Sarah Bushnell Portfolio by PDF Uploads

‘MAX’S ADVENTURE TO THE STORY-BOOK CASTLE’

PORTFOLIO ARC8052 UNLEARNING ARCHITECTURE SARAH BUSHNELL 170172833

Contents ARB Criteria [4] Project Introduction [6] Fundamentals of Narrative [7] [Design] The Present [9] Possibility [33] Proposition [57] [Technology] Environment [106] Material [118] Sustainability [130] Structure [136] Accessibility [146] Design Strategy [148] Reflection [157] Bibliography [160] Appendix [170]

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ARB Criteria I have attempted to map the work completed within this portfolio to the ARB criteria. This is to aid my own assessment of my work this semester and to ensure that I cover topics not covered within this body of work next semester. This has also stimulated questions and topics of research, subject to the studio brief, that question the process and practice of architectural design.

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Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC2

Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC3

Knowledge of the fine arts as an influence on the quality of architectural design

GC4

Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC5

Understanding of the relationship between people and buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC6

Understanding of the profession of architecture and the role of the architect within society, in particular in preparing briefs that take account of social factors.

GC7

Understanding of methods of investigation and preparation of the brief for a design project.

GC8

Understanding of the structural design, constructional and engineering problems associated with building design.

GC9

Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

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The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GA2

With regard to meeting eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: 1] Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; 2] Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; 3] Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate thes into practical design proposals; 4] Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; 5] Understanding of the context of the architect and the construction industry, including the architect’s role in the process of procurement and building production, and under legislation; 6] Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances 7] Ability to identify individual learning need and understand the personal responsibility required to prepare for qualification as an architect.

I have amended and added work since the final review; pages are marked as depicted:

Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into building and integrating plans into overall planning. Amended work

New work

Project Introduction To many, a narrative is perceived to be confined within the pages of a story book. However, the power it holds can be found in any instance, on any site, within all materials, from any moment of the past, to all walks of the imagination… and permeates far beyond the lifespan of paper and ink. A shift toward a more digital future, with focuses ever-changing away from the city centre as we know today, leaves a question mark in the space of the bookshop and its role within the narrative process. I looked at Emerson Chambers – a mythological-like building that offers refuge for children amongst the expanse of commerce across Eldon Square; whilst exploring how it may present itself to the child in the present day, and where its stance might evolve to in the future. Could, perhaps, the powers of the narratives within be used to contribute toward a more intergenerational city? What if the purpose of Eldon Square was to sink away from that of consumption, and instead toward narratives that educate, integrate, and equip children for all that they imagine within a more inclusive future?

Fundamentals of Narrative Structure Stasis: The opening of a story, here, the reader is introduced to characters and setting. Inciting Incident: An interest is sparked, and attention drawn. Rising Action: An event/ series of events, that complicate matters for the character and result in increased drama and suspense. Crisis: A pinnacle point which initiates a win/lose situation. Falling Action: An outcome may begin to appear - this may also be used to mislead the reader. Climax: A win/lose situation; everything is resolved. Resolution: Moment of calm after a build-up in drama - this often involves reflection, or a look to the future.

[Please see page 12 for a continuation of this introduction in narrative and illustrative form.]

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The Present

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The Hand That Rocks the Cradle is the Hand that Rules the World. [William Ross Wallace] BLESSINGS on the hand of women! Angels guard its strength and grace. In the palace, cottage, hovel, Oh, no matter where the place; Would that never storms assailed it, Rainbows ever gently curled, For the hand that rocks the cradle Is the hand that rules the world. Infancy’s the tender fountain, Power may with beauty flow, Mothers first to guide the streamlets, From them souls unresting grow Grow on for the good or evil, Sunshine streamed or evil hurled, For the hand that rocks the cradle Is the hand that rules the world. Woman, how divine your mission, Here upon our natal sod; Keep - oh, keep the young heart open Always to the breath of God! All true trophies of the ages Are from mother-loved impearled, For the hand that rocks the cradle Is the hand that rules the world. Blessings on the hand of women! Fathers, sons, and daughters cry, And the sacred song is mingled With the worship in the sky Mingles where no tempest darkens, Rainbows evermore are hurled; For the hand that rocks the cradle Is the hand that rules the world.

