Karolina Lutterova Portfolio by PDF Uploads

CONTENTS ILLUSTRATED REFLECTIVE DIARY

1. FRAMING 2. TESTING 3. SYNTHESIS CULTURAL

BIBLIOGRAPHY LIST OF FIGURES

New work is marked by Amended work is marked by

31 53

Markers are at the bottom of each affected page

THEMATIC CASE STUDY REPORT

ACADEMIC PORTFOLIO

BIBLIOGRAPHY

88 102

103

Karolina Lutterova Student Number: 180366679 Studio: Curating the City Stage 3 Newcastle University APL 2020/2021

Note: Please see separate appendix document for group work and non-design coursework

ILLUSTRATED REFLECTIVE DIARY Looking back at stage 3, it was an intense learning experience. However, reflecting on the year’s work, I can see how I am in a completely different position as designer now compared to the previous years. I gained a lot of new approaches to design as well as skills necessary to execute a complex proposal in a greater amount of detail. Furthermore, I feel that this year has also contributed greatly to my independence as a learner and decision maker. Having a lot of freedom in pursuing my own brief and line of inquiry was both liberating but at the same time challenging and forced me to exercise and keep developing these skills, which I consider to be a great asset in the long run. The studio of my choice, Curating the City was a great challenge as well as a slight step out of my comfort zone. This was mainly due to the theoretical research intensity involving a lot of reading and abstract thinking about multiple themes such as critical heritage preservation and assemblage, and my struggle to find links between them. However, this ultimately pushed me to finding new solutions and ways of thinking to employ in my work, which I believe will be a great benefit in the future. One of the biggest challenges I faced was synthesising the extensive theory and variety of studio themes into a clear line of inquiry. It appeared to me as very abstract, and I was struggling to find a right approach that would link the theory to the very specific context of the site. One of the ways I tried to tackle

this challenge was through writing. ARC3015 Theory into Practice module proved to be very useful tool to do that. It allowed me to reflect on how I am thinking about theories of Critical Heritage Studies and work of Patrick Geddes in relation to my project and theme of architecture and its relationship to place. I never considered writing to be one of my strengths, however, during the framing phase I have realised its importance in developing and articulating aims of a project and meaning behind it, and I see it as a skill worth expanding and developing further in relation to design. Furthermore, some aspects of the framing part I only realised or understood later in the process which led me to refine my line of inquiry multiple times trying to comprehend what it was I was trying to communicate on my site with my proposal and the initial vision I had about the project at the beginning was changing as the project was gaining more and more detail. Throughout the entire process of developing my design proposal I have felt greater interconnection between different aspects of technology, theory, creative thinking, and design itself compared to previous projects. My approach was more holistic and I rather than linear and chronological my process became more fluid by thinking and working across different scales at the same time and integrating aspects of technology and theory in all stages of my process. I started forming my design with materials and tectonic expressions already in mind, which I believe helped me express my ideas more strongly. ARC3013 Technical report has even strength-

ened this interconnection allowing me to dive deeper into thinking about how my building responds to the physical context of my site and how well integrated my environmental strategy is. It tested my approach to materials and structure as a key driver of the atmospheric expression and made me realise the complexities that lie behind the apparent simplicity of building details.

ARC3015 Theory into Practice

THE OUTLOOK TOWER

One of Geddes’s aims was to encourage environmental consciousness of the inhabitants of the city in order for it to become part of a planning strategy. This has been pursued through participation in surveys, exhibitions, civic museums, but also as immersion in the real environment of the city and region.7 These principles had been realised in The Outlook Tower in Edinburgh, Geddes’ exhibition promoting education of the citizens about the city and its region and their relationship to the environment.8 Outlook Tower consisted of systematically interconnected spaces exhibiting evolving connections in the city over the course of history with the aim to merge the conception of the past knowledge with visions for the future. It was accompanying the content of the exhibition, which displayed the past development with the actual current views of the regional environment.9 Each floor of the tower was exhibiting specific scale from the world to the city itself and was complemented by camera obscura located at the top, where the view of the city was provided. There was a strong connection between the built form and situating user within it. A great emphasis was put on a building as a tool, through which place can be experienced. The Outlook Tower had been synthesizing knowledge about a place through controlled curation of perception.10

LEARNING A PLACE

Developing approach to place in design of an exhibition space

7 Pierre Clavel and Robert Young, ‘“Civics”: Patrick Geddes’s Theory of City Development’, Landscape and Urban Planning, Special Issue: Planning living cities: Patrick Geddes’ legacy in the new millennium, 166 (2017), 37–42 <https://doi. org/10.1016/j.landurbplan.2017.06.017>. 8 Joshua F. Cerra, Brook Weld Muller, and Robert F. Young, ‘A Transformative Outlook on the Twenty-First Century City: Patrick Geddes’ Outlook Tower Revisited’, Landscape and Urban Planning, 166 (2017), 90–96 <https://doi.org/10.1016/j. landurbplan.2017.05.015>. 9 Cerra, Muller, and Young. 10 Federico Ferretti, ‘Situated Knowledge and Visual Education: Patrick Geddes and Reclus’s Geography (18861932)’, Journal of Geography (Houston), 116.1 (2017), 3–19 <https://doi.org/10.1080/00221341.2016.1204347>.

