Jemma Woods Portfolio

Centre for Monitoring Environmental Change Institute of Ants, Bees and Grey Wagtails

ARC3001 Academic Portfolio Jemma Woods Creative Synergies 180213616 Stage 1 Year 3

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Contents Page Portfolio Reflection . . . . . . 4 Framing Reflection . . . . . . . 7 Introducing the Studio . . . . . 9 Introducing ‘The City’ . . . . . 10 Introducing the Site . . . . . 15 Introducing ‘The Academy’ . . . . 20 Initial Conclusions . . . . . 21 The Pavilion . . . . . . . 22 Testing Reflection . . . . . . . 44 Thinking Through Making . . . . 64 Synthesis Reflection . . . . . . . 81 Appendix

Group Thematic Case Study . . .

109 Feedback Sheets . . . . . . 132 Cultural Bibliography . . . . . 136 Bibliography . . . . . . . 140 Illustrations . . . . . . . 141 Framing Groupwork Boards . . . 142 Larger Images . . . . . . 144

Red Dot in Top Right is Additional Work

Reflection

For Framing Review

When I think back on this year, I am extremely proud of the progress, resilience, and development that I have shown. When I started this year, I would never have imagined that I would create a nature-focused experimentation Institute. But now that I reflect upon it, nature and science have been massive influencers throughout my life.

For Testing Review

For Synthesis Review

When I first began looking into the wildlife and natural environment of Ouseburn, I maintained the idea of viewing the animals from a human perspective. However, by the end of the project I encourage my users to do the complete opposite – to view the world through the animal perspective as a way of understanding the daily life of all around. No matter how small; no matter the time of day; no matter the way they survive. I think this is crucial for engaging with the world around us and is expressed through the user experience of my proposal.

Despite the fact my project can, and is encouraged to be, viewed from the non-human and the human, this was not always the case.

The idea of participation within architecture is a major point of discussion throughout the profession in which architecture should thrive off communication between the client, architect, and the wider society. This element of participation and communication and relation between the two polar worlds was not prominent enough during my Testing phase, nor in my Theory essay. Therefore, the results of these aspects of the course made me doubt just how well this year would turn out. However, I was determined to leave this degree with a project that I was proud of and would encompass the intangible aims that I began exploring in framing. Consequently, this last semester has focused on pushing this participation aspect of the design to result in a scheme that allows both user groups of non-human and human to cross-over and embody the other’s daily existence. As this would suggest, I think that I have now successfully integrated the themes of my Theory essay - centring around participation and communication - into the synthesised design.

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In spite of the Theory at first being lacking within the Testing of the proposal, the Technology Report positively impacted the designing process. Prior to considering the technical aspects of my building I was advised that a more rational structural grid would “unify the proposal and tighten up the plan” (Testing review feedback). Once I overlaid the plans with a measured structural grid, the form and practicality of the institute was solidified. I think that this module had the largest impact on the success of my design proposal and, subsequently, has changed my thinking and approach as a designer.

Upon reflection, a structural grid from slightly earlier in the design process would have solved issues with refinement. However, I think that there should be caution when involving the structure too early as it would limit the creativity and expression of the projects.

In addition to the positive impact of Technology on the design proposal, the Professional Practice Report connected the theoretical intentions of the hypothetical project to the profession in a justified and immovable manor. Before researching and understanding the management of an architectural project in the ‘real world’, the proposal had connotations of being ‘other worldly’. However, by interconnecting the project with the professional world of intricate rules and regulations of construction and management, it produced a tangible and believable output that could come into being. This process has solidified the reason I joined this course – to make something that benefits and adds to the experience of someone or something’s existence.

Finally, due to the intention of my design proposal being to create a successful harmony – a bridge – between the natural and built environments, I believe that this is of major relevance to the design profession. Done correctly, the synergy of natural and built is the future of architecture – in my opinion. This project has inspired me to continue designing from multiple perspectives of both the non-human and human as, at some point during the existence of the structure, all living beings will use it. This may be during its intended use, or in its disrepair and re-purposing. Additionally, creating these areas of cross-over between the two worlds will benefit not only human well-being but also the natural environment and will result in finding a better balance with thriving community and ecosystem.

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Framing Reflection When reflecting on the Framing phase, I am pleasantly surprised with the quality and quantity of work that was produced. Entering year 3 was a daunting experience to say the least, knowing that this was the last year before graduating university. Equally, the pandemic made this final year an unknown experience, not only for my peers and I, but also for the tutors, as we all had to adapt to online teaching and working from home. Initially working from home was a struggle but eventually you find a balance that works in your favour.

Despite the state of the pandemic, I was thankfully able to complete in person site analysis with a small group from my studio, which gave a small semblance of normality in, what was shaping up to be, a very trying year ahead with only online guidance. As someone who thrives off social interactions, working in my room all day was going to be a personal challenge that I would need to be overcome.

With these challenges in mind, I think that the Framing phase was successful in easing us into the mindset and productivity levels that would accompany designing our graduation project. From the group site analysis, I think that the line of enquiry I have settled upon – bridging the gap between academia and the city through increasing connectivity with nature – was achieved through a unique and exciting path that I thoroughly enjoyed exploring and learning of.

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Provided a more detailed introduction to the Studio

Synergy

Introducing the Studio:

“the interaction of elements that when combined produce a total effect that is greater than the sum of the individual elements”

Synthesis

“the process of combining objects or ideas into a complex whole”

Community

Inhabitation Inhabit ~ “to live or dwell in”

Creative Synergies

Research

Specialist

“a person highly skilled in a specific and restricted field”

Specialism

“an area of activity, work, or study that someone concentrates on or is an expert in”

With the main aim of the institution being to provide a place of balance and interaction between the specialist and the surrounding community, I have developed an extension of this brief by providing a harmony between the human and non-human communities.

Macro

“very large in scale, scope, or capacity”

Micro

“extremely small” “minute in scope or capability”

Participation “to take or have a part or share in; partake in; share”

Context

“the circumstances that form the setting for an event, statement, or idea, and in terms of which can be fully understood”

Climate Emergency

Our studio aim was to creatively bridge the gap between the worlds of academia and the city. In our studio, we focused on Newcastle University and Ouseburn Valley, respectively.

In addition to creating this bridge, we would design our project through both the macro and micro scales of contextual response and inhabitation.

“diligent and systematic inquiry or investigation into a subject in order to discover or revise facts, theories, applications”

“a social group of any size whose members reside in a specific locality, share government, and often have a common cultural and historical heritage” “a locality inhabited by such a group”

“a situation in which urgent action is required to reduce or halt climate change and avoid potentially irreversible environmental damage resulting from it”

Sustainable

“pertaining to a system that maintains its own viability by using techniques that allow for continual reuse”

Definitions from Dictionary.com

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Introducing the ‘City’

Within the idea of ‘The City’, as a studio, we pursued three key themes based on our initial site analysis. These three themes being:

Past, Present, and Future Community Landscape By thoroughly researching and considering Ouseburn through the lens of these specific themes, we can gain a deeper understanding of how Ouseburn works as a system. In doing this, we can determine how our design will consider, respond and benefit this system.

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Refined Groupwork Included

Past, Present, and Future The post-industrial past of Ouseburn has had a major impact on how the area has evolved throughout history and has resulted in an eclectic area that incorporates past, present, and future to produce a harmonised quarter of the City. However, the well-established character of Ouseburn is under threat from future developments. It is feared that too many new additions will decrease the authenticity and creativity that currently thrives within the area...

Groupwork Sourced by Past, Present and Future Group

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Refined Groupwork Included

Community The communities within Ouseburn are major contributors to its continued character and success. We discovered these communities to include the residents and visitors - both human and wildlife. As our main studio themes encourage the participation of communities within our synergy, it was vital that we understand the harmony that all the communities in Ouseburn have established so that we do not disrupt this balance. Here are the interviews we conducted...

“It’s magic! I have been coming here since the 1970s. Everyone comes to socialise and enjoy the beautiful nature”

“Up until now I see a positive gentrification.

All the small independent businesses that get attracted to the area. We don’t need a Whetherspoons here.

That would be bad.”

“I don’t live here no.. But I come here occasionally to meet people and go for walks. [...] I don’t think I actually know anyone who lives here, no.”

“I do like to hover beside roads while searching for prey, yet not many of us survive to adulthood due to starvation, collisions and shootings. But I have managed to nest within Byker Bridge and I’m doing well so far.”

“I only visit Ouseburn so there are not that many as of today. I will not lie to you; my buddies and I aren’t good for the woodland as we disrupt the order of things by bark stripping and eating necessary seeds.”

“It is so tucked away.. Like a little hideout. Very calming and so mellow.”

“I like to play and splash about on land and in the river, but I don’t like pollution or losing my habitat.”

“I just came to quickly escape work and grab a coffee.. This is were I go to clear my head.”

“Bah – we are timid, herd animals that lack the capability of protecting ourselves from predators and our grazing has reduced plant diversity in some areas of Ouseburn.

Bah – but we help educate you youngsters.”

“I’ve been discouraged from the city by all the spikes and nets on buildings so I like the freedom here.”

“It reminds me a bit of London..”

Groupwork Sourced by Community Group Human Interviews conducted by Group Animal Interviews conducted by Myself

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Refined Groupwork Included

Landscape To ensure our synergy was site specific and responded to its context, we analysed how transport, the river and the topography of the area impacted the area as a whole. In addition, we analysed the specific climate and topographical conditions that impacted and affect the studio’s potential sites. We discovered that the main environmental factors that will need to be considered during our design process are the materiality, sun/shade, prevailing wind, and how construction will impact water flow and quality...

Map Collage of the Topography Map of Transportation Around and Through Ouseburn

Map of the Climate of the Ouseburn area

Map of the River Groupwork Sourced by Landscape Group

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Introducing the Location Ouseburn is a post-indrustrial area of Newcastle Upon Tyne, located in North East England and is situated in the Ouseburn Valley surrounding the Ouseburn River, a small tributary to the River Tyne.

The valley can be divided into North and South by the Byker road bridge - A193 - which acts as a threshold between the nature dominated upper valley and the infrastructure dominated lower valley.

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First Impressions The site of the Ouseburn Valley carries a particular fondest for me as it was the first place I visited near the centre of Newcastle. Due to having relatives within the surrounding area, one summer we chose to visit the 2016 Ouseburn Festival. However, it was not until I moved to University here that I made the connection as to where it was. Additionally, the nature and atmosphere within Ouseburn reminds me of home and, therefore, it became a little sanctuary and escape for me throughout my university experience.

Fig. 1

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Despite having visited the site on multiple occurrences at this point in the year, it was not until conducting this site analysis that I discovered more intriguing corners of Ouseburn.

From walking around Ouseburn, we discovered that there are a wide variety of activities, industries and residencies within.

(Orange = Industrial, Green = Residence)

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Suitability of the Most Natural Site Site 3c

Most gentle gradient and most easily accessible with strong connection to the Ouseburn Farm - a good source of nature focus already established within Ouseburn

Site 3a

Most Accessible and a slight physical connection to the Ouseburn Farm Might be too highly sloped for all aged families to enjoy the design

Site 1

Would provide the opportunity to connect southern and northern activities and communities Does NOT provide an area that would express the connection and engagement to the surrounding ecosystems that my line of enquiry will focus on

Site 3b

Highly Sloped Gradient and least accessible

Site 2

Would be good for engaging with the communities within Ouseburn both visitors and residents Not the best site for engaging with the nature and biodiversity in the area, however, the area toward to the East could be useful

Base Map from Google Maps

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Provided More Visuals of the Site to Improve Understanding

Site 3c Specifics Site 3c offered the most frequent and convenient connection to the natural environment within Ouseburn - a feature of the valley that was of a particular interest to me and an avenue that I would pursue. Therefore, this was the most logical situation for my Framing project, and subsequent Institute.

The collection of images within this page express the unique natural features of this particular site and provide potential aspects that can be enhanced throughout the graduation project.

Besides the natural environment of this site, consideration will be required for the larger infrastructure that contributes to the atmosphere of site 3c - the bridges. With their historical and present importance, their future integration will be intriguing to develop.

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Refined Groupwork Included

Research Research plays a large role in the academic process, specifically within Newcastle University.