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‘Grown-Up Land’ Inspired by Maurice Sendak’s ‘Where the Wild Things Are’

Max wanted to be just like his Mum… she encompassed all that he could not understand. He wanted to play with the other grown-ups, so he packed a bag and set out on an adventure to seek a grown-up land. He climbed aboard a boat, and sailed across a tumbling ocean… to a place far far away. He was going to a ‘grown-up’ land, looked over by a stone man named ‘Earl Grey’. The land was full of enchantment, or at least where Max first looks. In the centre stood a castle, built from story books. Though around the castle was not so nice, There was no enchanted wood, Instead the grown-ups shopped and walked and dazed and stood. The grown-ups were not playing at all. In fact, they all looked the same. They all followed, and bought, and wandered and talked… and then they bought again. Max no longer wanted to be a grown up, this was not a place to be wild and free. He waved goodbye and boarded his boat, and was home in time for tea.

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Emerson Chambers, Newcastle Upon Tyne

Emerson Chambers Last semester I looked at play in the space of consumption around the protagonist of a child on the site of Eldon square. I explored how play could create more intergenerational spaces that give opportunity for education and initiate a carbon-positive ‘pause’ from consumption. This transgressed into this semester, where I started with a study of Emerson Chambers, which is presently the Waterstones building. To me, it stood out in relation to my narrative as it processes this almost mythological stance over the rest of the site.

of an epitome of narrative and imagination amongst an extremely adult orientated centre. I looked at how the narrative of the bookshop presents itself to the child in the present day, and where its stance might evolve to in the future, before exploring how these concepts may present themselves within the existing bones of Emerson Chambers – I was really interested in exploring how we may reminisce on narrative of present and past, whilst exploring how they collide with what may become of narratives within the future - and how the two can work together to both educate and equip children within a much greater and more integrated society.

It’s a really interesting combination of Edwardian architecture with art nouevaou details and Georgian extensions. To me, it was envisioned almost as this castle, full of narrative enchantment isolated amidst the heavy concrete expanse of Eldon square shopping centre. To the child protagonist, all the more

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Emerson Chambers, Newcastle Upon Tyne 16

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Emerson Chambers: Facade Studies

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Facade Studies 20

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Site Map

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The site posed great proposition in the heart of the city centre. I explored its potential in relation to both the present day and the future - what would it look like in, say, 2060, standing alone amongst a forest , as Charlie Barratt explored in his design project?

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Terrocotta Facade Studies

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Terrocotta Column Studies

Nam, optio cum sam ende rehenda velisquam, tem aut enit et quo bla ventis eatia derferiam, soluptur simpos ant.

Clay as a Narrative Form Both terracotta and grey clay were used to explore the finer decorative and façade details of Emerson Chambers; before beginning to develop the clay itself into a narrative. The clay in itself as a material holds its own narrative through its journey from the ground, to moulding, to drying and firing. In history and mythology, when pottery exploded in the earth firing pits and kilns they believed there was an angry demon in the fires punishing the 26

community by destroying their work. So, clay ‘demons’ were made and fired with the pottery to keep the evil demons away - the process of the clay finding its form follows the path of a story. This coil constructed column leads exemplar across its process. Like Emerson Chambers, the interior holds great mystery. When sliced, the ingravements of construction reveal the narrative of its form. I also later developed this further to inspire elements of the design process.

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Terracotta detail studies

Grey detail studies

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Possibility

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Illustration from Sendak’s ‘Where The Wilth Things Are’ / Soldiers in the jungle during the Vietnamiese war.

Illustration from Sendak’s ‘Where The Wilth Things Are’ / Vietnamiese war vesal.

I also explored Maurice Sendak’s ‘Where the Wild Things Are’ (a children’s illustrative book from the 1960s); I looked at how Maurice disguised his own societal injustices as a gay Jewish man, as well as contextual depictions of the war in Vietnam. This page illustrates comparatives of soldiers in the jungle during the war and the depiction of a Vietnamese war vestal with illustrations from Wild Things. Inspired by this, I wanted to explore how I could use narrative alongside clay to depict the visionary of a child within Eldon square and Emerson Chambers and use it as a tool to inform and equip children.

