessed 7 June 2021] Figure 3 AD February 1974 ‘[Four Issues of Architectural Design, 1971] - Monica Pidgeon Ed.’, Tenderbooks <https://tenderbooks.co.uk/products/four-issues-of-architectural-design-1971-monica-pidgeon-ed> [accessed 7 June 2021] Figure 4 AD May 1971 ‘[Four Issues of Architectural Design, 1971] - Monica Pidgeon Ed.’, Tenderbooks <https://tenderbooks.co.uk/products/four-issues-of-architectural-design-1971-monica-pidgeon-ed> [accessed 7 June 2021] Figure 5 Vermillion Sands ‘Vermilion Sands’, Wikipedia, 2021 <https://en.wikipedia.org/w/index.php?title=Vermilion_Sands&oldid=999067316> [accessed 7 June 2021] Figure 6 South Gare fisherman huts ‘Pinterest’, Pinterest <https://www.pinterest.co.uk/search/pins/> [accessed 7 June 2021] Figure 7 Site photographs Photos taken by Matthew Margetts Figure 8 South Gare 1850 Original map from ‘Historic Roam’ <https://digimap.edina.ac.uk/roam/map/historic> [accessed 7 June 2021] Figure 9 South Gare 1890 Original map from ‘Historic Roam’ <https://digimap.edina.ac.uk/roam/map/historic> [accessed 7 June 2021] Figure 10 South Gare 1920 Original map from ‘Historic Roam’ <https://digimap.edina.ac.uk/roam/map/historic> [accessed 7 June 2021] Figure 11 South Gare 1980 Original map from ‘Historic Roam’ <https://digimap.edina.ac.uk/roam/map/historic> [accessed 7 June 2021] Figure 12 Photographs of fishing process Around & About Yorkshire, Filey: Last of the Coble Fishermen, 2020 <https://www.youtube.com/watch?v=S2NN7uoK3EE> [accessed 4 February 2021] Figure 13 Designing in response to the process of fishing (inspired by Bernard Tschumi’s Manhattan Transcripts) Mordas, Aya, ‘An Exporation of Architectural Phenomenology’, 2021 Figure 14 GC prostho museum ‘GC Prostho Museum Research Centre by Kengo Kuma’, ICON Magazine, 2010 <https://www.iconeye.com/architecture/architecture-news/gc-prostho-museum-research-centre-by-kengo-kuma-2> [accessed 7 June 2021]. Figure 15 Nest we grow ‘Nest We Grow / Kengo Kuma & Associates + College of Environmental Design UC Berkeley | ArchDaily’ <https://www.archdaily.com/592660/nest-we-grow-college-of-environmental-design-uc-berkeley-kengo-kuma-and-associates> [accessed 7 June 2021] Figure 16 Exposed frame interior ‘New £20m Windermere Jetty Museum Launches Restored Steamboats on the Lake’ <http://www.theartnewspaper.com/news/new-gbp20m-windermere-jetty-museum-launches-restored-steamboats-on-the-water> [accessed 7 June 2021] Figure 17 Cantelevered roof ‘Carmody Groarke — Windermere Jetty Museum’, Carmody Groarke <https://www.carmodygroarke.com/windermere-jetty-museum/> [accessed 7 June 2021] Figure 18 Lighting strategies Mordas, Aya, ‘ARC3013: Detailed Technical Study’, 2021 Figure 19 Central lighting and ventilation Mordas, Aya, ‘ARC3013: Detailed Technical Study’, 2021 Figure 20 Ventilation and heating strategies Mordas, Aya, ‘ARC3013: Detailed Technical Study’, 2021 All other images were produced or taken by the authorv

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