Introducing the ‘Academy’

To establish this idea of ‘The Academy’, as a studio, we pursued three key themes that we determined best summarised what the main ethos of an academy consists of. These three themes being:

In terms of research projects within the architectural department at Newcastle, the interest of connecting to the natural environment aligns with the current live project and research work of Dr Martyn Dade-Robertson. He is the co-director of the Hub for Biotechnology in the Built Environment which aims to discover an alternative approach to thinking. Additionally, Dade-Robertson supervises the research into biologically induced materials which could be an interesting avenue to explore further.

“The Hub for Biotechnology in the Built Environment.

I am the co-director of the Research England funded £8M hub for Biotechnology in the Built Environment which is a new research centre integrating design, biology and engineering to develop new ‘living’ buildings.”

Research Teaching

Student Community By considering Newcastle University - and subsequently, the architecture department - through the lens of these specific themes, we can gain a deeper understanding of how our Academy works as a system and how our design would incorporate at least one of these themes.

Groupwork Sourced by Research Group

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Refined Groupwork Included

Teaching

Student Community

Within the Academy, we found there are numerous methods and branches in relation to teaching. During the research into the field, my interests align with the current live projects that aim to ‘burst the bubble’ by encouraging community involvement within academia. This includes, the “World’s first research hub to create Living Buildings” and the Stonehaugh Stargazing Pavilion.

Within the numerous student communities offered at Newcastle University, the ‘Live Build Project, 2018’ interest me as it explores the connections between designing, teaching, and research and how those connect to the community.

Consequently, how can this practice be applied to my future project?

“A need for practical/ hands-on approach in teaching that would

support the theoretical studies (?) i.e. live build projects”

“Engagement with village - pavilion generated through series of

community consultation”

Groupwork Sourced by Teaching Group

‘They are completed under the supervision of Professor Graham Farmer whose academic work explores the connection between design practice, teaching and research through

engagement with communities.’

Groupwork Sourced by Student Community Group

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New Visualisation and Description of Conclusion of Groupwork

Initial Conclusions on Ouseburn, Academy, and their Synergy

The main interest that arose throughout looking into Ouseburn was that the wide variety of communities have established a working harmony within the area; this should be preserved and enhanced where possible. Though the area is a post-industrial hotspot within Newcastle, the regeneration throughout the valley has successfully made the area an intriguing place to visit while remaining a ‘hidden gem’, haven and escape for many of its visitors. Therefore, I think the main focus should be about increasing the process of placemaking and resisting the urge to globalise and become an area of placelessness.

While looking into the Academy, the main interest that I would like to pursue is the increased reliability on technological devices and how this impacts the collaborative schooling experience that we have grown up within. We need to reflect on life before the pandemic and how our working life has changed as a result.

Therefore, we can make an informed and logical step into the future that aims to restore the fundamental links that have been lost throughout this past year.

As a result, my synergy will focus on combining the established communities within Ouseburn and those within the University to create a common area that encourages COVID-19 safe gatherings, participatory events and regular workshops that help to re-establish the collaborative and connective links that people thrive off.

In addition, no community within Ouseburn should be overlooked.

Since the area is a haven of nature, this aspect should be enhanced and experienced throughout the synergy; not compromised. This could be in the form of a ‘BioHub’ that links with the current live project of the ‘World’s first research hub to create living Buildings’. Meanwhile, this synergy could be a sanctuary for the wildlife community during Ouseburn’s increasing night-life.

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Introducing the Pavilion

The Pavilion exercise aims to introduce our individual line of enquiry to the communities within Ouseburn while simultaneously testing the legitimacy of the proposed narrative on the specific site.

By understanding of ‘The City’, the Site and ‘The Academy’ as separate elements, we have established threads of interest that will guide our decisions, aims, and design ethos that will become core values of our synergy design.

Our Pavilion will act as a stepping stone to our final Graduation Project.

Concept Image Submitted in ARC3015: Theory Into Practice Essay

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Pushing Initial Thoughts Further...

The book ‘Architecture and Participation’ unanimously concluded that the best architecture and designs are achieved through community involvement and inclusive. In chapter 14, it outlines a recent project within Southey and Owlerton - “comprises six neighbourhoods but is largely one enormous housing estate” - that uses community voices and insights to transform a run-down area into one that is thriving and community-led. There is no naivety that this scale of collaboration will be continued but this provides hope of a future design process with this level of participation. Therefore, this should be the lead example for our studio.

In order to pursue potential line of enquiries, I began researching what the current impacts biodiversity and ecosystems face. This would provide a greater understanding for possible solutions that can be experimented through my design.

In short, I found that we are slowly breaching ecological boundaries by changing the climate and ecosystems of our planet in ways that will be forever irreversible. However, by interconnecting the need to maximise an ecosystems potential with land use planning of that area, we can increase both the biodiversity and the well-being of those within. Therefore, ecosystem consideration should be a greater focal point in design as it has many beneficial outputs.

Fig. 3

Fig. 2

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Fig. 4

Referenced and Elaborated in ARC3015: Theory Into Practice Essay

‘Boom Cities’: Chapter 1. This chapter explained that in post-war Britain, the main focus was to rebuild cities to align with the social shifts at the time. This encompassed the increased use of the automobile that invalidated the traditional layout of cities. Therefore, radical proposals, either as walkways in the sky or a “blueprint for the total reconstruction of towns and cities with traffic circulation at different levels” were suggested but were too expensive to make reality - much like those in Newcastle City Centre. Links can be applied to the road links through Ouseburn and could be considered within our design process.

Referenced and Elaborated in ARC3015: Theory Into Practice Essay

Nature Centric Precedent

Marina One, Singapore, Ingen Hoven Architects

- incorporation of ecosystems into the built environment Marina One is a high density, mixed-use building built in 2018 in Singapore - one of 33 mega-cities in the world. In such cities, nature is typically a rarity and over-populated areas are common.

Therefore, this innovative building complex incorporates a “three-dimensional green oasis” that reflects the tropical diversity surrounding the city and creates a new habitat. (Gustafson Porter + Bowman Editors) It was designed to appear as a plant-covered mountain that rises from the city skyline, creating its own micro-climate and hub of biodiversity. Its multi-functional purpose brings a variety of people together and encourages further social interactions on the multiple levels of nature.

Fig. 5

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Pavilion Precedent 1 of 4

Pavilion Precedent 2 of 4

Functional and Fitting

Adapting to Tempermental Sites

The Serpentine Gallery Pavilion was constructed in 2007 by artist, Olafur Eliasson, and architect, Kjetil Thorsen. The Pavilion was a timber-clad structure that was designed to resemble a spinning top.

This was achieved by including a wide, spiralling ramp that was a gentle gradient, such that it made two complete turns when travelling from the gallery’s lawn to the seating area. From here, it continued upwards only ending its ascent once the ramp had reached the highest point with a view across Kensington Gardens and down into the chamber below. This feature successfully brought a dramatic vertical dimension to the typical single-level Pavilion style. This particular Pavilion acted as a ‘laboratory’

In the Gorafe desert, Spain, OFIS Arhitekti’s Glass Pavilion in 2018 was designed for a star-gazing retreat, enhancing its isolation, and incorporating glazed walls that frame the vast landscape and the dramatic night skies. The elevation and lack of pollution of this site provided an excellent location for stargazing, however, it is known as one of the harshest environments in Europe. Therefore, to make the retreat successful, OFIS Arhitekti collaborated with Guardian Glass – a specialise manufacturer – who wanted the pavilion to demonstrate the technical capacity of its highly insulated Guardian SunGuard glass. This specific glass features an almost invisible coating that filters solar radiation ensuring a comfortable environment for the residents within the building, otherwise the space would overheat tremendously and potentially kill whoever is inside.

Additionally, the glazed walls need to withstand the frequent strong winds that the desert can dish out.

The plinth and roof extend beyond the glazed walls so as to provide an external shaded platform. (Alyn Griffiths)

Eliasson + Thornsen, Serpentine Gallery Pavilion 2007, UK

on a weekly basis for artists, architects, academics, and scientists to conduct a series of public experiments. The

Pavilion concluded its lodging at Kensington Park in November 2007 in which its final moments were spent hosting an extraordinary, 48-hour, two-part Experiment Marathon that explored the architecture of the senses. (Marcus Fairs, 2007)

OFIS Arkiteckti’s Glass Pavilion, Spain

Fig. 6

Fig. 7

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Pavilion Precedent 3 of 4

Pavilion Precedent 4 of 4

‘Floating’ with the Wind of the Site

Redefining the ‘Norm’ of Zoos

This ‘floating’ pavilion is located in the plaza outside the Taipei Fine Arts Museum, Taiwan, incorporating a canopy of 320 box kites that moves as a result of the wind, therefore, encouraging this thought of ‘floating’. Shen Ting Tseng Architects have designed this temporary pavilion to the specific characteristic of the site, such as the strong prevailing wind originating from the Keelung River that is located north of the site. This site feature inspired to architects to conceptually consider the pavilion as a flying kite, hence its ability to ‘float’. Further, the box kite canopy provides shade and shelter for those using the pavilion, despite not including sides to protect people from the prevailing wind. However, the spherical pocket in the centre of the pavilion provides a private and intimate space within the open and exposed plaza. The overall aim of this pavilion was to achieve an impression of ‘lightness’ that would encourage the illusion that the kites could carry the base into the sky, therefore, the whole pavilion could ‘float’ away. (Alyn Griffiths)

The Danish architecture group BIG (Bjarke Ingels Group) have embarked on a project to design a ‘Zootopia’ that offers an intriguing opportunity to create a space that

Shen Ting Tseng Architects, Taiwan

Fig. 8

BIG, ‘Zootopia’ in Denmark

provides the most free and best possible environment for the animals within. It strives to

become the most advanced zoo with the first phase of the scheme being constructed in 2019, aligning with the park’s 50th anniversary. This innovative approach integrates

natural elements and nature itself into pioneering architecture. The main aim for the project is to hide buildings within each landscape to provide a closer connection between human and animal while ensuing the former remains invisible to the latter.

(Becky Quintal)

Fig. 9

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Researching the Most Appropriate Materiality Options

Potential Materials

In order to enhance, engage and protect the ecosystems and biodiversity of the area, I conducted research into the types of building materials and methods available.

Steel

Timber

Brick

Concrete

Relatively cheap

Good heat and sound insulator

Rigid

In conclusion, pre-fab, timber-frame construction is the most considerate material choice. Additionally, experimental materials could be incorporated as a ‘test centre’ for the research into Biomaterials.

Can be easily moulded

Versatile in its application

Economical due to the raw materials being readily available

Susceptible to corrosion so requires high levels of maintenance

Durable

Hard and durable

Easily transported

Natural and most sustainable

Produces less environmental pollution during the manufacturing process

Contributes excessive amounts of CO2 emissions throughout the production process

Cheaper than Steel May shrink or swell due to moisture in the environment

Time consuming on-site process

Moulded into any shape

Needs specific mixing details and high upkeep maintenance to reduce chance of cracking

Can easily rot from condensation High risk of fire

Pre-fab Concrete Systems

Potential Construction Techniques

On-Site ‘Brick and Block’

Timber framing and panels

Insulated Concrete Framework Fig. 10d

Fig. 10a

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Fig. 10b

Fig. 10c

Fig. 10e

Potential Activities To Link With ‘The Academy’: Teaching

In order to be successful in encouraging the engagement of people to wildlife and nature, it seems only fitting to start with the young - after all, they are the generation who will decide the future.

Therefore, I have considered various activities that could be included within the design of the Pavilion that encourage younger generation to engage and learn about nature. These include: - snail racing: where the children can go on a scavenger hut for

them in the woodland and then returned wherever they

were found - snail making: where children can find empty shells in the area and

use playdough to make fun and colourful ‘additions’ to the ecosystem -build-your-own-nest: using twigs and sticks from the

surroundings, children can help the bird wildlife by building

a nest and placing the finished one in the woodland - or

they can just return the borrowed twigs -bird watching: they can be time-slots for those avid bird-lovers

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Thematic Case Study By conducting researching into our given Thematic Case Study the Granby Project - I have begun to understand the importance of community involvement throughout the design process and how this can solidify the success of the project. Consequently, this theme of communication and participation should be significantly considered throughout the design of my graduation project.

Therefore, I have included a comprised version of my thematic case study, in which I compared the community integration success of the Granby Project to the LILAC Project in Leeds.