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A History of Newcastle ‘Where the Wild Things Are’ 36

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Narratice Clay Tiles

Clay Narrative Development https://www.youtube.com/ watch?v=zeSWW4HDjBs

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The function of narrative spaces

The Paper Architects Movement The previous image adaptation from the Paper Architects movement helped to link concepts of the mythological and physical. I incorporated related materials and played with scales to explore how clay as a product of narrative may become a part of a bookshop or narrative space in the future.

the dehumanising nature of Russian architecture of the time and the lack of care for traditional building. “These architects were not awarded commissions and had no chance to practice an alternative architecture; in such a context one of the few forms of agency left was a refusal to participate in a bankrupt system.” [https://spatialagency.net/ database/paper.architects]

“The phrase ‘paper architecture’ has often been used pejoratively to refer to architects making utopian, dystopian or fantasy projects that were never meant to be built”, “the group produced paper architecture as a way of bypassing restrictions and dissenting, as a way to critique

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I wanted to encompass a proposal that adopted all elements of narrative - both online and offline and ever-changing to the needs of the future – inspired by the motives of a child and path of narrative in order to aid this, I explored the function and potential of narrative spaces, before proposing a manifest -like proposal that would influence my process of design. It is inspired by a document that explored the planning implementations if kids were to design a city – I wanted to re-imagine this to a manifestation of ideals from a narrative -inspired city.

is used as a tool for education. Sources that inspired my design manifesto: https://www.youtube.com/ watch?v=cLSdzGDxqVU https://www.youtube.com/ watch?v=qqN12aLFb8Y Narrative - The Unknown City Jane randall

It talks about how narrative is used for connection to share spaces, universally, and hence in many ways

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Connections between the mystical and reality

I then wanted to explore how the two spaces could be linked and what a transgression between the two may feel like- I created these sketches inspired by ‘library of wonder project’, before looking at how they could become a propositional space.

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Connections between the mystical and reality

In the mind of a child a doorway is far more than a hole in the wall, but a portal to another world entirely – I went back to modelling clay to explore how it could influence the transition between present and future narrative – this experimentation is also incorporated within later design development.

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Proposition

Precedent Study: Nembro Library, Italy

Nam, optio cum sam ende rehenda velisquam, tem aut enit et quo bla ventis eatia derferiam, soluptur simpos ant.

Nmebro Library uses terrocotta clay, extracted from the surrounding soild of the site, within its facade. I took inspiration from the tiles, not only did the material hold a narrative within itself, but the facade also appeared to be a part of the bookshelves, continuing stories found within to the exterior.

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The Paper Mill - Through the eyes of a child

The Paper Mill - through the eyes of a child A printworks inhabits a preexisting Methodist church to the rear – which incorporates previous explorations of paper production – to a child their experience of this might be through a window for example, and act as an insight into the creation of narrative that is normally hidden.

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Book binding and structure

I then explored methods of bookbinding – much like the clay, it holds narratives in its formation. I intended to use this to inspire elements of the new construction.

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Book binding and structure

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Integrating clay within proposition

I initially envisioned it as an external façade structure, depicted here, however, I thought that it could do more to communicate the changes of space integrated internally within my design proposal, with changes in colour and intensity. I explored how the structure may work technically, attached to varying structures, whether it be a steel frame echoing that of the concealed structure of Emerson Chambers, mimicking that of the book binding or around pre-existing walls within the building.

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Clay integrated with structure

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Precedent Study - 7 Stories

Seven Stories, the National Centre for Children’s Books is a museum and visitor centre dedicated to children’s literature and based in the Ouseburn Valley, Newcastle. Each of the seven floor embodies different forms of narrative activities. From bookshops to educational spaces, as well as spaces for digital exploration, the building was a great precedent when considering a program for what might become of a narrative space in the future. Its versatility was most apparent, as well as the consideration for children.

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Program

I then looked at how this could be used to create a journey through the existing building. When thinking about a program that would inhabit the bones of Emerson Chambers in the future, I wanted to make the journey through the building feel like that of an unfolding story. Each space is influenced by that of a narrative structure, and represented through different design and use elements.