Karolina Lutterova Studio 8: Curating the City Student number: 180366679 6

It ‘captured his (Geddes’) particular way of doing geography, whereby a proper synthesis and analysis could be obtained only through disciplined forms of looking and feeling”11

camera obscura, view of the city

In my design I take inspiration from Geddes’s theoretical thinking as a base for the design decisions. As part of a design process, it could be implemented as a research method and ethical basis, realising wider and long-lasting impacts of the building on the environment. It can serve as a way of seeing and approaching place beyond the WHS of Saltaire. Furthermore, the execution of the Outlook Tower as a means of environmental interpretation through architectural form was also driving the vision of an atmosphere and relationship I want to create between the programme of the building and the place it is located in. The ideas of the Outlook Tower and its consolidation of the micro and macro scope through spatial composition could become a framework that would become relevant to the designer as a decision maker as well as the user of the building.

EDINBURGH the exhibitions

SCOTLAND LANGUAGE EUROPE

the observed place Edinburgh

WORLD

Fig 4: Schematic elevation of the Outlook Tower showing the organisation of the exhibition.

Ferretti.

Theory into Practice Essay

A collage helping me in thinking about what I was striving to achieve with the design

In the context of architectural profession, the studio work helped me realise multiple implications architecture can have on the development of a city and community within it on a specific heritage site. I became aware of the challenges of extensive preservation and how it can hinder evolution of the community but also the power of architecture to introduce new identity to the place. I realise that the responsibility of the architect is to navigate between the two to find a balance between progress and preservation of either tangible or intangible heritage based on socially, environmentally, politically responsible decisions.

Fig 1: Structural sequence from ARC3013

One of the early structural explorations

1. FRAMING The framing phase allowed me to immerse in the context of the former industrial town and curren World Heritage Site, Saltaire. Since most of this phase consisted of groupwork, it allowed us to collect a great amount of information and research the place into a great depth. In groups, the studio explored Saltaire through the themes of memory and critical preservation, visuality, eco assemblage, urban form as well as site modelling, which were then synthesised into individual responses to the site. The framing phase was very research intensive, which gave me a new perspective to design concept development. I have previously relied more on observations and experiencing the site. However, through this studio I learned to form an approach to a site more through research and theory, which I believe could be an asset for me as a designer in the future. I was simultaneously part of two groups. One responsible for 3D modelling as well as one researching Saltaire through the theory of eco-assemblage. The 3D modelling became my primary endeavour and did not allow me to immerse myself into the intellectual depth of the research as much as I would have liked. I feel that this might have impacted the way I then continued to synthesize the studio themes, which I found really challenging. However, having to model the sites in Saltaire gave me a good understanding of the spatial relationships and its urban form, which later helped me in producing my design proposal.

FRAMING

Memory and critical preservation One of the themes explored through the studio group work was critical heritage preservation theory. The theory deals with memory and ways we can preserve the history of a site while at the same time allowing for its appropriation to the current challenges and needs of the society and the place. This area of preservation points out the importance of inclusion of wider issues in the highly controlled built environment and its struggle to address more complex issues of the public life and natural environment. 1 The cities and their inhabitants constantly evolve and regulating effects of this evolution on the urban fabric could inhibit the progress of the community. In Saltaire, the question of invigorating the site is crucial for the contemporary cultural expression that is endangered by the strong emphasis on the memory without considering the current changing identity of the place. Furthermore, the site is adapting to the new purpose as the former industrial site transformed into a tourist destination. It is, therefore, important to find a sensitive balance in preserving the history and memory while introducing a new function to achieve a livelier sustainable community.

servation are mostly focused on programme related to the arts. Saltaire is often criticised for its lack of variety and opportunities for active engagement of the tourists. There are also sites which lack preservation, that offer possibilities for a more contemporary approach.

Challenges of heritage preservation in Saltaire

Original use

Access

Ensure that disabled access is usable and does not limit user experience

Areas that underwent interventions in critical preservation serve purposes of arts and

Information about the history of the site must be unbiased and the user should be awar of the hardships people faced, as well as t the success of the village

culture.

industrial

Life

The a ea lacks Iive and vibrancy, and this must be changed to ensure a brighte future

Upkeep

The upkeep of the site as historically accurate is important, but the site must grow with modern developments in order to stop fading away

culture and education retail and residential

industrial

sports and leisure

culture and education Current use

retail and residential sports and leisure

Areas lacking preservation strategy are mostly the former workers’ houses, river and canal as well as the waterfrotnt.