To successfully chose an appropriate comparative case study, we must first understand the key ethos and design intentions of the Granby Project.

The Granby Four Streets Community Land Trust (GFS CLT) was established to combat “dysfunctional housing policies” by creating affordable housing. The streets of Granby survive as a result of an activist group that valiantly fought against the demolition programme. Some of the main ideals of these activists included being architecturally rich and to re-instate a once lively community following the ideals depicted to the left. These features perfectly align this Case Study to our studio themes of Inhabitation and Contextual Response. The Granby Project has succeeded in its aim to save the area, re-establish its place within Liverpool and re-instate a lively community.

One comparative Case Study is the Leeds community-led regeneration project LILAC (Low Impact Living Affordable Community). LILAC began in 2006 by a group of five residents who were interested in creating their houses to raise their children in a different way and was completed in 2013. LILAC, however, wanted their ethos to create new ways of thinking that would help people heal and repair the world from the bottom up. Therefore, 20 “eco-homes” were created to give residences a belief that they contribute to tackling some of the main problems within society.

Words and Diagrams taken from ARC3001: Thematic Case Study Report

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LILAC Project

Granby Project

Refined and Clearer Integration of Thematic Case Study

Specific Project Aims

Criteria 01: Inhabitation and Spatial Relations

Criteria 02: Contextual Response

The impressive element of the LILAC project is its design origin; the Danish co-housing model. This involves mixing the needs within private homes with those within shared facilities, thereby, encouraging social interactions. Although this provides benefits in terms of the increased sense of community, the architectural style that is the result of low impact living is not in keeping with that of the Leeds surroundings, therefore, does not respond to its context.

The impressive element within the Granby Project is the hidden gem that is the Winter Garden. It is ingenious by providing the heart and community focal point of the project while being subtle and in keeping with contextual response by maintaining the shell of the terraced houses in which it is based. This provides a harmony and seamless connection between community and contextual response that those within the studio of Creative Synergies should aim to achieve.

Upon reflection, both projects were established as a result of a resilient group of residents that dreamed of a better life so took control of the area in which they were living. The LILAC project is more in favour of its sense of community than contextual response.

Whereas, the outcome of the Granby Project in terms of community and contextual response is well balanced.

Therefore, the Granby Project case study is the precedent that encompasses our studio’s criteria.

Words and Images taken from ARC3001: Thematic Case Study Report

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Main Intentions To Consider Before Designing How would people interact with surrounding Wildlife?

How can we increase Biodiversity and Ecosystems in Post-Industrial areas?

What are the seeds of ideas that interest you?

How can we use Biodiversity to increase Sustainability?

How could human interaction enhance Ecosystems?

Materiality

Should be Sustainably to reduce its overall carbon footprint

Views to and from Facades/ Aesthetic

How will the design respond to the Context?

Users

Accessibility Topography

Connection to Surrounding Communities

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Should NOT create noise pollution so as to NOT scare the wildlife

Should be a Sanctuary for Wildlife so should NOT negatively impact them

Should be easily accessible if it aims to be a family place

What are the ethos and intentions of the synergy?

Should enhance Biodiversity

Ultimately, the design should NOT add to pollution issues or disrupt the Ecosystem AT ALL otherwise it is pointless being labelled a sanctuary

Line of Enquiry The group site analysis and the subsequent individual explorations have guided my line of enquiry to encompass the following main intentions.

- Aim to provide an opportunity for visitors and residents to engage with surrounding

wildlife

- Enhance the current biodiversity and

ecosystem present in Ouseburn and

encourage it to thrive

- Make a more sustainable built environment

by considering the immediate impact of

the building, as well as the worldwide impact

Concept 1 Through the initial conceptual exploration shown adjacent, I have demonstrated and diagrammed how this line of enquiry could be applied through design. As seen by the colour co-ordinated annotations, the details of this concept align with the main intentions expressed above.

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Communities This collage of site photos, wildlife and plant species details the requirements of each occupier of the site in Ouseburn Valley. It highlights the key considerations that will need to be successfully and completely incorporated throughout the design process in order to achieve community inclusion and harmonisation between both the non-human and the human.

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Constraints

The Pavilion - the season

and duration of stay

This ven diagram expresses the constraints in which I have set for myself so that my Pavilion design is successful in its intentions to not be imposing and to encourage engagement between human and nature.

Should not be imposing, so only on site for 1 to 3 months?

From plant and animal research, the most suitable time of year would be around March to May/ June

Provides the starting point of encouraging engagement with nature from a young age

The season of placement will greatly impact the type of activities that are able to take place within

Successful Pavilion

Bird watch area? Draw inspiration from mill towers?

Could be used to accommodate nocturnal animals?

Quiet once the children leave, so known for an evening sanctuary?

How to have the least impact while encouraging engagement with wildlife

Need one are for child-engaging activities (sheltered would be best)

An area specifically for wildlife only fully a sanctuary

What happens after the activity is finished?

The types of Spaces throughout the Pavilion

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Addition of the Relevent Rewilding Information at the Moment

Glimpse Timber Cladding Concept One feature of my design will be the incorporation of timber planks that gradually get closer then farther away. This will provide an atmosphere of intimacy when travelling through the pavilion before opening into a secluded, wildlife sanctuary area, that encourages the surrounding biodiversity to thrive. Such examples of this timber planks included a design by Kengo Kuma which enhances its surrounding environment instead of dominating the space...

Fig. 11

Fig. 12

Fig. 13

What is Rewilding?

Rewilding is the phrase that encompasses the process of allowing nature to dominate a designated area, allowing the ecosystem to thrive and establish a better balance between the natural and the built worlds. (Welle - dw.co.uk Editors) This process is becoming increasingly popular throughout urban areas that have experienced a decline in biodiversity.

The images adjacent show the aesthetic appeal of the Rewilding schemes.

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Fig. 14

Fig. 15

Concept 2 By using the timber cladding precedents and incorporating my line of enquiry, constraints, considerations, and communities, I have designed a semi-open pavilion that can host the potential a activities outlined previously. The design includes a ‘floating roof’ which reflects the shape of the surrounding bridges and the massing configuration reflects the meeting point of the surrounding valley to the north.

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Improved Pavilion Design with More Visual Detail

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Improved Pavilion Design with More Visual Detail

Rough overlay to show Pavilion design is hidden using existing vegetation

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Explored Day and Night Activities within the Pavilion

Diagrams to explain the Pavilion access and views

Access

View of Sanctuary

Glimpses of Sanctuary

Day and Night Activities surrounding the Pavilion design

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Improved Pavilion Design with More Visual Detail

The design is raised on stilts to appear ‘floating’. This ensures it has minimal impact on the surrounding biodiversity by not destroying the land in which it is situated above - allowing nature to thrive beneath it.

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Testing Reflection

Personally, the Testing phase was the most challenging and brought with it the most trials and tribulations of this year. Although at the time of the Testing review I was convinced I had successfully responded to the site and situated my proposal in the best possible solution, looking back now I can see the glaringly obvious facts that I simply had not considered. Yes, I had looked at the features of the site in terms of what habitats were surrounding and where the major pieces of infrastructure were situated in relation to the project. However, I had not applied what that would actually MEAN. I had not asked questions like WHAT would that mean to the proposal? HOW would that impact the access/ users/ experience/ situation in the landscape? These are fundamental factors that ensure the project is site specific and so I, therefore, went on to analyse the impact of, and the impact to, the proposal.

After recovering from the initial shock of the result of the review, I think I have asked those crucial questions that ensures the project is successfully situated within that specific site. Further, the technology report was the next major influencing factor that improved the feasibility of the project. By considering and designing features such as structural grid, environmental strategies and a studio specific aspect that makes your project unique, they helped tighten and consolidate the design to a potential institute.

Overall, I did need the wake-up call of the Testing review to help push my graduation project to the higher standard that it was capable of.

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Testing Introduction Throughout the Testing phase, our Studio began our exploration into the specifics of our Institute. This Institute would become a continuation of the line of enquiry established throughout our Framing Pavilion. From here, our Institute will be explored through the macro and micro while encompassing the requirements of our chosen specialism.

The Testing is explored through thorough research and iterative design to produce a fully justified Institute that bridges the gap between the ‘City’ and ‘Academic’, as explored in Framing.

This particular Institute will encompass the aims of increasing connectivity within the natural environment while establishing a research and teaching bridge to the scientific analysis of biodiversity and ecosystems.

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Research Justification

These images are from the biodiversity research labs within University of Manchester which assists with understanding what equipment will be required for the analytical specialists within the Institute.

In order to bridge the gap between ‘City’ and ‘Academia’, I explored the potential connections already within the University which could be further enhanced by the addition of the Institute I will design.

Fig. 17

While researching types of research explorations aligning with nature, biodiversity and ecosystems, I discovered the potential masters and PhD courses offered through Newcastle University.

Consequently, the institute can be considered a facility extension to the School of Natural and Environmental Sciences - much like the Dove Marine Laboratory in Cullercoats.

Fig. 16

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Visualisation of Research Conducted within Institute

Specific Scientific Procedures within the Institute

After researching methods of conducting scientific experiments into biodiversity, the Institute will provide opportunities for the three key aspects outlined on this page:

- Observation = Lookout Tower - Bio-informatics = Office spaces - Scientific Analytical Experiments = controlled Laboratories

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Teaching Justification There are numerous charities within the UK that focus on using nature to enhance learning opportunities for younger generations.

These commonly apply fun and engaging activities that encourage ones connection to the natural environment. Therefore, on timetabled days, local schools can use the institute to encourage the next generation to consider the environment as they grow up.

The Garden Classroom is a charity organisation located in London that encourages younger members of the public to engage with nature.

Fig. 18

Wilderness Schooling is based in Hexham, in association with the ‘North East Well-being’ education charity, aiming to increase the standard of core subject teachings by “using the outdoors as the classroom”.

Fig. 19

Branch and Bone is a Tyneside business that works with children, teachers, schools and nurseries to offer guidance to transform the learning environments for young people.

Fig. 20

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Fig. 21

Fig. 22

Fig. 23

Location Relevance to Local Primary Schools and Newcastle University

In order to achieve this intention of engaging with the local primary schools in order to enhance the younger generation’s connection to nature, this map indicates the primary schools within a mile radius of the Institute. Therefore, it would be considered accessible and would be more successful in fulfilling its intentions.

Additionally, this map indicates the travel distance for students and staff associated with Newcastle University

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Wildlife Justification The final aspect to the Institute will be its connection to specific members of the natural community. These selected wildlife will form the base of how the Rewilded garden will be designed and tailored to their needs. (rspb.org.uk) This spread explores the requirements of the more endangered wildlife that have been sighted within Ouseburn, therefore, they are in need of greater accommodation.

Flora found in Ouseburn:

Birds in Ouseburn:

Alder Ash Birch sp.

Blackcap

Bird Cherry

Black Medick Blackthorn (AKA Sloe) Bramble Broad-leaved Dock Coltsfoot Common Groundsel Common Vetch Daisy Dandelion Elder

Blue Tit

Chaffinch Chiffchaff Dunnock Feral Pigeon Goldfinch Great Tit Greenfinch

Grey Wagtail

Herring Gull House Sparrow

Grey Wagtails:

Kestrel (Eurasian) Kittiwake Long-tailed Tit Magpie (Eurasian) Mallard Mistle Thrush Moorhen (Eurasian) Mute Swan Song Thrush Starling Stock Dove Wren

Feverfew

Field Maple Garlic Mustard Germander Speedwell Greater Plantain Goosegrass (AKA Cleavers/Stickyweed) Gorse Hairy Bittercress

Hawthorn

Hazel Herb Robert Himalayan Balsam Ivy-leaved Toadflax Hogweed Lesser Celandine Maidenhair Spleenwort

Marsh Marigold

Ragwort Red Clover Ribwort Plantain Rough-stalked Feather-moss Spanish Bluebell Spear Thistle

Stinging Nettle Sycamore Teasel White Clover

White Poplar

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Invertebrates found in Ouseburn:

Black Aphids Black Garden Ant

Buff-tailed Bumblebee Common Carder Bee European Comma Green-veined White butterfly Grey Field (AKA Milky) Slug Harlequin (AKA Asian) Lady Beetle

Honey Bee Nursery Web Spider Orange-tip butterfly Peacock butterfly Sawfly sp.