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Program. 74

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Max’s Adventure Through the Story- Book Catsle The story-book castle invited Max in, It held promises of narrative and play. A portal transported him to the magical place, A land that did not know night from day. He learnt of myths and legends from a long time ago, A cave of the past whispered stories untold. He gazed and wandered and listened and thought, And knew he would carry these stories until he was old. He skipped up the stairs as he made his way higher, Everything he touched had a story to tell. He learned of the world and all it possessed, He soon discovered that outside was not so swell. The whispers grew louder as Max ventured up, He worried of what might await. Stories showed him a path toward all that is good, And he realised the future was his to create. Equipped with newfound power, Max was nothing short of a Knight, He wrestled dragons and demons from all around. The light grew brighter as he reached floor number four, Its enchantment possessed narrative that elevated him far from the ground. A magical garden rooted through the spine of the books, It sung songs of victory for all Max had achieved. He reminisced on his journey and everything now within his reach, The castle projected a future that Max had not previously believed.

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Basement

The basement represents the ‘Stasis’- which is an introduction of characters and key themes – a narrative cave of archives and enclosed spaces created by bookshelves for children to read and play.

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Ground Floor

The ground floor aims to initiate a process of thought and consideration – it follows the ‘inciting incident’ stage of a narrative, which imitates all to come. As well as acknowledging the reminiscence of what is considered the bookstore today, there are events spaces for spoken narrative, and connection to a papermill. A printworks inhabits a pre-existing Methodist church to the rear – which incorporates previous explorations of paper production.

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1st Floor

The ‘rising action’ elements is iterated across the next two floors. Both hold narratives of present, reading spaces, and education spaces.

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2nd Floor

The education and study spaces in particular aim to connect the child and narrative to that of greater society, and metaphorically equip them for the crisis yet to come.

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3rd Floor

The ‘crisis’ floor aims to be the most architecturally intense, here the protagonist immerses themselves within the story, through creating their own narrative in a ‘narrative factory’, before being taken on cyclical journey through a tunnel to a digital and VR room, where the created narratives, inspired by all they have experienced in the past and present are transformed into a digital context equipped for the future…

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4th Floor

The final two levels reach a climax and resolution – they become more open, and activities more relaxed – there is less reminisce of the preexisting bookstore, with places to interact and exchange different forms of narratives.

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5th Floor

The final level adopts view points across the city and acts as a ‘look to the future’ , with VR stations that harness the imagination of the child into what a more integrated narrative city may transform into.

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Inhabitation Explorations

[basement]

[ground floor]

[2nd floor]

I explored how different areas of the plans may be inhabited with colours, adaptations, shadows, furniture and people.

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Ssection - Upper Floors 94

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Ground Floor Visuals 96

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Basement Visual

There are multiple enclosed spaces for children to read throughout the building. The basement in particular poses as a ‘narrative cave’, aiming to immerse children in archives of the past.

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A Look to the Future

The journey of the narrative aims to carry the child through an immersive experience, from past to future – it aims to be both exciting and imperative as an experience within their realisation of greater society, in turn, contributing to a vision of a more inclusive, and integrated future.

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TECHNOLOGY PORTFOLIO

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Environment When considering the surrounding environment, I initially drew upon my research from first semester and greater considerations to children in the city. Each component held influence over the scene it created in the mind of a child, and conventionally favourable factors had to be reimagined. Spaces embodied with shadow, for example, may pose extremly exciting to a child - I wanted to embrace these components within my design and felt that environmental factors that created diverse or less conventional atmospheres also hold opportunity for excitement within a child’s imagination. With each study, I decided to write an accompanying narrative that immerses within the mind of a child and their perspective of design.

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Physical Considerations

Site

Pedestrian Roots

Vehicle Access

Max arrived at the castle on foot, he was drawn in through an alleyway that parted to reveal the storybook structure that gazed over everything that was adult and unfamiliar. The castle was hugged by concrete , but held its very own faught to defend off all that was evil. Chariots of people zoomed past, many barely taking a second look at the castle. Except of course, those like him - consumed by their own imagination. Isolated, it avoided the elements, only the very pinnacle point felt the breeze. The ground that surrounded it felt like the bottom of a pit... Max longed to reach the top of the castle, where he could feel the sun on his face and see all of the world around. Wind 108

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Greenspace

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Carbon Outputs of the site

Newcastle’s Carbon Footprin

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Newcastle City Council Greenhouse Gas report 2018/2019 Net carbon output = 54 102 tonnes C02e Newcastle City Council is committed to tacking Climate Change and to work with residents and partners to reduce the city’s carbon emissions by 34% (from 1990 levels) by 2020.

How can this deficite be reinbursed?

This map depicts the carbon output of individual shops and compares sizes/ scales/ connects and possible outputs of carbon// different ‘layers’ represents elements of the carbon footprint.