�

Change

Systems must be put in place to facilitate the culture of shows, markets and festivaIs in order for them o continue

Areas addressed through progressive con1 Tim Winter, ‘Clarifying the Critical in Critical Heritage Studies’, International Journal of Heritage Studies, 19.6 (2013), 532–45 <https://doi.org/10.1080/13527258.2012.7209 97>.

FRAMING

Eco-Assemblage

Green belt around Saltaire is a very important part of the valley ecology as well as its visual identity.

Development of Saltaire took place in a rural location outside of Bradford due to the aesthetic and health and wellbeing benefits of nature. The green belts to the north and south of the site are still important ecological, aesthetic and environmental benefits of the valley in which the village sits. The Mill was built by the canal due to the convenience in loading and delivery. The water from the canal was also used as a cooling system for the machinery. Part of the studio research analysed Saltaire through the theories of Scottish urbanist Patrick Geddes. The ecology of the site formed the settlement as well as the industry in Saltaire, could be translated into Geddes’ place - work - folk theory. This can be understood as an interconnection between ‘environment, mind, and settlement pattern,’, where one affects the other in a mutual relationship. As much as the people can affect the environment, the environment can determine occupations resulting in a symbiotic assemblage.2 With the downfall of the textile industry in Saltaire, this relationship changes. It is, therefore, important to explore its variations of how future development, At present mainly based on tourism, could benefit from the local ecology.

2 Theodore S. Eisenman and Tom Murray, ‘An Integral Lens on Patrick Geddes’, Landscape and Urban Planning, 166 (2017), 43–54 <https://doi.org/10.1016/j.landurbplan. 2017.05.011>.

3 Protected view 12.1 George Street

Green Belt 2

6 Protected view 13.1 Mary Street

Original composition 1 Salt’s Mill 2 housing for workers 3 church 4 school 5 institute/club 6 infirmary 7 Roberts Park

FRAMING

Freshwater and industry Looking at Saltaire through the lens of eco-assemblage, it is apparent that freshwater infrastructure played an important role in the urban development in the area.

Saltaire in relation to the Penines

urban area Scale 1:200000 0

20 km

historical mill industry surface freshwater Saltaire

Saltaire in relation to the Leeds Liverpool canal

FRAMING

History on the waterfront

Development of Saltaire The water infrastructure in it is an integral component of the urban form and its cultural and historical importance, therefore must also be addressed in preservation strategies. Historically, the first settlements of Shipley were constructed at the edge of river Aire. The first record of a mill, which was later replaced by the Hirst Mill dates to 1249. The mill mostly served for corn processing and fulling, in which the water was used to power the wheel of the mill as well as in the process of washing and the cloths.

1850

Until the 17th century, two other mills were constructed on the river Aire one of whichwas then turned into the Salt’s Mill. Water could be regarded as an essential placemaking feature of the location.

1890

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Karolina Lutterova

University of Newcastle

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Karolina Lutterova

University of Newcastle

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Karolina Lutterova

University of Newcastle

PROJECT FRAMING

SITE DECLARATION

Ward

Bdy

The site for the programme is located further from the WHS boundary. It is characteristic for its relationship with water infrastructure surrounding it which informed the programme for the building. It is located in a less urbanised area of Saltaire. It is currently occupied by allotments and a greenhouse. From the North and the South, it is framed by river Aire from and Leeds Liverpool canal. Furthermore, there is extensive vegetation around the site especially from the side of the river as well as from the east, where the trees separate the site from the sports grounds.

Und

CP C Tk

Ward

Ward Bdy

Bdy

Ward Bdy

Def

Tk W

Ward

Bdy

Wa rd

Bdy

Und

Ward Bdy

2 Ward

Bdy

Ward

Bdy

Boundary Stone

Ward Bdy

War

d Bdy

1 The site 2 World heritage site boundary

FRAMING

Old Hirst Mill 1

residential Aqueduct and sewer/gas main

past

present 6

weir Allotment gardens 5 4 3 2 1

Hirst Woods Nature Reserve Hirst Wood Regeneration Group - community led initiative ngaged in the preservation of local ecosystem 18

Hirst Lock

Fig2: Views of the site

FRAMING

Recreation

Views

One of the evolving potentials of Saltaire is sport, leisure and recreation along the waterfront, which could be enhanced and provide more experiential variety that the site currently lacks. Furthermore, the site connects directly to the cycle route and a building serving as an attraction could promote more frequent use of it.

Appendix 7 of Saltaire World Heritage Management Plan outlines a contributory view from the site onto the skyline of saltaire with its key monuments. It will be important to take into consideration enhancing the view and avoiding its obstruction.