Seven-spotted Lady Beetle Sloe Bug Small Tortoiseshell butterfly Speckled Wood St. Marks (AKA Hawthorne) Fly Tree Bumblebee Two-spotted Lady Bug

The grey wagtail is colourful, despite it name, with a lemon yellow under-tail and slate grey upper body. It has a noticeably longer tail than yellow or pied wagtails. Gradually they have expanded from northern and western upland areas to the lowlands of England.

Grey Wagtails have been sighted within the Ouseburn area, are protected by the Wildlife and Countryside Act of 1981 and are in the RED status for UK conservation which means they are the part of the “highest conservation priority, with species needing urgent action.”

Grey Wagtails prefer to breed along streams and rivers and nest in “arable fields or damp grassland grazed by livestock”. Therefore, the Ouseburn River and an additional pond within a rewilded garden would be ideal for attracting Grey Wagtails to the Institute.

Bees:

Aphids:

Even though there are over 200 species of bees in the UK, many have recently become extinct and a quarter of those left are on the threatened species list. Their recent decline in numbers is due to factors such as loss of habitat, disease and increased use of pesticides. “Many of their nesting sites and their wildflower food supplies have been lost due to modern farming practices and urban development.” The most demanding factor that bees are facing is the loss of habitat but by conducting and encouraging educational activities to young people on the importance of bees for the environment and society we could develop “a place for bees to live alongside people”.

In order to maintain population levels of aphids in the natural, rewilded gardens at the centre, the aim will be to encourage the ‘enemies’ of aphids into the garden. These will include ladybirds, ground beetles, hoverflies, and earwigs. Therefore, to attract ladybirds to the rewilded gardens, plants such as feverfew and marigold could be introduced. These particular plants are native to the Ouseburn area, therefore, are the most appropriate to introduce into the rewilded gardens. Further, features such as wood piles or compost heaps will encourage ground beetles into the centre’s environment.

Despite encouraging aphid populations to maintain steady levels in the rewilded garden, their main purpose within the institute will be for scientific research into monitoring how environmental changes impact grow of animals.

The North Tyneside Council works “closely with developers to ensure that measures such as wildflower meadow creation, bee-friendly garden plants and nesting features are incorporated into new development schemes where appropriate”.

Ladybirds, Butterflies and Bees prefer an flower that is open or ‘simple’: - salvia shrub forms .eg. hot lips (April - frost get it) - calendula - lychnis coronaria - packet: “borage, lavender, oregano vetch, tickseed, cornflower, corn marigold, larkspur, viper’s bugloss, California poppy, flax, field poppy, zinnia, phacelia, and more.”

- foxgloves

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Visualisation of Constraints within Institute

Summary of the Institute’s Purpose Groups and their Requirements

Logo was submitted within ARC3014: Professional Practice Report and ARC3013: Technology Report

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Privacy Level of the Functions In order for the Institute to function correctly, the purpose groups of Teaching, Research and Community have been divided into levels of privacy to determine the most efficient programmatic layout.

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Precedents Considering Nature:

- demonstrating the co-existence of urban and nature

- Lincoln Park Zoo, Chicago, USA Fig. 24a

Designed by Studio Gang Architects, this pavilion has transformed the area into an “ecological habitat buzzing with life”. The pavilion provides a sheltered and easily accessible “outdoor classroom in which the co-existance of natural and urban surroundings is demonstrated”. (Studio Gang Website Editors) The pavilion is integrated into a “board-walk circumscribing the pond” which incorporates various educational zones that encapsulate the different natural features and wildlife found at each area.

Following inspiration from a tortoise shell, this pavilion uses “prefabricated, bent-wood members and a series of interconnected fiberglass pods” to provide a sheltered, open-air classroom.

Fig. 24c

Fig. 24b

Fig. 24d Precedent Mentioned in ARC3015: Theory Into Practice

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Primary School Precedent:

- Connection to Nature and Community

- Mellor Primary School, Stockport, Manchester, UK

This extension “provides a series of imaginative indoor and outdoor learning spaces that forge new connections to nature”. The use of local materials provides a strong connection to the surrounding environment. The habit wall is the key element to the design, which provides “homes for birds, bees, bugs, and bats”, enhancing the diverse ecology throughout the forest around. This project succeeds due to the “close collaboration with the school and wider community”. (swarch.co.uk Editors) The project uses off-site manufacturing of prefabricated insulated timber gluam frames, in which “cedar shingles and straw bale insulation dress the timber” and “tyres form steppingstones in the landscape”.

Fig. 25a

Fig. 25e Fig. 25b

Fig. 25c

Fig. 25d

Fig. 33f

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Analysis of Standard Classrooms Prior to beginning the design of the Institute, I researched current issues with classrooms in particular. I found that most schools have problems with direct sunlight distracting from the learning within.

The standard solution to this problem is to close the blinds.

However, considering my Institute is intended to provide a closer connection to the natural environment surrounding the site, this solution is not one that should be encouraged.

Consequently, I researched methods of creating diffused daylight.

These could be in the form of angled windows that impact the form of the building and its external walls or the addition of louvres. The latter solution was explored within my technology report as this would allow for more visual freedom as the views out would not be permanently fixed. Therefore, providing a stronger connection to the ever-changing natural environment outside the classroom.

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The Oval Offices, Cologne by Sauerbruchhutton Architects implements large reflective louvres that rotate mechanically to shade excess and unwanted natural lighting to maintain optimal internal conditions. (Oval Offices, Sauerbruch Hutton Architects, Cologne, 2010, no date) Therefore, these louvre systems have been incorporated into the southern and western facades of the project such that the natural sunlight will not negatively impact the functions within whilst not removing the natural environment completely from view - as would happen with the addition of internal blinds.

Louvres open or closed depend on the orientation of the sun

Louvre research submitted in ARC3013: Technology Report

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Bubble Diagram Progression from Integrated to ‘Zones of Harmony’

Following the research conducted, these bubble diagrams express the programmatic arrangement of the required spaces for each purpose group.

The major development within these bubble diagrams is the testing of an integrated or separated programme.

Due to privacy requirements associated with scientific laboratories, a separated programme is most suitable.

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Initial bubble diagram showing flow from entrance of site through building.

Scaled bubble diagram showing flow from entrance of site through an integrated programmatic building.

Initial bubble diagram showing a separated programme.

Scaled bubble diagram showing a separated programme.

Developed bubble diagram showing a separated programme with purpose-tailored Rewilded gardens.

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Massing Model Progression from Integrated to ‘Zones of Harmony’

In order to consider both the horizontal and vertical impact of the initial proposal designs, I explored how the programmatic bubble diagrams on the previous pages would translate into massings.

On each massing, I have highlighted the key change and explained its impact on the development of the proposal.

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Initial massing showing continuation of atrium elements from entrance of site through building.

Progressed massing that tests a third storey.

This massing suggests a third level could be too imposing on the sensitive site.

Visualisation of Massing Progression

Massing to show the separation of the purpose groups: purple = teaching, green = research.

More detailed massing highlighting the main communal areas situated between the purpose groups of teaching and research.

Bubble diagram which corresponds with the more detailed massing adjacent.

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Lookout Tower Precedents and Application

Lookout Tower - inspired by the road bridge

Upon deciding a programme that provides ‘zones of harmony’, I developed the observational aspect of the research purpose group.

In order to test the success of this observational element, I researched tower precedents that influenced the aesthetic qualities of this programmatic element.

Lookout Tower - combination of precedents

Lyme Park playground, Disley

Lookout Tower near Copenhagen

Lookout Tower - timber detailing Fig. 26a

Fig. 26b

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Fig. 27

Primary School Precedent:

- Connection to Nature and Designed with Children in Mind

- Kingsgate Primary School, Camden, London, UK

This extension establishes a “relationship with the adjacent Kilburn Grange Park by using a palette of natural materials” whereby the timber cladding provides the distinction of the new addition from the existing building. The project was “designed with children in mind [by] incorporat[ing] playful windows that draw daylight from every aspect”.

The window seats encourage both internal and external space for the pupils to sit and read. Additionally, the skylight windows create a greater connection to nature by providing views of “the sky, the clouds, and the trees beyond”.

The concept section for the institute began by including a connection between the solid elements of classrooms and laboratories through a open void.

Fig. 28a

Fig. 28b

Fig. 28c

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Thinking Through Making

Within this exploration, I tested the construction sequence method for producing the bench style seating, mentioned in the previous precedent. This would enable the human users to connect and engage with the non-human users.

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While completing my thinking through making, it was satisfying to have the opportunity to building this bench seat with the real material.

During this process, I found that the CAD model I had produced did not work in the real world. Therefore, it has been a rewarding experience and I think the end result was successful in understanding the theory and intention behind the design feature.

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Representation of Landscape Influence

Landscape Orientation Influence This model shows the design iteration for the Testing review.

With this model, I have highlighted the areas of the building that have been situated as a consequence of the surrounding landscape and habitats.

Due to the requirements of the purpose groups, each has been orientated to the habitat it most aligns with. Such that the teaching element is heavily reliant on learning from the surroundings, therefore, is orientated with views toward the meadows, river and remainder of the valley. On the other hand, the laboratories are more private, therefore, they are orientated toward the woodland which carries connotations of security.

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Representation of Daylight Influence

Daylight Orientation Influence This model shows the design iteration for the Testing review.

With this model, I have highlighted the areas of the building that have been situated as a consequence of the natural lighting.

Due to the needs of the laboratory, direct daylight would interfere with experiments, therefore, should be orientated away from direct light. However, the classrooms, with the addition of louvres, would encourage daylight within so they are orientated to capture the southern and western daylight.

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Inspiration for Glimpses The main intentions behind the Institute is to remain as unobtrusive as possible in this sensitive environment. Therefore, the idea of reflecting the glimpses of views surrounding the site is expressed in the cladding and window arrangement. Additionally, the cladding placement on the Ouseburn Farm - one of the Institute’s adjacent buildings - appears to reflect the stepped formation of the tree trunks of the surrounding landscape.

These annotated model elevations show how both the form of the building, the cladding and the window placement contribute to this idea of glimpses through the thick of the woodland.

Fig. 29

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Exploration of Method to Incorporate Northern Slopes of the Site

Incorporating the North

- Addition of the Board-walk

In response to my feedback at the Testing review, I researched methods to include steep or challenging natural environments. This resulted in the potential for a board-walk. The added benefit of a board walk is the opportunity to get closer to the nature itself as they could allow travel over a difficult obstacle such as a lake.

Within my Institute, the board-walk would transverse through the Rewilded garden to provide a closer connection to the ants, bees, squirrels and grey wagtails that are central elements to the intentions of the Institute. Indicated by the initial concept sketches adjacent, is the expression of the incorporation of the board-walk with the Rewilded gardens.

Fig. 30a

Fig. 30b

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Experimenting with Geometries and Consolidating Design Moves

Celebrating the Communal Entrance In order to celebrate and express the potential of the central communal entrance way within the design, I researched the Karsh Alumni and Visitor Centre at Duke University in North Carolina, USA. (Karsh Alumni and Visitors Centre, March 27, 2020) This Visitor Centre successfully expresses a connection to nature by the exposed glulam structure and elevated roof lighting which reflects the daylight. This combination creates a warm and inviting entrance way that encapsulates the aesthetic qualities that I would like to achieve within the Institute.

The visuals on the right express how this precedent has influenced the communal area.

Fig. 31a

Fig. 31b

Precedent was explored in ARC3013: Technology Report

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Response to the Existing Qualities of the Site

Micro Reflecting Macro

- Details from Context

Although, the main aim from the Testing feedback was in relation to providing a stronger connection with the context to the north of my site, I also provided connections to the context beyond the bridges to the south. This would ensure the Institute would respond to the infrastructural context as well as the natural context.

Consequently, the features highlighted to the right express this connection to the context beyond the boundary of the bridges.

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Experimenting with Geometries

Form Metamorphism from Circular to Rectilinear

With relevance to the progression since the Testing review, these plans express the impact this research had on the form of the Institute. Although I had begun considering a more rationalised grid structure, the major impact reflected here is the experimentation of geometries.