- a chance to ‘pause’ -- the concept of pausing for thought // distracting from consumerism // distracts parents from shopping and harmfull consumption.

- Integrating education into society also integrates children and creates a crossgenerational environment

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Sun path and shadow maps

8am

Sun Path

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Max watched all day as the sun rolled through the sky. It wasn’t long before the castle became immersed in shadow. He found himself wondering what lurked in the shadows. 2pm 112

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Rainwater and Lighting Strategies The arrows indicate the direction of rainwater and drainage - this is adapted from the existing roof structure, as such to preserve existing materials. A large skylight (expanded from a smaller pre-existing skylight) brings light to lower floors and compensates for the dark surrounding alley. Roof light also aims to create interesting shadows and atmosphere to add to the mysticallity of spaces for children.

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Mapping of soil types in the North-East

This mapping indicates the abundance of permeable and moisture rich soils in close proximity to the site. This soil can be used in Terracotta clay features. As well as being sustainably sourced, is also a way of preserving, relaying and projecting local narratives held in the soil.

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Nam, optio cum sam ende rehenda velisquam, tem aut enit et quo bla ventis eatia derferiam, soluptur simpos ant.

Material Much of the existing materials are preserved within the development. I thought about what other materials best reflect the existing, whilst fitting within the narrative. I used terracotta clay in initial building facade studies - not only does it effectively reflect the stonework of the exterior, but also has an extensive moulding, fireing and glazing process - which holds stories within itself. I have accumulated these material studies across the following pages.

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Facade Studies - Column Detail

Street Facade Study

Max was mezmorized by the inticacy of the facade. It whispered to him through all of the complexity that it held. Each detail was so intricate and symetrical, it was obvious that everything had been planned in great depth, however the patterns felt natural to touch, the grew into each other. So much so, Max wondered if, like vegetation, the building blossomed in summer.

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Terracotta Facade Studies

When moulding the terracotta details, I processed the craftsmanship of the facade details, and imagined how each piece was intircatley designed and moulded. The left, a window join, at 1:1 scale flows naturally into the shape of the windowframe, despite being completely thought out. Modelling in clay and the process of development helped me to understand this. The right plays with scale and highlights the symmetry of each design.

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Terracotta Facade Studies

Experimentation with clay and scale

Moulding terracotta details helped me in understanding the construction of the facade and, in turn, how it may be implemented at different scale within the interior. I explored the geometries of the design, as well as how it may be attached to a wall, using fixings, and constructed in multiple elements, before imagining how it could then be used as a tool for play for children.

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Clay as a material - creation

Kaolinite (in terracotta clay) - ( Al2H4O9Si2) Halloysite (in salt) - (Al2Si2O5(OH)4)

The main mineral component of terracotta is called Kaolinite and has a similar chemical formular to the mineral within salt which is Halloysite. Using this, I tried to make an artificial clay-like substance using salt, with water and corn-starch for density, in an attempt to recreate and explore the formation of clay process and investigate what narratives can be drawn from its formation.

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Materials of the Site 128

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Nam, optio cum sam ende rehenda velisquam, tem aut enit et quo bla ventis eatia derferiam, soluptur simpos ant.

Sustainability When considering sustainability, I first considered my protagonist, a UK child - this highlighted the imperativeness of using the design as a tool for education for children toward a more sustainable future. I then explored how Emerson Chambers may be accompanied by a paper mill and printworks that sheds light on the often hidden elements of narrative. I wanted to explore how this could be as sustainable as possible as means to set exemplar for the children inhabitants. To do this I went on to explore how recycled plastics could instead be used in the paper production process [see following pages].

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Carbon Footprint of UK Child / Year

A baby born in 2020 into a family with a UK typical carbon footprint who respects climate science [210 tonnes C02e] Average uk child produces 160.5479 KG Carbon per Day // 210bC02e for a baby born in 2020 into a family with a UK-typical footprint who then respects climate science (far from 5 tonne target). “the decision to reproduce is the biggest carbon choice you will ever make” - 1 bananna produces 110g C02e of carbon - a reusable nappy gives 60C02e of carbon - 130C02e for a disposable nappy [‘How bad are Bananas’] -“Nearly half of the UK’s carbon footprint (49%) is down to emissions from abroad to satisfy UK-based consumption” -WWF

A average UK child born with the current carbon footprint in 2020 [775 tonnes C02e]

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Sustainable Paper Production

I then Looked at physical components that are part of the narrative journey of the book but are normally concealed from the consumer – I wanted to explore how they could cater towards this kind of space. I looked at the paper production process and how recycled plastics could for example instead be used in part of the process.