1 2 3

Leeds - Saltaire cycle route

100

200

300

400

500m

1 - Church 2 - Chimney of the Salt’s Mill 3 - Victoria Hall

Activities on the waterfront

Hirst museum and swimming pool

FRAMING

The proposal ephasizes the value of natural environment in relation to its history and identity of the place. It focuses on the water as a key element around which the urban and natural ecology evolved.

PROGRAMME

main provisions, m2, function

WATERFRONT CULTURE CENTRE

exhibition halls

knowlegde exchange

650 m2

150 m2

100 m2

viewing lecture hall lobby gallery

100 m2

800 m2

100 m2

cafe/restaurant

swimming pool

changing rooms

tourists, visitors Saltaire community and Hirst Wood Regeneration Group

Natural swimming Providing a facility complementing the area with a developing potential as a leisure and recreation hub attracting visitos. Swimming pool is aimed to serve wide range of users as it is an activity suitable for most people regrdless of physical attributes or impairments. It would be a facility which the local community as well as school could benefit from since the nearest swimming pool in Shipley is lacking maintenance and capacity. Furthermore, charged with experiential quality, it could offer an alternative ways of tourist engagement.

Museum exhibition Exhibitions showcasing how water formed the production and industry in Saltaire and wider local area of Shipey. They would documment the use of mills for textile production as well as corn processing and paper manufacture. Exhibitions would also explain historical development of the site and how all production from the local area focused in Saltaire and production in other places deteriorated. The aim of the museum is preserving the history of the place and water infrastructure and translating it to the visitors in order to enhance their experience of the environment providing a knowlegde base through which it would be perceived.

S o e

knowlegde exchange

Space for community participation encouraging regular events such as talks, lectures for the public.

-interactive display of mill technology - samples of past local products

Providing visual connection with the location - inspiration from Geddes’ use of exhibition and knowledge application

-large swimming pool 25m, 6 lanes - smaller recreational pool

knowlegde exchange

tourists, visitors

community and Hirst Wood Regeneration Group

Swimming facilities as an opportunity for repeated response to the environmental engagement issue Swimming facilities as an Saltaire

Saltaire

opportunity for repeated engagement Saltaire

Saltaire community and Hirst Wood Regeneration Group

response to the environmental issue response to the environmental

ren

visitors from local area visitors from local area

renewable energy source

issue

Uses of water in production and as an energy source exhibited through historical machines and examples of products

Building itself can be considered as an educational tool putting an emphasis on the issue of climate crisis through demonstration of the use of water as an energy source to reduce carbon footprint of the builidng and the energy-demanding pool facility. Reintroducing the waterfront as a recreational area in contrast with the industrial use. Swimming pool supports and enhances the experience of the waterfront environment.

FRAMING

Approach to the place Readings about the theories of Patrick Geddes have inspired me to pursue an approach deeply rooted in a place. One of the key interests to me was his use of exhibition, especially the Outlook tower in Edinburgh, which explored its context on different levels and used real landscape as a part of the exhibition. The embodied experience of a place and its contextualisation within history, geography and ecology are key drivers of my design. The idea of outlook tower inspired me to contemplate the atmosphere and engagement between the visitor, building and landscape on different scales and how the buildign can curate this engagement.

EDINBURGH SCOTLAND LANGUAGE EUROPE WORLD

FRAMING

PRECEDENTS Herzog & de Meuron, Naturbad Riehen

Biesbosch Museum Island / Studio Marco Vermeulen

Inspiration for the technological solution of the swimming pool requirements. The natural swimming pool by Herzog and De Meuron provides safe swimming without use of chemicals or machinery. Naturally filtrated lake keeps clean using water plants as well as layers of gravel, sand and soil. Energy use is the main contributor (87–94%) to the total environmental impact of swimming pool as compared to chemical and water use (6–13%)3.

The museum is mapping historical development of the region, therefore inspiration could be drawn from the way it is organised in the building. It forms very distinctive landscaping on the site and integrates parts of the landscape into the internal exhibition.

Fig3

Fig6

Another approach to natural pool is mechanical filtration.

3 Anber Rana, Roberta Dyck, Guangji Hu, Kasun Hewage, Manuel Rodriguez, M. Shahria Alam, and others, ‘A Process-Based LCA for Selection of Low-Impact DBPs Control Strategy for Indoor Swimming Pool Operation’, Journal of Cleaner Production, 270 (2020), 122372 <https://doi. org/10.1016/j.jclepro.2020.122372>

Fig

Fig4

Fig5

FRAMING

Section through the site with the initial programme organisation

Canal and Hirst Lock active exhibition piece

view

museum

swimming pool

hydraulic energy 28

2. TESTING During testing phase I started negotiating the physical context of the site. Due to it being quite unconstrained, at first, I was struggling finding the right approach to the massing and positioning of the building. However, by returning to the themes from the framing phase I have started to establish a response to the eco-assemblage issues. Using the full potential of the site to minimise environmental impact of the building’s operation became a priority. As part of the response to the integration of the building in the context, I found it important to explore different tectonic and material approaches to guide the development of the plan and form as well as atmospheric qualities. I have tested different plan variations on different scales across different media to achieve a version that would best blend into the context and provide engaging experience for its uses.