The first plan indicates the option of stepping the purpose groups away from the main circular communal area. However, this would not reduce the number of design moves I am including. Therefore, the next iteration indicates the removal of the circular communal entrance and its replacement of the rectilinear entrance influenced by the Duke Visitor Centre.

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More Rational Structure Grid to Unify Proposal and Tighten Plan

Tweaking to Fit the Structural Grid Consequently, this rectilinear form was developed further by the addition of a set structural grid at 3m centres to help to tighten and unify the plan.

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Method which uses Northern Site to Enhance Proposal

Creating an Engaging Method of Learning

In order to establish an engaging learning environment for visitors, students and staff, I began exploring the intention of immersive routes. These were initially inspired by movies such as ‘Honey, I shrunk the Kids!” and the “Bee Movie” which took the viewer on an immersive journey in the perspective a significantly smaller creature.

Therefore, these routes will encourage the user to embody the specific wildlife, creating a connection and option for educating their daily routine and their requirements.

One particular route will include an emersive experience along the perimeter of the building between the structure itself and the retaining wall for the project - gabion baskets. The specifics were explored in my Technology Report with a relevant page shown next.

Fig. 32

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Fig. 33

Habitat Friendly Retaining Walls The most successful gabion baskets are inclined at 6 - 8 degrees from the vertical in the direction of the material it is retaining.

However, it is of the preference of the aesthetic as to step to front or the back face. These conditions are indicated below.

(Tim Chapman (2000, pg 30-47)) Gabion basket retaining walls are built through a modular system of various sizings. Typically, these sizes increase by 0.5m in either direction with the most common being a 1m x 1m x 1m cube.

Within these designated wire frames are stones limited to the dimensions visualised left. The flattest face of the stone is orientated to the exposed side of the gabion to provide a pleasing visual.

Gabion research submitted in ARC3013: Technology Report

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Defining the Threshold Between Inside and Out

Sequential Progression of Central Entrance Way

In order to continue to visualise the impact of further developments had on the project, I needed to revisit the entrance to the Institute.

The image below shows the initial concept of the entrance way which reflected the language of the Framing Pavilion design.

However, this would not fit with the current plan. Therefore, I have explored the approach aspects through aesthetic precedents and subsequent sketches.

Fig. 34

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Defining the Threshold Between Inside and Out

Reflecting on the previous page, the pitched roof of the communal area expresses a domesticated atmosphere which would not be achieved within an Institute.

Therefore, I looked at more appropriate precedents to result in the rough sketch adjacent.

Fig. 35

Fig. 36

Fig. 37

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Glimpses as You Climb In terms of materiality for the external staircase within the lookout tower, steel and timber combinations can be achievable in relation to the surrounding context which express the combination of steel and brick.

These site photographs suggest a sense of complementation between steel and timber, and as a result, combination features could be applied throughout the project.

Ateliereen Architecten have designed a lookout tower in Bergschenhoek, Netherlands, showing the successful combination of steel and timber to create an effective, stable and practical observation area that provide numerous vantage points during the climb to the top.(Viewing Tower Hoge Bergse Bos / Ateliereen Architecten, July 19, 2017)

This page was submitted in ARC3013: Technology Report

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Defining the Threshold Between Inside and Out

Pockets that Blur the Threshold To continue blurring the threshold between the natural and built environments, I researched into the concept on nature pockets within the building.

This plan indicates where these pockets will take place.

Fig. 38 Fig. 39

Yucca Elephantipes

Lightweight Paving

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Synthesis Reflection Upon completing the Synthesis phase, it has been a fascinating process of collating, consolidating, and synthesizing this project.

When preparing for the Synthesis review, it was fascinating to realise just how intertwined the final output has become with the phases of Framing and Testing in addition to the influence from Theory Into Practice and Technology.

Prior to beginning the Testing and Synthesis phase of the project, I had struggled completing the Theory Into Practice essay. At the time of the hand in, I had not developed my narrative of participation and the communication between, not only the human communities of the academic and Ouseburn, but also the connection between the human and the non-human. Although, this was a crucial intention that was blossoming within the Framing phase, it was not until after the Testing review where this intention was truly developed. Therefore, entering the Synthesis phase and receiving the essay feedback, has been satisfying to know that my development of participation between the two worlds of natural and built has not been in vain. This participation and communication between worlds has been embodied significantly through the concept of routes for visitors, students, and staff alike to experience the institute’s surroundings through the perspective of the wildlife it has been designed for.

This final phase of the project has been enlightening to witness the journey that the project, its aims, and intentions have travelled along, to result in an institute that encompasses the narrative which bloomed at the beginning of the year. It has been a rewarding experience to develop and justify a brief that encompasses the studio’s themes of macro and micro scale. This was through contextual response and inhabitation – taken that step further in my case of applying these two scales to human and non-human experiences.

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Site Constraints - Challenges and Opportunities This map indicates the access to site - both vehicle and pedestrian - as well as the noise pollution created by the infrastructure surrounding the site.

The map on the following page shows the surrounding habitats and wildlife within - the potential primary users of the rewilded gardens within the institute.

Submitted in Technology Report - ARC3013

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Representing Key Principles of Project

Responding to the Challenges Diagram showing how the synthesised proposal responds to the unique challenges and qualities of the site.

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Rewilding The process of Rewilding is allowing nature to overtake the area.

This encourages the ecosystem to thrive and restores balance.

Within the institute, the rewilding will include ‘easy pollinators’ (open flowers) to encourage frequent and plentiful pollination.

To the left shows the flora which will be introduced through the Rewilding process, consisting of flowers that are already present in Ouseburn but that will be enhanced in this particular area. To the right shows the flora already present surrounding the site.

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Benefits to the Ecosystem In addition to Rewilding, gabion baskets will be used for retaining walls as they are more environmentally and economically friendly in comparison to masonry or concrete. This will in turn provide a larger abundance of habitats, therefore, positively impacting the food chain.

Gabion Detail submitted in ARC3013: Technology Report

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Users The users of the institute outlined on this double page reflect the intended primary and secondary purpose groups.

Primary being the wildlife community within Ouseburn.

Secondary encompasses the human community of both visitors, students and researchers.

Fig. 40

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Elevation to show the majority horizontal front with the verticality of the tower in comparison to the metro bridge

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Section to show the topography variation of the immediate context and the internal shadows

Can you spot the 8 wildlife?

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Representation of Details

Ground plan indicating the cut topography and the landscaping considerations

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Atmosphere and Materiality

2 - Cafe looking out to rewilding and gabions

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Atmosphere and Materiality

Collaborative Celebration Stairs

Fig. 41a

Fig. 42

Fig. 41b

1 - Reception area looking toward lookout tower

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Representation of Details

First floor plan indicating the cut topography and the internal configuration of the functional elements - labs, office and classrooms

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Atmosphere

16 - Creative Classroom from Observation Room

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Atmosphere and Inhabitation

18 - View back through the office space and nature pockets

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Process/Research/Thinking Behind the Design of the Routes

Embodying the Ant At only 5mm long, the black garden ant views the world through a micro scale. The ant does not have ears but ‘listens’ through micro - vibrations in the ground.

Therefore, the route is wrapped on both sides by the gabion baskets and the building, aiming to create a micro - environment devoid of sound, much like the existence the ant. This area also allows the visitor to view the world from the profound perspective of feeling minute.

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Process/Research/Thinking Behind the Design of the Routes

Thinking Bee Reaching lengths of up to 22mm, bumblebees live in colonies of up to 200 worker. They begin once the Queen emerges from winter hibernation, constructs a nest from dried grasses, hatches a dozen eggs of workers - sterile females - that gather the nectar and pollen for future hatcheries.

Bumblebees are known to see the same colour spectrum as us humans, with partiality to blue, yellow and green while additionally being able to see ultraviolet and polarised light - a more varied spectrum than ourselves.

Therefore, the gardens will encourage the growth of these colour palettes.

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Process/Research/Thinking Behind the Design of the Routes

Scurry Around The average squirrel is between 25-30cm long with a tail length between 20-25cm. They are most active at dawn or dusk foraging and feeding amongst the ground while remaining agile in the trees.

They often run along twigs in order to leap from tree to tree.

Therefore, in order to experience the daily activity of the grey squirrel, the routes embody the sense of running along the forest floor and skirting up the tree trunk to scurry across the tree canopy. Additionally, the route is dark and shaded along the ground and the climb up to embody dusk and dawn.

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Process/Research/Thinking Behind the Design of the Routes

Scavenge like a Bird

Ouseburn River

Sweet Cherry Tree

As stated in the wildlife justification, Grey Wagtails are on the red conservation list within the UK and prefer to breed along rivers or streams. This consequently means that their diet consists of insects, beetles and flies that are common amongst rivers.

However, this means that Grey Wagtails, along with most other birds such as Kestrels, need to scavenge for their food.

Therefore, the eye-spy lookout tower provides the height that many birds use to their advantage when searching for food. The tasks included within the lookout tower involve spotting specific Ouseburn features, such as, the river, and flora, such as, Sweet Cherry trees, dafodils, and Hawthorn trees.

Dafodils

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Representation of Vignettes - more colour and detail

Manifestation of Vignettes The main purpose behind these vignettes is to express the colour and height of the planting and Rewilding that is so central to the institute.

Bird Route

- expresses the height and planting occurring on the roof that encapsulates the tree top aspect of the squirrel route.

Bee Route

- visualisation of the overgrown and colourful Rewilded garden encompassing the board-walk that equate to the bee route.

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Ant Route

- the overgrown gabion wall and building structure create this chasm for the ant route in which the human can experience this sense of feeling miniature.

Squirrel Route

- the expression of scanvenging across the forest floor to climb the tree trunk and emerge on the tree canopy can be expressed through these visuals.

Presenting the Project through the Micro Lens of the Wildlife

Day in the Life - Wildlife Addition The main purpose behind these visuals is to express the green and nature as this is what the wildlife would see in replacement of the building materiality.

Ant Approach View

Bee Approach View

Squirrel Approach View

103

I have included my Technology 1:20 section to help understand then scaled impact of this Ant Route between the gabion wall and the Institute’s building.

Technical Section Detail and Part Elevation Study 1:20 at A1

40 39 38 37 36 35 34

ARC3013 Centre for Monitoring Environmental Change: Institute of Aphids, Bees and Grey Wagtails Studio: Creative Synergies Jemma Woods 1000mm 0 200 400 180213616

100 300 500

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a. Vapour Barrier b. Breather Membrane 1. 200mm Concrete Raft Foundation 2. DPM 3. 100mm Rigid Thermal Insulation 4. 50mm Screed with Underfloor Heating 5. 25mm Glued Wood Flooring 6. Concrete Path Edging 7. 30mm Gravel Pathway 8. 45mm Screed Basecore 9. Engineering Bricks for DPC 10. Metal Flashing 11. Bench Seating 12. Steel Connector Plate 13. 360mm x 240mm Glulam Post 14. Square Suspended, LED Lighting 15. 12mm Plasterboard painted white 16. 240mm Suspended Ceiling 17. 25mm Wood Floor Boards 18.12mm Chipboard 19. Rigid Acoustic Insulation 20. Resiliant Bar 21. 12mm Plywood 22. 225mm x 100mm Wood Joists at 600mm centres 23. 12mm Plasterboard painted white 24. 240mm Suspended Ceiling 25. 12mm OSB 26. 200mm Rigid Thermal Insulation 27. 200mm x 100mm Wood Joists 28. Lit Fire Exit sign 29. 12mm Plasterboard painted white 30. 25mm service zone 31. 12mm OSB 32. 12mm Plywood 33. 100mm Rigid Thermal Insulation 34. 200 mm Rigid Thermal Insulation 35. 75mm Rigid Thermal Insulation 36. 12mm OSB 37. 25mm x 50mm Vertical Battens at 600mm centres 38. 25mm Scotlarch cladding at intermittent widths of 68mm or 140 mm 39. 25mm x 50mm Horizontal Battens at 600mm centres

14

40. Zinc Flashing 41. Gravel filled gutter 42. Plywood Gutter with overlapping waterproof membranes 43. Edging 44. 40mm Wildflower Blanket 45. 140mm Biodiverse Substrate 46. Filter Fleece 47. 40mm Water Retention and Drainage 48. Protection Layer 49. Waterproof Layer 50. 25mm Plywood 51. Tapered Insulation 52. Openable Skylight 53. Metal Railing 54. Metal Toe Jab 55. Steel ‘I’ Beam Fire Escape 56. Gabion Basket Retaining Wall 57. Drainage 58. 200mm Base

b a

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Presenting Materiality, Atmosphere and Key Detailing Elements

Can you spot the 8 wildlife?