“it takes 235 kg of PET bottles in order to make 907kg of mineral paper - but the process also saves those bottles from ending up in landfill” [https://www.sciencealert.com/researchersare -turning- old-plastic-bottles-into waterproof-paper#:~:text=The%20 process%20works%20by%20first%20 breaking%20plastic%20bottles,kind%20used%20for%20tortilla%20 manufacturing%2C%20the%20release%20 adds.]

This process works by first breaking plastic bottles down into bead like pellets with pieces of calcium carbon and stone. This resulting mixture is then heated to more than 100 degrees celcius, before being rolled out into large sheets of paper.

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Nam, optio cum sam ende rehenda velisquam, tem aut enit et quo bla ventis eatia derferiam, soluptur simpos ant.

Structure Much of this process involved exploring how the existing structure could be used for future functions, as such to be sustainable and preserve past narratives that are embedded within the intricacy. Built in 1904, shortly after the development of steel within construction, Emerson chambers embodies a steel frame structure with a stone facade which is ‘clipped on’ to present interesting art nouveau details and echo that of construction before. I explored this existing structure alongside how newer elements may be attached and work in coherency.

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Support Structure - old and New elements

Exploded Structural Diagram - in context

pre-existing roof

New, facade adaptation

pre-existing stone facade

The orange outline indicates a new facade cladding, attatched to a series of prexisting vertical beams. The structure consists of a series of horizontal and vertical beams, wrapped in intricated details (like the columns and facade).

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Clay integrated with structure

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1:20 + 1:5 Details

Clay facade tiles, attatched to steel frame structure and pre-existing facade.

The 1:20 section and elevation explores the relationship between floors and street level. This is the child’s first interaction with the narrative. it also looks at relationships between pre-existing and new, reality and the mythological, and how transgressions are created between. The 1:5 detail explores how a exterior clay tile facade could be attached to part of a pre-existing wall, as to create free moving tiles that allow small glimpses of what once was.

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NStructural Explorations

Structural Explorations

I wanted to take structural influence from the narrative process. I looked at methods of book binding when considering this. The patterns I created helped me understand the strengths and weights of different steel structures and related directly to the narrative itself. This secondary structure would be used to support elements of the clay tiles.

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Accessibility Diagram - Plan Overlay

Accessibility Much of the design encompasses enclosed spaces for children to hide, play, and read, however I also felt that it was important to make these spaces accessible. Here, I have annalysed the most architecturally ‘intense floor’ indicating that even the tightest spaces cater for a wheelchair turning circle - allowing the same experience for everyone. There is also lift access to every floor.

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Nam, optio cum sam ende rehenda velisquam, tem aut enit et quo bla ventis eatia derferiam, soluptur simpos ant.

Design Strategy I adopted a range of conserations when thinking about how the design would best communicate to children. Integration was key, I wanted them to feel that they were of equal importance to adults and completly free to explore their own imagination. In this section, I look at some of the specific adaptations.

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Bookshelf/ Reading space/ portal detail

Nam, optio cum sam rehenda velisquam, tem aut enit et quo Atmospheric Tileende Depiction bla ventis eatia derferiam, soluptur simpos ant.

This bookshelf, also used as a transgression between existing and new, allows children to reach high shelves and elevated them to the same level as adults. Through peepholes they can play and explore, and the enclosed space that it creates also offers a space for reading, tranquillity and play.

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The tiles on the right indicate how colour and texture may be used for a change in atmosphere across spaces and how the space can become interactive.

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Window Seat 1:5 Detail

Multiple levels of seating create a playspace amongst every space, whilst destroying any sense of hiarchy between adult and child. In this example, the levels can also be used as book storage. [Black represents pre-existing, while purple shows new additions.]

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Atmospheric Light Studies

Areas of light and dark are used throughout the design, as depicted in this section, to create dramatic atmospheres that reflect emotions created through narratives and stories. In the basement for example, the space is darkened, and spotlights highlight key elements of information within the archives.