TESTING

INITIAL MASSING

TESTING

The main struggle with the initial massing ideas was the lack of constrains on the site and for this reason most of the attempts appeared isolated. The most successful idea was to branch out from the main building volume all the way towards the canal which would guide the movement of the user. Another key result of massing is the element of the tower, which enables a visual connection between the site and Saltaire. I found it useful to test the massing through 3D models as it allowed me to analyse how it affects the site quickly and relatively accurately.

TESTING

TECTONICS In an early stage I started thinking about the materiality as the key driver of the spatial composition and expression. The idea was to treat the site as a part of the exhibition space and I tried to approach it by developing a contrasting a light transparent volume with smaller solids within it.

The contrast between inward vs outward oriented spaces

Fig7

Fig8 Petr Stolin Architekt, Nova Ruda Kindergarten

Light transparent envelope - glass/ polycarbonate

Heavy solid loadbearing structure - CLT

Fig9 Lewis Arts Complex, Steven Holl Architects

TESTING

ITERATION 1 Looking at the first iteration of plans, I begun to develop a response to the site boundaries and lack of constrains mainly through the external lido. I also started to develop a massing that after putting it in the context against the surrounding buildings, it worked well on the site. However, there were flaws in the plan of the museum, which appeared to be too fragmented and not responding to the requirements of the user well. Furthermore, after testing it in 3D, the tectonic expression did not seem to be as dramatic as in the precedents.

Development sketches

Site plan Upper Floor

Ground Floor Testing model

TESTING

ITERATION 2 After researching the ways natural swimming pool could be powered indoors, I decided to test this option as well. Moving the swimming facility inside it allows better acces and assistance for the handicapped and enables more users to benefit from it.

Diagram of utilising renewable energy source to mitigate the environmental impact of the swimming pool

The site chosen is relatively large and, therefore, as a part of the site strategy, we have attempted to create a masterplan, which would connect three studio proposals together. The programme of all three was highly complementary, however after testing the strategy, we have encountered multiple problems about it. Firstly, since the designs evolved quite rapidly, it was difficult to keep track of the changes and update the masterplan accordingly together with all studio members involved. Secondly, after testing it, the rural character of the site was very unsuitable for such a dense proposal. Finally, we have decided to incorporate a landscaping aspect to each design proposal instead, which would enhance the place and its context. Had been pursued at an earlier stage and on an extended site, the idea might have been successful, furthermore, the collaborative process was useful and enjoyable.

conventional swimming pool

Variations of a natural swimming pool pool vegetation building conventional swimming pool

natural swimming pool

conventional swimming pool

natural swimming pool

TESTING

Merging the two programmes into a single building volume resulted in a more density in the plan and an emerging narrative. The increase in spans of the spaces has informed new material and structural explorations.

7 13

12 3

5 4

1. lobby 2. cafe 3. kitchen 4. wc 5. swimming pool 6. changing rooms female 7. changing rooms male 8. pool filtration pond 9. gravel bed 10. garden 11. service unit 12. lifeguard’s room 13. emergency room 14. tower entrance 15. terrace

Ground Floor

4 9

7 5

1. 2. 3. 4. 5. 6. 7.

Upper Floor

exhibition space study/library office office exhibition room lecture room exhibition - water in textile production 8. exhibition - early mills 9. storage 10. wc

TESTING

PRECEDENTS Freemen’s School Swimming Pool / Hawkins\Brown

Salburúa Nature Interpretation Centre / QVE Arquitectos

Fig15

Fig16

Inspiration in emphasis on materials and connection with the outside. Buidling utilises loadbearing timber structure for both its aesthetic and environmental qualities. Timber structure reinforces the connection with the outdoor vegetation and offers a sustainable and durable solution for the indoor climate.

Fig10

Fig11

Herringbone Houses / Alison Brooks Architects

Sports Centre in Sargans / Ruprecht Architekten + HILDEBRAND This precedent further inspired the structure of the buildig after increasing the spans of the beams. The building incorporates modern means of construction with prefabrication with a modern austere exterior expression but through materiality and visual connections it is rooted in the site.