105

Presenting the Materiality and Atmosphere of the Project through the Macro Lens of the Humans

Rear Approach View Showing the more overgrown and nature influenced appearance of the Institute

Field Maple Tree

Alder Tree

Poplar Tree

Foxgloves

Foxtail Grass

Feverfew

Lychnis Coronaria

Calendula

Nettle

106

Salvia Nemorosa

Presenting the Materiality and Atmosphere of the Project through the Macro Lens of the Humans

Front Approach View Showing the more rationalised and manicured appearance of the Institute

Kestrel

Grey Wagtail

Squirrel

Wood Pigeon

107

Appendix

Contains :

Group Booklet of Thematic Case Study (feedback at End) Feedback Sheets Cultural Bibliography Bibliography and Illustration List Larger Images

Other Booklets: Process Booklet Compiled Document of Other Modules Stage 2 Portfolio

108

https://drive.google.com/file/d/1tlxJrM4yUJRcgKU6ZGEYjBXhJEmrTVZF/view 109

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ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Jemma Woods (180213616)

DATE:

18.12.20

STUDIO:

Creative Synergies

REVIEWERS:

Craig Gray & Stella Mygdali

ASSESSMENT CRITERIA:

B

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

25

Percentage teamwork

75

Percentage individual

THEMATIC CASE STUDY 5%

CHOSEN CASE STUDY AND INDIVIDUAL CATEGORY:

The Thematic Case Study Report should respond to the categories set. Students should explain their analysis at a variety of scales ranging from the site-wide through to detailed drawings, utilising annotated, original diagrams and illustrations as far as possible.

TITLE OF CASE STUDY

GRANBY FOUR STREETS

The most successful group presentations will be clear, considered and engaging and cross reference individual contributions.

PLEASE TICK

1. How does the case study relate to the Studio Specific Criteria .01?

PROCESS

GRADE BREAKDOWN

2. How does the case study relate to the Studio Specific Criteria .02?

3. How does the case study relate to it’s environmental / climate crisis context?

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

4. How does the case study relate to the Architect’s theoretical position / how does it explore their ideas?

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

5. How does the case study relate to other buildings of it’s type?

RECORD OF PEER/TUTOR COMMENTS:

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

Interesting collection of work with good highlighting of the strong associations to some of our studio themes.

CRITICAL THINKING & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

The text and visual style are at times inconsistent across the document as a whole and could have benefited from a holistic overview and wider coordination to establish a consistent basic framework and layout which dictates headings, margins, title pages, page numbers, contents etc.

The digital presentation manages to communicate an impressive amount of information, but could have benefited from some scripting, rehearsal and editing. Rather than showing the document pages and commenting on them as though they were pinned on a wall, it would have been nice to deconstruct some of the information into a more organic slide-show to allow some of the smaller, more detailed graphics, to have more impact.

PROCESS Advanced

A

L K CA R HI O ET EW AM nced a FR dv

YOUR KEY NEXT STEPS: Basic

1.

Advanced

CRITICAL THINKING & NARRATIVE

CO Ad va RE MM nc ed PR UN ES IC A EN T TA ION TI & ON

2.

3.

It would be interesting to see an additional section which looked to extract some of the more successful elements of the scheme you identify comparatively against the other precedent, and see how relevant they might be if implemented within the Ouseburn, or your own chosen site.

Quickly establish as a group a consistent template of contents page, page numbering, title pages and subheadings which you can use to subtly reformat the document as a whole, without losing your own individual presentation style.

Take time to extract relevant information from the document, and possibly others and integrate and reformat into your own portfolio narrative. Dont use information simply for the sake of it. I would encourage you to read as many, if not all the other Studio case studies available on Miro and take note of any information relevant to our studio or your own project work.

131

ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Jemma Woods (180213616)

DATE:

18.12.20

STUDIO:

Creative Synergies

REVIEWERS:

Stella and Craig

ASSESSMENT CRITERIA:

B

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

GRADE BREAKDOWN

0

Percentage teamwork

100

Percentage individual

PORTFOLIO DOCUMENT 5%

RECORD OF PEER/TUTOR COMMENTS:

GRAPHICAL QUALITY

How successful is the graphical formatting of the document. Is it clear, coherent and appropriate?

NARRATIVE & STRUCTURE

Within each chapter how well is the work structured to record and communicate the work? Is the narrative clear and engaging?

How well has the student cross-referenced between the design project, other modules and various process work?

REFERENCING

Has a full and complete bibliography been provided and does this reference all material from secondary sources?

Does it use a consistent and accurate referencing system?

Good pace and clear organisation of material that communicate key ideas from each stage of work. Some pages look quite crammed and would benefit from further refinement, especially teh pages that include groupwork.

GRAPHICAL QUALITY Advanced

YOUR KEY NEXT STEPS: 1.

2.

ed

G CIN EN

Adv an

anc Adv

R FE RE

132

ced NA RR A STR TIV E UC TU & RE

Basic

3.

If you include an image that has text, make sure that this is legible: either the image needs to be larger or you erase the text and include it anew next to the image. If you don't need that specific text erase it and use only the visual with new annotation/commentary. (e.g. historic timeline p6)

A more detailed introduction of the Studio theme would be helpful to contextualise intentions and aims of this project

All visuals need to be annotated and all sources that have contributed to the project development need to be referenced properly. E.g. groupwork referenced properly, full bibliography at the end of the portfolio etc.) At the same time, ensure that you highlight what comes from primary sources: e.g. powerful composition of interviews page - make it clear you were part of the interviewing team on site and this is not something retrieved from a website for example Final proofreading is needed

ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Jemma Woods (180213616)

DATE:

18.12.20

STUDIO:

Creative Synergies

REVIEWERS:

Stella and Craig

ASSESSMENT CRITERIA:

A

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

GRADE BREAKDOWN

25

Percentage teamwork

75

Percentage individual

FRAMING: 25%

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION FRAMING

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Inhabitation and Spatial Relationships of chosen Specialism.

STUDIO SPECIFIC 02

Contextual Response: Between the Academy and the City.

A nicely presented collection of work that demonstrates critical thinking, a unique sensitive approach to environmental issues and suggests an exciting proposal that looks into engagement with local 'environment-worlds'.

PROCESS

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

CO Ad va RE MM nc PR UN ed ES IC EN AT TA ION TI & ON

ed

Advanced

& ed S nc va ES Ad EN TY IV IVI NT AT VE CRE

IN

Advanced

DESIGN PROPOSITION

Basic

1.

Advanced

STUDIO SPECIFIC CRITERIA 01

YOUR KEY NEXT STEPS:

L CA RK HI O ET MEW ed A nc FR Adva

ST U CR DIO IT SP ER E C Ad va IA 0 IFI nc 2 C

Advanced

2.

3.

Focus on inhabitation & communities: key phrases engagement with nature /encounters between different communities (special focus on young kids - wildlife). Explore how the pavilion can succeed into creating these encounters and show us how this specific design caters for this type of inhabitation and activities. You can enrich your research by looking at educational programs that focus on nature/learning in nature and let this study inform the playful aspect of your pavilion.

Nice to see in your ven diagram that you are thinking also about the more quiet hours of the day and how the pavilion can become a shelter(?) for wildlife - a play of discovery during the day for the kids and a different game in the night for noctural animals? think about this full life of the pavilion during the day/night and show how this informs the study of the pavilion

Make better use of integrating the thematic case study - why is it relevant? how has it informed your own approach? there is no need to include all pages of this work but select the parts of this research that are most important for your project development

133

ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Jemma Woods (180213616)

DATE:

01/02.03.21

STUDIO:

Creative Synergies

REVIEWERS:

Craig Gray, James Longfield, Jianfei Zhu

ASSESSMENT CRITERIA:

C

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

GRADE BREAKDOWN

0

Percentage teamwork

100

Percentage individual

TESTING 60% (inc synthesis)

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

- More information on the unique qualities of the site. Both atmospheric and and practical, light, shade, noise, adjacent walkways, what

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

- Experiment with the geometries

DESIGN PROPOSITION TESTING

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

- Think about a more rational structural grid which could unify the proposal and tighten up the plan.

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Inhabitation and Spatial Relationships of chosen Specialism.

STUDIO SPECIFIC 02

Contextual Response: Between the Academy and the City.

- Thresholds and public realm, where are the boundaries? How are they defined?

- Rather than having many small architectural gestures, try simplifying and consolidating your design moves.

PROCESS

CO Ad va RE MM nc U PR N ed ES IC EN AT TA ION TI & ON

ed

Advanced

STUDIO SPECIFIC CRITERIA 01

DESIGN PROPOSITION

& ed S nc va ES Ad EN TY IV IVI NT AT VE CRE

IN

Advanced

1.

Advanced

Basic

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

134

YOUR KEY NEXT STEPS:

L K CA R HI O ET MEW ed A nc FR Adva

ST U CR DIO IT SP ER E C Ad va IA 0 IFI nc 2 C

Advanced

2.

3.

Explore the impact of the context to north of your site, and how your proposals could more convincingly respond to them, currently the scheme turns its back to the North and doesn't make the most of the extreme level changes in this location. Explore this through a number of cross sections through this area of the building.

Produce a series of clear and interesting analytical and explanatory contextual drawings, montages, overlays etc to give a better and clearer understanding of the existing qualities and challenges of your chosen site.

Continue to develop plans and sections into a series of more resolved line drawings.

ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Jemma Woods (180213616)

DATE:

17/18.05.21

STUDIO:

Creative Synergies

REVIEWERS:

Luke & Stella

ASSESSMENT CRITERIA:

A

X A B C D E

GRADE BREAKDOWN 76-100 66-75 56-65 46-55 36-45 0-35

0 100

SYNTHESIS 60% (inc testing)

Percentage teamwork Percentage individual

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION SYNTHESIS

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Inhabitation and Spatial Relationships of chosen Specialism.

STUDIO SPECIFIC 02

Contextual Response: Between the Academy and the City.

Comments for the session/common points: -Good sense & understanding of area & sites -Engaging presentations that show strong research & good grasp of Studio themes & studio specific criteria -Clear research paths and interesting lines of enquiry -Include a site axonometric view of the project- it would enrich the presentation -Make sure that you include in the portfolio curated process work + diagrams that show key principles of how you set up your project (result of testing) -Invest further on atmosphere & materiality (3D inhabitation/views out) --> translate research to perspectives views of project -Make sure that your response to climate emergency/sustainability is evidenced throughout the narrative and visual work of portfolio (embedded in schemes & key ideas/strategies explained) -Successful use of 1:20 drawings Individual: -Engaging project, strong proposition towards engagement with environment-worlds and nice presentation

PROCESS

AM n va

ce

d

Ad

1.

c

ed

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

Ad CO va nc RE MMU ed PR NI ES CA EN TIO TA N TIO & N

& nc va SS Ad NE Y IVE VIT NT TI VE CREA

IN

Advanced

DESIGN PROPOSITION

Basic

Advanced

Advanced

AL K HIC WOR E ed

FR

STUDIO SPECIFIC CRITERIA 01

YOUR KEY NEXT STEPS:

ET

ST U CR DIO S ITE PE R C Ad va IA 0 IFIC n 2

Advanced

2.

3.

Atmosphere & materiality: you have capturesd some nice perspective views but they need further work in terms of conveying materials/ material qualities. Work also further on the 1:100 section to communicate materiality (e.g. external stairs - show mesh) and key detailing elements (e.. handrails). If possible, show also some external views - user being inside looking outside to enhance the relation your building aims to make with the natural environment The cohabitation of human & non-human is a key relation: show what parts of the building will be inhabited by the non-human users & communicate in which parts we may encounter a cross-over between human & non-human. Present you building from both a micro & macro lens so you can present the experience of a bee or an ant from their perspective - in a kind of 'day in the life' style you could present your project from the view of both (human/non-human) users The routes are also a unique element in your building: show your process/research/thinking behind the design of these routes: in these routes are you embodying these non-human (experiential) or are you getting close to them (observation)?