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Critical Reflection What are the strongest aspects and what parts could be improved? This project has been one of my most enjoyable yet; I feel that it has broken any expectations of what architecture and architectural education ‘should’ be – in many ways, annihilating the ‘should’ complex completely. Following from this, I would love to push the boundaries of the project even further. I felt that it was only toward the very end that I began to find the confidence to do this – and feel that it holds much potential to go even further. Although I have been excited by this concept from the beginning; it has only been through development, and the encouragement and guidance of studio tutors that I realised the full extent of possibilities around the project. This realisation of the boundless will most certainly echo through to my future projects. I particularly enjoyed the experimentation process that it allowed. I have enjoyed working with clay for many years, however, have never previously found it appropriate within a process of architecture. I believe that this was a strong and imperative part of development of my design narrative. I believe I connected most to parts of the project that were strongly linked to my protagonist of a child. I felt like this gave me a lot of structure when I struggled with where to go next. The series of vignette moments and narratives from the perspective of ‘Max’ were both particularly enjoyable and helped to me to commit fully to the experience. If I had more time to explore the project further, I believe it could become even more experimentational. I think it could be improved and developed by bringing even more radicality into the design. Much of this would come with the development of confidence and ‘boundless’ discovery, and I believe that it is part of a process that grows and progresses over time. I would also like to look much closer at the wider effects across the rest of the city and how its program could be used and implemented across the multitude of bookstores as they face an uncertain future. How did you find working remotely this semester? Initially, I really enjoyed working remotely – I embraced the flexibility and privacy. However, as the semester continued, I found myself craving structure and collaboration – something that I look forward to getting back to in my final year of study. Despite this, I think, in many ways, remote work has enriched the realisation of the studio in a multitude of less conventional ways. In some respects, a new and unexpected environment has allowed me to be more open to less conventional mechanisms, which helped me embrace the concept of our ‘Unlearning’ studio. Idealistically the two would combine to use each individual experience in a collaborative way, however, this is certainly a process that I will take with me into the future. What mark would you give your own work? Although I think it’s important to reflect on progress and ways to improve my work; I also believe that restraining all that it encompasses to a grade is, in some aspects, an act of defining and thus, limiting your own personal and creative capabilities. Of course, I understand that this is an unavoidable performance within architectural education, and so holds purpose in its assignment as a concluding question. If I had to summarise, I would like to imagine that I have progressed since semester 1 – not only through my understanding of the studio and its concepts; but also my commitment to the project. I became even more enthralled within the narrative as my discovery of its possibilities deepened – it is both rewarding and frustrating that the most powerful realisation of this came towards the conclusion. I suppose, in many ways, this is a reflection of narrative structure itself – with the peace of resolution comes a want for a sequel.

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Danenberg, R., Doumpa, V., Hans Karssenberg, H., 2018. The City at Eye Level. Amsterdam: Stipo Dovey, K. & Ebooks Corporation (1999) Framing places : mediating power in built form. London: Routledge. Etherington,R. (2011) The Sea Chair by Alexander Groves, Azusa Murakami and Kieren Jones: dezeen.com Eyck, A., Ligtelijn, V., Strauven, F., Eyck, A. and Eyck, A., 2008. The Child, The City And The Artist. Amsterdam: SUN. Eyck, A. van & Ligtelijn, V. (1999) Aldo van Eyck, works. Boston: Birkhäuser Verlag. Frearson, A. (2017) People’s Pavilion “has almost no ecological footprint” say designers. dezeen.com

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Lange, A., 2020. The Design Of Childhood. New York: Bloomsbury.

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Sendak, M., Hollander, T. and Knussen, O., 1964. Where The Wild Things Are. London: Red Fox. Seven Stories., 2021. Seven Stories | The National Centre for Children’s Books. [online] Sevenstories.org.uk. Available at: <https:// www.sevenstories.org.uk/> [Accessed 28 May 2021]. Silva, A. de S. e. & Frith, J. (2012) Mobile interfaces in public spaces : locational privacy, control, and urban sociability. New York: Routledge. Strauven, F. (1998) Aldo van Eyck : the shape of relativity. Amsterdam: Architectura & Natura Till, J. (2013) Architecture depends. Cambridge, Mass.: MIT Press. UK Gov, 2020. BS EN1176 Playground Equipment.

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