Fig12

Fig13

Fig14 Fig17

TESTING

THINKING THROUGH MAKING Through this piece I wanted to explore use of material in creating texturally rich or ornamental elements. My interest was how waste material can be revalued. I tried to apply this approach on the pre-cut timber façade, which would ultimately produce a lot of waste material. I laid out the cut-offs into different patterns that can be used as ornamental acoustic panels inside the building. v

Fig18

regular

fragmented

curvilinear

TESTING

ATMOSPHERE

PLAN DEVELOPMENT

Through the use of 3D model I was exploring how light would interact with the rhythm of the timber structure and produce unique experience.

Developing the plan further, external lido became an integral part of the landscaping strategy. Water is brought into the site and then further into the buildign through it. The iterations show my most common way of working combinig analog and digital drawing. While the digital provided great precision, hand drawing helped me express more softness and fluidity. Combining them, I strived to create a ballance between the two.

TESTING

PROCESS SEQUENCE

site boundary

programme/ spatial volume

massing - solar energy

existing routes

new means of circulation on the site

landscaping

3. SYNTHESIS During the synthesis phase I have focused on best presenting and conveying the aims of my design. I started revisiting my key themes from previous stages and trying to find good representation techniques that would communicate how the design responds to them. The response to place and atmosphere were the key aspects I was trying to visualise. Through the chosen graphic style, I was trying to demonstrate sensitivity of my approach. It was at this phase that I finally saw how the many aspects of the process work came together in a coherent manner.

Note: All work in this chapter is marked as new work, due to my absence at the synthesis review.

SYNTHESIS

Privacy gradient

Semi private controlled environment Controlled public environment Public The landscaping provides meas of enclosing the area of lido in order to protect the facility as well as people.

Circulation and access

Proposal on the site Vehicular access Cycle route Pedestrian routes Site plan 54

140m

SYNTHESIS

Elevation - South 58

35m

SYNTHESIS

Elevation - East 60

35m

SYNTHESIS

3 2

7 5

B 1

2 8

A 1 reception lobby 2 cafe 3 kitchen 4 female changing rooms 5 male changing rooms 6 swimming pool

Plan - Ground Floor 5

A 1 reception lobby 2 cafe 3 kitchen 0 4 female changing rooms 62 5 male changing rooms 6 swimming pool

35 0

The way to the main entrance 63

SYNTHESIS

12 11 11 1

3 14

B UP UP

11 wc 12 wc 11 wc 13 exhibition space 12 wc 14 storage 13 exhibition space 14 storage 15 balcony 15 balcony

Plan - First Floor 64

35 0

30 35

Atmosphere of the indoor pool 65

SYNTHESIS

17 23

16 20

19 DN

13 exhibition space 16 office 17 library/ study 13 exhibition space 18 lecture room office 19 exhibition16 space 17 library/ study 20 lobby lecture room 21 exhibition18 space 19 exhibition space 20 lobby 21 exhibition space

Plan - First Floor 66

35 0

5 0

10 10

Exhibition space

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25 20

30 25

35 30

SYNTHESIS A

Plan - Tower 68

Viewing tower 69

SYNTHESIS

Routes

circulation

Museum

12 11 1

3 13

auxiliary space

exhibition space

library/study lecture room

cafe/ lobby

changing rooms

11 wc Swimming pool 12 wc

13 exhibition space 14 storage 15 balcony

swimming pool 0

views

external routes light and heat gain

Programme analysis 70

2 8

Section AA 72

1 reception lobby 2 cafe 3 kitchen 4 female changing rooms 5 male changing rooms 6 swimming pool

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215

410

35 14m

SYNTHESIS

SYNTHESIS A

2 8

Section BB 74

1 reception lobby 2 cafe 3 kitchen 4 female changing rooms 5 male changing rooms 6 swimming pool

100 0

215

410

35 14m

SYNTHESIS

Detail section 76

SYNTHESIS

SYNTHESIS A

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Section CC 78

1 reception lobby 2 cafe 3 kitchen 4 female changing rooms 5 male changing rooms 6 swimming pool

100 0

215

410

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SYNTHESIS

CULTURAL BIBLIOGRAPHY Reading The readings I have been engaging with are mostly focused on perceptions of space through senses, atmospheres and experience. These themes have guided my design work.

Architectures of Sound Michael Fowler

Films

Atmospheres Peter Zumthor

Thinking Architecture Peter Zumthor

Podcasts Ikony - Icons of Architecture is a docummentary series about important modernist Slovak architects and their work. The docummentary was very inspiring as a beautiful portrayal of seemingly mundane and familiar spaces.

The Eyes of the skin Juhani Pallasmaa

Walking on Water Learning about the influence that manmade structure can have on a place

99% invisible This podcast has acquainted me with many surprising topics regarding design over the course of the year and is a constant inspiraiton in how to find connections between things and look at things critically.