Maybe it's a combination & both are important learning experiences. E.g. red squirrels live & play in trees but find their food also on the ground & bury there any surplus so this playful climbing movement is interpreted in architectural elements 135

Cultural Bibliography Thematic Case Study - 8 others

. key points noted and overall thoughts on booklet

136

Theoretical position • AAA = main focus is creating resilience in cities by designing schemes

which thrive on civic participation • They work alongside each other to achieve the outcome, not through a

hierarchy positioning of ‘top dog’ • See architects as activators • Recycling and reuse • Networking and participation • No hierarchy and without each part it wouldn’t work Advocacy?

• Client = regularly become involved in the project • Community activities= micro-farm, community + cultural spaces • Comments= strengthen ecological bounds and improve lifestyles Demonstrating critical spatial practice • Political resilience = workshops to educate people on sustainability • Social resilience= showing how people can work together • Economic resilience = everything grown on site is sold on site Environmental and climate crises response • reuse on everything to create circular economies, giving residents the

resilience to consume and use tools • Simple timbre frame from reused materials and to reduce carbon footprint • Micro technology used to limit energy use?

• Green roof and solar panels • Compost water heat

Old vs new • simple design = to shelter the Hill House from rain whilst being breathable

and maintain visual connection to surrounding landscape • house is then protected as an ‘artefact’ with minimal interruption to existing structure • contains 3 semi - permanent volumes: the frame, the walkways and the

visitor centre • there are close comparisons between the old and new • materials = CLT timber nor visitor centre, galvanised steel for main ‘box’

structure and semi-permeable steel chainmail for outer shell • ALL make for a more lightweight structure protecting the house Climate + Environment • Context = Helensburgh is a very wet, stormy and windy place • Therefore, Hill House known as “115 year old sandstone sponge” • Moisture running throughout the building’s infrastructure is one of the worst

tarnishes to the building due to its climatic context • This is the biggest concern when conserving the building Exploring theoretics • Strong emphasis on preservation • Their Unconventional yet respectful interventions challenge overly-cautious

and unimaginative preservation of existing structures / places / cultures • Relating to other buildings • Materiality- North Greenwich Station sculptural screen, both use a

translucent steel facade that maintains the relationship between the

internal and the external • Experience- tourist route through Helfstyn Castle in Czech Republic

Museum extension that connects 3 museums by an underground tunnel Urban context: • Not to disrupt surrounding architecture to not disturb the historic

architecture and landscape around • Voids used to frame existing architecture and separate public and private Concept and theory • Set out to provide the complex with a Common entrance • Had to act within the strict horizontal plane of the existing city • Levels of light reflect the use of the space Architects position • Interested in sky and ground • Void as organisational device limiting space below • Patterns and repetition • Dialogue between old and new = do this by reflection within the cones Comparisons • Another building from architects - void use and protection of the sites similar • The cube, France- extension to museum in a very narrow place and relating

the past and present • Louvre pyramid _ dialogue between old and new so design would have to

belong there and not disrupt views of the surrounding museums • Notion of memories and childhood by delving under-ground and not

travelling up, much more common now a days

Normally an industrial school with an unforgettable history How does it interact with surrounding context?

• Close to demolition • Topography - landscape to east shows how

design flows with back drop • Colour palette _ material use of Irish Green

oak (sustainable and weather with the

landscape as time went on) Conservation • Conserve history but create vibrant sense of place Relate to architects position • Engagement with complex urban situations

and sensitive landscapes • Intend their buildings to be original in their

concept but responding to the unique context • Show layers of site history Other buildings of its type • Sand ford Park school _ with similar timber frame • Cento di Formazione Professionale SsIC _

responds to characteristic Landscape • Corte bertesina - re-purposing and

incorporating materials and structures

Overall: I like the diagram representational style but some pages were an overload of information.

Overall: Good example of responding to surroundings and remaining sensitive to the heritage of the project.

Overall: Thorough research with clear visuals but some pages are overcrowded.

Overall: Through research and clear visuals

Context?

• Picture windows give views to surrounding streets • Large entrances encourage visitors from the street • 3 courtyard windows facing all directions to

maximise sunlight • 6 floors above ground +5 hours below ground • Cool staircase • Historical architecture surroundings Progressive conservation • Helsinki committed to sustainable conservation.

• 40% green city • Adopting idea of garden city _ plan 2050 • Grid layout City enhanced by the think corner building Architects theory • Aims to enhance study space environment • “How to work together” • Materiality: timber ‘calved’ out entrances and Comparison • Tradition University study space,i.e: library =

similar programme but different spatial relationship

Extension Encourages interaction between various users Rooms closely arranged to encourage interactions Context: • Design competition • Alternative Outlook on education • ‘White spaces’ add to blurring lines between

theory and practice • Integrates to make holistic approach Environment • Grey water system • Change in design doesn’t mean its proposed

environmental help’ elements • Openable facade Theoretical position • Close collaboration of the arts • Enhance dialogue and connections between departments • Encourage participatory

Arts and crafts school founded in 1919 Was controversial Ideology: Harmonise the society by unifying arts + crafts and arts + industry The courses were available to women Ideology: • Constant contact with ‘masters’ • Embrace functionalism inhabitation and spatial relationships • Glass wall to bring outside in • Open studded enhances communication between people Environmental impact • thermal systems within make for cold rooms and high heat loss • Replacement of old and not up to date components to make better for its sustainability

Completed 2009 Area densely populated Post-industrial shipping area Context; • Use of concrete flows into surroundings • Unprogrammed spaces used by community through film nights Spatial arrangement • Education - Upper floors • Moveable walls for occupants needs • Programmed and unprogrammed spaces Environmental • Good example of sustainability • Solar gains used effectively • Glass panels move to allow more ventilation • Good control of ventilation throughout Theoretic • Architecture integrated with surroundings through community engagement

and materiality Other examples • Another from architect = different use + site • Seona Reid building = closed to public • Glasgow School of art = programme change but need for natural light • Beecroft Building, Oxford Uni = incorporate large open space at centre to

encourage collaborative learning

Overall: Good research and visuals but need clearer understanding of site

Overall: Good visuals and exploration but need more on surrounding context.

Overall: Good and clear visuals - especially the comic strip for theoretical journey (very creative)

Overall: Very clear visuals, the most coherent booklet and interesting building that blends programmed and unprogrammed spaces so well.

137

Autumnwatch 2020/Springwatch 2021

. These programmes helped my understanding of the

natural environment within the UK

. How the pandemic has improved the lives of the wildlife

. What we can do to help the wildlife just outside our backdoors

Creating visualisations for my older sister’s PhD conference

. During this task, I developed my refining and co-ordination

skills to create a summary poster while also

learning new representational techniques that have

informed my portfolio representation.

. Helped produced a recorded visual presentation

. She went on to win joint 1st for the best poster/

presentation out of 1,000 attendees https://www.bna.org.uk/mediacentre/news/poster-winners/ *** Disclaimer: due to this being submitted through The International British Neuroscience Association 2021 Festival of Neuroscience, I have blurred sensitive areas of the poster and cover photo. *** All rights go to Rebecca Woods at University of Manchester http://hagerlab.lab.ls.manchester.ac.uk/labmembers/rebeccawoods/

In order to prepare for the coming year(s) ahead, I attended multiple talks offered from RIBA. These included the Future Architects talk ‘Conversations with Practice’, as well as the Prep for Practice talks ‘Continuing your Education and Alternative Routes’, ‘Behind the Scenes in Practice’, and ‘ Demystifying the Recruitment Process’.

138

The Cows at Lyme Park

I really enjoy walking. As a family we do regular annual camping holidays for a week or longer to explore the numerous fells of the UK. I have, in time, completed the three highest peaks in the UK and continue to tick off numerous Wainwright Lake District walks.

However, this year I have begun to appreciate the micro wonders of these walks and not the holistic beauty of the natural world.

Chopwell Woodland Park, Gateshead

Branch in Jesmond

These are a handful of images that I have taken throughout this year, both in Newcastle and around my family home during Christmas. In some you can make out some of the wildlife spotted along these journeys.

Ouseburn River running through Heaton Park

Darcy’s Pond in Lyme Park Deer spotted near Bollington, Macclesfield Sparrow spotted beside the Macclesfield Canals

139

Bibliography Bibliography All information on plants: All information on wildlife: All Dictionary definitions:

https://www.rhs.org.uk/ https://www.rspb.org.uk/ https://www.dictionary.com/

Alyn Griffiths at Dezeen, OFIS Arhitekti’s Glass Pavilion is a star-gazing retreat in Spain’s Gorafe desert, https://www.dezeen.com/2018/03/18/glass-pavilion-ofis-arhitekti-star-gazing-retreat-spain-gorafe-desert/ (accessed 1st June 2021) Alyn Griffiths at Dezeen, Shen Ting Tseng Architects’ pavilion “floats” above a plaza at the Taipei Fine Arts Museum, https://www.dezeen.com/2018/10/05/shen-ting-tseng-architects-pavilion-floats-taipei-plaza-architecture/ (accessed 1st June 2021) ArchDaily Editors, Evernote/Studio O+A, https://www.archdaily.com/401836/evernote-studio-o-a (accessed 2021) ArchDaily Editors, Mont-Blanc Base Camp/Kengo Kuma & Associates, https://www.archdaily.com/785767/mont-blanc-basecamp-kengo-kuma-and-associates?ad_medium=office_landing&ad_name=article (accessed 1st June 2021) ArchDaily Editors, Sjotorget Kindergarten/Rotstein Architekter, https://www.archdaily.com/438746/sjotorget-kindergarten-rotstein-arkitekter (accessed 1st June 2021) ARUP Editors, https://www.arup.com/projects/camp-adventure-tower (accessed 1st June 2021) Becky Quintal at ArchDaily, BIG Unveils Design for “Zootopia” in Denmark, https://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark (accessed 1st June 2021) BecoWallform.co.uk Editors, https://becowallform.co.uk/ (accessed 1st June) Banch and Bone Editors, https://www.branchandbone.co.uk/ (access 1st June 2021) Cristiana Pasca Palmer at WeForum.org, Can technology save life on Earth? https://www.weforum.org/agenda/2018/09/can-technology-save-life-on-earth/ (accessed 1st June 2021) ChicagoBotanic.org Editors, The Daniel F. and Ada L. Rice Plant Conservation Science Centre, https://www.chicagobotanic.org/research/building (accessed 1st June 2021) Christies Real Estate Website Editors, ‘Nature vs Nurture: How to Rewild Your Garden -’, Christie’s International Real Estate, 2020 <https://www.christiesrealestate.com/blog/nature-vs-nurture-rewilding-your-garden/> [accessed 4 February 2021] Davieswhite.co.uk Editors, http://www.davieswhite.co.uk/portfolio/crow-wood-playscape/ (accessed 1st June 2021) Google Maps, https://www.google.com/maps?q=ouseburn+farm+google+maps&um=1&ie=UTF-8&sa=X&ved=2ahUKEwjnj5Lvz_XwAhUmRBUIHdetAfkQ_AUoAXoECAEQAw (accessed 1st June 2021) Greenspace.co.uk Editors, https://greenspace.co.uk/wooden-boardwalks/ (accessed 1st June 2021) Gustafson Porter + Bowman Editors, http://www.gp-b.com/marina-one (accessed 1st June 2021) AND https://www.ingenhovenarchitects.com/projects/more-projects/marina-one-singapore/description IMDb Editors, Honey, I Shrunk the Kids, https://www.imdb.com/title/tt0097523/ (accessed 1st June 2021) IMDb Editors, Bee Movie, https://www.imdb.com/title/tt0389790/ (accessed 1st June 2021) Karsh Alumni and Visitors Centre, March 27, 2020, https://www.architectmagazine.com/project-gallery/karsh-alumni-and-visitors-center (accessed 26th April 2021) Laudarchiitects.com Editors, Agape Village, https://www.laudarchitects.com/agape (accessed 1st June 2021) Marcus Fairs at Dezeen, Serpentine Gallery Pavilion 2007, https://www.dezeen.com/2007/08/23/serpentine-gallery-pavilion-2007/ (accessed 1st June 2021) Milbank.co.uk, https://www.milbank.co.uk/about-precast-concrete/ (accessed 1st June 2021) Newcastle University Website Editors, https://www.ncl.ac.uk/postgraduate/courses/degrees/ecology-biodiversity-msc/?utm_campaign=pg2021&utm_source=google&utm_medium=cpc&utm_content=pg-subject-dsa&gclid=EAIaIQobChMIsono-qfJ7gIVhOvtCh0AtwVvEAAYAiAAEgLFJ_D_BwE#profile (accessed 1st June 2021) Ouseburn.co.uk Editors, https://www.ouseburn.co.uk/ (accessed 1st June 2021) Peachtreecover.com Editors, Novelis – Global Research and Technology Centre, https://www.peachtreecovers.com/novelis-global-research-technology-center/ (accessed 1st June 2021) Pinterest, https://www.pinterest.co.uk/ Rebecca Woods Primary Photographs in University of Manchester University Laboratories.

Self Build Portal.org.uk Editors, https://selfbuildportal.org.uk/construction-methods/ (accessed 1st June 2021) Solarimpulse, https://solarimpulse.com/news/3-reasons-we-should-all-care-about-biodiversity (accessed 1st June 2021) Studio Gang Website Editors, ‘Nature Board-walk at Lincoln Park Zoo’ <https://studiogang.com/project/nature-boardwalk-at-lincoln-park-zoo> [accessed 15 February 2021] Swarch.co.uk Editors, https://www.swarch.co.uk/work/mellor-primary-school/ (accessed 1st June 2021) Swarch.co.uk Editors, https://www.swarch.co.uk/work/kingsgate-primary-school/ (accessed 1st June 2021) Technowood.uk Editors, https://technowood.uk/portfolio/timber-vertical-fin-cladding-for-contemporary-house (accessed 1st June 2021) The Garden Classroom Editors, https://www.thegardenclassroom.org.uk/ (accessed 1st June 2021) Urban Insight.com Editors, https://www.swecourbaninsight.com/climate-action/building-in-biodiversity-for-climate-for-health/ (accessed 1st June 2021) Welle (www.dw.com), Deutsche, ‘Biodiversity Blooms in Cities When Green Spaces Go Wild | DW | 14.07.2020’, DW.COM <https://www.dw.com/en/green-spaces-flora-fauna-wild-native-wildflowers-insects-dublin-dessau-wilderness/a-53955388> [accessed 4 February 2021] Wilderness Schooling Editors, http://www.wilderness-schooling.co.uk/wilderness-schooling-an-introduction/ (accessed 1st June 2021) WSWConsultancy.co.uk Editors, Performing Arts Centre, Surrey, https://www.wswconsultancy.co.uk/pac-2-1 (accessed 1st June 2021)

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List of Illustrations 1.

Ouseburn.co.uk Editors, https://www.ouseburn.co.uk/ (accessed 1st June 2021) 2.

Solarimpulse, https://solarimpulse.com/news/3-reasons-we-should-all-care-about-biodiversity (accessed 1st June 2021) 3.

Urban Insight.com Editors, https://www.swecourbaninsight.com/climate-action/building-in-biodiversity-for-climate-for-health/ (accessed 1st June 2021) 4.

Cristiana Pasca Palmer at WeForum.org, Can technology save life on Earth? https://www.weforum.org/agenda/2018/09/can-technology-save-life-on-earth/ (accessed 1st June 2021) 5.

Gustafson Porter + Bowman Editors, http://www.gp-b.com/marina-one (accessed 1st June 2021) AND https://www.ingenhovenarchitects.com/projects/more-projects/marina-one-singapore/description 6.

Marcus Fairs at Dezeen, Serpentine Gallery Pavilion 2007, https://www.dezeen.com/2007/08/23/serpentine-gallery-pavilion-2007/ (accessed 1st June 2021) 7.

Alyn Griffiths at Dezeen, OFIS Arhitekti’s Glass Pavilion is a star-gazing retreat in Spain’s Gorafe desert, https://www.dezeen.com/2018/03/18/glass-pavilion-ofis-arhitekti-star-gazing-retreat-spain-gorafe-desert/ (accessed 1st June 2021) 8.

Alyn Griffiths at Dezeen, Shen Ting Tseng Architects’ pavilion “floats” above a plaza at the Taipei Fine Arts Museum, https://www.dezeen.com/2018/10/05/shen-ting-tseng-architects-pavilion-floats-taipei-plaza-architecture/ (accessed 1st June 2021) 9.

Becky Quintal at ArchDaily, BIG Unveils Design for “Zootopia” in Denmark, https://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark (accessed 1st June 2021) 10. Construction: a.

Self Build Portal.org.uk Editors, https://selfbuildportal.org.uk/construction-methods/ (accessed 1st June 2021) b.

Milbank.co.uk, https://www.milbank.co.uk/about-precast-concrete/ (accessed 1st June 2021) c.

BecoWallform.co.uk Editors, https://becowallform.co.uk/ (accessed 1st June) 11.

ArchDaily Editors, Mont-Blanc Base Camp/Kengo Kuma & Associates, https://www.archdaily.com/785767/mont-blanc-basecamp-kengo-kuma-and-associates?ad_medium=office_landing&ad_name=article (accessed 1st June 2021) 12.

Technowood.uk Editors, https://technowood.uk/portfolio/timber-vertical-fin-cladding-for-contemporary-house (accessed 1st June 2021) 13.

Technowood.uk Editors, https://technowood.uk/portfolio/timber-vertical-fin-cladding-for-contemporary-house (accessed 1st June 2021) 14.

Welle (www.dw.com), Deutsche, ‘Biodiversity Blooms in Cities When Green Spaces Go Wild | DW | 14.07.2020’, DW.COM <https://www.dw.com/en/green-spaces-flora-fauna-wild-native-wildflowers-insects-dublin-dessau-wilderness/a-53955388>

[accessed 4 February 2021] 15.

Christies Real Estate Website Editors, ‘Nature vs Nurture: How to Rewild Your Garden -’, Christie’s International Real Estate, 2020 <https://www.christiesrealestate.com/blog/nature-vs-nurture-rewilding-your-garden/> [accessed 4 February 2021] 16.

Newcastle University Website Editors, https://www.ncl.ac.uk/postgraduate/courses/degrees/ecology-biodiversity-msc/?utm_campaign=pg2021&utm_source=google&utm_medium=cpc&utm_content=pg-subject-dsa&gclid=

EAIaIQobChMIsono-qfJ7gIVhOvtCh0AtwVvEAAYAiAAEgLFJ_D_BwE#profile (accessed 1st June 2021) 17.

Rebecca Woods Primary Photographs in University of Manchester University Laboratories.

18.

The Garden Classroom Editors, https://www.thegardenclassroom.org.uk/ (accessed 1st June 2021) 19.

Wilderness Schooling Editors, http://www.wilderness-schooling.co.uk/wilderness-schooling-an-introduction/ (accessed 1st June 2021) 20.

Banch and Bone Editors, https://www.branchandbone.co.uk/ (access 1st June 2021) 21.

Wilderness Schooling Editors, http://www.wilderness-schooling.co.uk/wilderness-schooling-an-introduction/ (accessed 1st June 2021) 22.

Banch and Bone Editors, https://www.branchandbone.co.uk/ (access 1st June 2021) 23.

Banch and Bone Editors, https://www.branchandbone.co.uk/ (access 1st June 2021) 24.

Studio Gang Website Editors, ‘Nature Board-walk at Lincoln Park Zoo’ <https://studiogang.com/project/nature-boardwalk-at-lincoln-park-zoo> [accessed 15 February 2021] 25.

Swarch.co.uk Editors, https://www.swarch.co.uk/work/mellor-primary-school/ (accessed 1st June 2021) 26.

Davieswhite.co.uk Editors, http://www.davieswhite.co.uk/portfolio/crow-wood-playscape/ (accessed 1st June 2021) 27.

ARUP Editors, https://www.arup.com/projects/camp-adventure-tower (accessed 1st June 2021) 28.

Swarch.co.uk Editors, https://www.swarch.co.uk/work/kingsgate-primary-school/ (accessed 1st June 2021) 29.

Google Maps, https://www.google.com/maps?q=ouseburn+farm+google+maps&um=1&ie=UTF-8&sa=X&ved=2ahUKEwjnj5Lvz_XwAhUmRBUIHdetAfkQ_AUoAXoECAEQAw (accessed 1st June 2021) 30.

Greenspace.co.uk Editors, https://greenspace.co.uk/wooden-boardwalks/ (accessed 1st June 2021) 31.

Karsh Alumni and Visitors Centre, March 27, 2020, https://www.architectmagazine.com/project-gallery/karsh-alumni-and-visitors-center (accessed 26th April 2021) 32.

IMDb Editors, Honey, I Shrunk the Kids, https://www.imdb.com/title/tt0097523/ (accessed 1st June 2021) 33.

IMDb Editors, Bee Movie, https://www.imdb.com/title/tt0389790/ (accessed 1st June 2021) 34. https://www.pinterest.co.uk/ 35.

Peachtreecover.com Editors, Novelis – Global Research and Technology Centre, https://www.peachtreecovers.com/novelis-global-research-technology-center/ (accessed 1st June 2021) 36.

ChicagoBotanic.org Editors, The Daniel F. and Ada L. Rice Plant Conservation Science Centre, https://www.chicagobotanic.org/research/building (accessed 1st June 2021) 37.

WSWConsultancy.co.uk Editors, Performing Arts Centre, Surrey, https://www.wswconsultancy.co.uk/pac-2-1 (accessed 1st June 2021) 38.

Laudarchiitects.com Editors, Agape Village, https://www.laudarchitects.com/agape (accessed 1st June 2021) 39.

Laudarchiitects.com Editors, Agape Village, https://www.laudarchitects.com/agape (accessed 1st June 2021) 40.

City Population Editors, https://www.citypopulation.de/en/uk/northeastengland/wards/newcastle_upon_tyne/E05011455__ouseburn/ (accessed 1st June 2021) 41.

ArchDaily Editors, Evernote/Studio O+A, https://www.archdaily.com/401836/evernote-studio-o-a (accessed 2021) 42.

ArchDaily Editors, Sjotorget Kindergarten/Rotstein Architekter, https://www.archdaily.com/438746/sjotorget-kindergarten-rotstein-arkitekter (accessed 1st June 2021)

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a. Vapour Barrier b. Breather Membrane 1. 200mm Concrete Raft Foundation 2. DPM 3. 100mm Rigid Thermal Insulation 4. 50mm Screed with Underfloor Heating 5. 25mm Glued Wood Flooring 6. Concrete Path Edging 7. 30mm Gravel Pathway 8. 45mm Screed Basecore 9. Engineering Bricks for DPC 10. Metal Flashing 11. Bench Seating 12. Steel Connector Plate 13. 360mm x 240mm Glulam Post 14. Square Suspended, LED Lighting 15. 12mm Plasterboard painted white 16. 240mm Suspended Ceiling 17. 25mm Wood Floor Boards 18.12mm Chipboard 19. Rigid Acoustic Insulation 20. Resiliant Bar 21. 12mm Plywood 22. 225mm x 100mm Wood Joists at 600mm centres 23. 12mm Plasterboard painted white 24. 240mm Suspended Ceiling 25. 12mm OSB 26. 200mm Rigid Thermal Insulation 27. 200mm x 100mm Wood Joists 28. Lit Fire Exit sign 29. 12mm Plasterboard painted white 30. 25mm service zone 31. 12mm OSB 32. 12mm Plywood 33. 100mm Rigid Thermal Insulation 34. 200 mm Rigid Thermal Insulation 35. 75mm Rigid Thermal Insulation 36. 12mm OSB 37. 25mm x 50mm Vertical Battens at 600mm centres 38. 25mm Scotlarch cladding at intermittent widths of 68mm or 140 mm 39. 25mm x 50mm Horizontal Battens at 600mm centres

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40. Zinc Flashing 41. Gravel filled gutter 42. Plywood Gutter with overlapping waterproof membranes 43. Edging 44. 40mm Wildflower Blanket 45. 140mm Biodiverse Substrate 46. Filter Fleece 47. 40mm Water Retention and Drainage 48. Protection Layer 49. Waterproof Layer 50. 25mm Plywood 51. Tapered Insulation 52. Openable Skylight 53. Metal Railing 54. Metal Toe Jab 55. Steel ‘I’ Beam Fire Escape 56. Gabion Basket Retaining Wall 57. Drainage 58. 200mm Base

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