Summer School of Timber Building By attending a 2-weeks long workshop on building with timber I gained a unique experience of working in a team on the entire project. I have been engaged in all stages of the desing from the earily concepts to technical development as well as construction. I have learned a lot about timber joinery, which we incorporated into the design of the object, which in the final stage consisted of more than 400 hand-carved timber joints. This experience has impacted me as a designer and I have used a lot of the methods learned as part of this workshop across modules in different stages of the year.

Site visits RIBA Future Architects Sketching Workshop

Museum of the History of Polish Jews, Lahdelma & Mahlamäki + Kuryłowicz & Associates, Warsaw

The online workshop about free hand sketching helped me gain confidence in my hand drawing skills and my own personal style. I feel that I have been heavily relying on the digital media in my process and this ws a great opportunity that made me reflect on my ways of working. Incorporating sketching and hand drawing into design testing helped me quickly analyse the design and come up with amendments.

Visiting the Museum of Polish Jews was a very masmerising experience. I took a lot of inspiration from this site visit. I experienced it as an architectural place full of meaning and reflection.

Elektrownia Powisle, APA WOJCIECHOWSKI ARCHITEKCI, Warsaw

Sketch of my design in context produced during the workshop.

Elektrownia Powiśle is a historic complex converted into cultural and service hub. Former power plant was renovated and transformed into a shopping mall. While retaining a vast portion of the original structure the original character of the building was preserved. I enjoyed the contrast between the new uses and the form of the building as a reminder of the historical context of the site. It was also very useful to observe a successful example of repurposing an old structure

THEMATIC CASE STUDY REPORT

INTRODUCTION

T STUDIO 8 CURATING THE CITY GMIT Furniture College Letterfrack, Ireland - O’Donnell + Tuomey Ching Yee Jane Li Jamie Ryan Bone Karolina Lutterova Yuen Man Cheng

he GMIT Furniture College, located in Letterfrack, Ireland, is a educational institution for furniture and technology located on a significant landscape of the Letterfrack village. Designed by O’Donnell + Tuomey, it was formerly an industrial school with an unforgettable history. By retain the past elements and progressing towards the future, the new face given to the building has provided improvements and careful considertations on different aspects. This report will introduce the crucial elements on the site context, history, the architects’ theoretical position while comparing with other practices, investigating how the furniture has transformed the site into an dominant educational resource in the 21st century. Through researching, it also provides a better understanding on our own studio themes of heritage and environmental issues.

Q1, How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape(s)?

GMIT Furniture College Letterfrack, Ireland O’Donnell + Tuomey Located in Letterfrack, Ireland is the GMIT Furniture college. Letterfrack is a small village located on the West Coast of Ireland with a small popultion. The Architects were tasked with renovating college to fit better with its surroundings. This is due to the college having a bad repuation for itself as it was seen as non-inviting and did not provide a positive feeling. A1

With Letterfrack being in such a secluded area, the Architects did not have to give so much consid-

On this page are diagrams showing the topography and lanscape of the site. In the centre is where the campus of the College is located, where massing of the main buildings of the campus have been modelled. As can be seen, when looking west on the site, a backdrop of the lanscape is not visible due. This is due to the landscape levelling off to sea level meeting the coast. When looking East on the site, the hilly landscape is visible and dominates the view of the campus. This is why the eastern view was one of the most important for the Architect as this was the view affecting the site they had to work with the most. This is a similar case with the southern view, but the effect is not as dramatic as the one caused by the East. The northern view again does cause impact the Architects design as the landscape gradually increases in height and does not directly effect the site like the view from the East. This can be seen in the Section and Elevation on in the drawings below. Below is a West Site Section and an East Site Elevation. These too also show the landscape and context in relation to the site. The section is cut through two of the buildings on site. The elevation shows how dominant the landscape is on the site and how the new buildings have been shaped to corrospond to this.

As part of the renevations required by the client, there was a proposal for two new buildings to add to the site. This made it easier for the Architects to fit the brief as they could start from fresh. Therefore, they created two matching buildings that almost mirrored the shape of the landscape. they took the varying edges to replicate the varied contours present in the context. This idea is shown by this simple massing diagram, showing the resemblence. Then the image to the right shows this idea in practice. The newly designed building can be seen at the right side of the image and shows the relevance this shape has to the landscape.

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eration for neighbouring landmarks but mainly its relationship to context and the landscape. As the landscape was the main focus, it was important for O’Donnel + Tuomey to provide their project with a strong relationship to this. They did this by firstly designing two new buildings to be added to the site making up two workshops. The remaining buildings were to remain but to be renovated to provide a new aesthetic. A variety of Architectual skills were used to create this new aesthetic which are explored in this section of the booklet.

The site was close to demolition. With the site providing such negative opinions and reminiscing on a poor area that was Letterfrack. O’Donnell and Tuomey saw potential in the site. These are both Architects that work well with providing a site with a new aesthetic. When officials came to the conclusion that the site was to remain and not be demolished, rules were set to what could and could not be done to the site. This was to ensure that

A6 West Site Section

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East Site Elevation

Gmit Furniture College, O’Donnell + Tuomey

Jamie Bone

The renovations can be seen in parts of the section and elevation drawn. Although not they’ve not been coloured, you are able to see where the Irish Green Oak has been used. As said above, this is done to add more relevance to the site of the surroundings and this is done throughout the site.

The next way the Architect linked the building to the site was its exterior finish. You can see for the rest of the site, the buildings are constructed by brick finished in a light paint. The issue with this is that it does not relate to the surroudning site context. Therefore, O’Donnell and Tuomey created a new aesthetic by using Irish green oak as a finishing material for the exterior of the building, which came with many advantages. Importantly, the colour matched the landscape and the colour of the wood would age and weather in time with the landscape.

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The two images above are taken at different times of the year at different times of the day. They are both great examples of how the new structures react with the landscape, allowing a new and modern building to blend in well with a historic site. This was the Architects full intention.

the history and heritage of the site was preserved. The Architects worked closely with officials of the area to agree what changes would be done to the site to preserve the history but provide a better aesthetic. O’Donnell and Tuomey had the desire to add new buildings to have something linking directly to the site, as well as adding their own touch. Being a very rural area, it was important to not over-haul the area with modern Architecture that would not fit in. O’Donnell and Tuomey were chosen to undertake this as they had proved to be very good at this type of Architcture before.

Jamie Bone

As well as the addition of two new buildings, the remaining site had plans to be renovated, both on the interior and exterior. Although there was little flexibility for the shape of the existing buildings to be changed, the idea was to change the appearance of the facades. By doing this, it allowed users of the college to have a more inviting experience of the site with warmer materials to be used such as wood rather than cold traditional methods such as Brick. Gmit Furniture College, O’Donnell + Tuomey

Jamie Bone

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Gmit Furniture College, O’Donnell + Tuomey

The image to the above shows a building on the College campus that has been renovated. The building was pre-exisiting to the site but has been renovated both in and out. Again, Irish Green Oak has been used on the exterior as a means of relating the the building to the surrounding site and context, also shown in the large drawing of the section at the top of this page. Jamie Bone

CHING YEE JANE LI

TOWARDS A PROGRESSIVE CONSERVATION AND EMBODIED READING

‘There had been no intervention on the site for 100 years…We had to find some way of owning it that would protect it for the future.’

- Kieran O’Donohue, Director of Connemara West 13

‘Some buildings have savage histories. Histories that can leave a place in need of a kind of architecture exorcism, a project of redemption. In Letterfrack, life was overshadowed for much of the last century by a repressive industrial school at its heart.’ Since its closure in the 1970s, the village and the institution is being redesigned by the community to secure its future. O’Donnell + Tuomey, the architects who has long connection with Connemara, has look into to the site both practically and emotionally to provide positive conservation of the history in their design and at the same time giving it a modern and forward-looking identity, so that the proposed function and architectural design could combine to transform the outdated 19th century institutional building into an dominant educational resource for the 21st century.

etterfrack was a poor and neglected area until the James and Mary Ellis settled there in 1849 and founded the town as a relief to the horrors visited on the locality during the Famine. Under Ellis’ goverance, the land had became a village with better living condition and vibrant social and educational development. However, when James Ellis’ health failed in 1857, he sold the land to John Hall, an advocate of the Irish Church Mission Society. Later in 1882, the Christian Brothers were asked by the Archbishop of Tuam to establish an industrial school at the site. The school opened in 1887, forming three sides of a square of 50 metres each direction, and was composed of three dormitories, aband room, five classrooms, kitchen, refectory, washroom and laundry. The institution was built as part of a nationwide program of penal reform, providing skills training and discipline for children from the urban slums. The harshness and cruelty that became endemic in this system of incarceration is one of the social scandals of modern Irish society. After the reformatory closed in 1974, the Connemara West, a community-owned development organisation in County Galway has bought the site, with an intention to transform the site into a more positive future.

When O’Donnell + Tuomey was selected to represent Ireland at the Venice Architecture Biennale in 2004, they showed the first-phase constructions of the college by installations based on the project. The works they exhibited have great linkage with the current furniture college structural and verbal communication. The timber structure, the cross-braced frame containing a stairs, the red-ovide steel, the tin shed in the landscape, all these motifs first appeared in the Irish Pavilion.

Sheila O’Donnell and John Tuomey, who were appointed to redesign the site, tried to learn more about the landscape forms, textures and colours, and the community’s needs on both practical and emotional aspects. Demolition was an consideration first came up, as the terrible background of the building had to be taken out of the village and be reconstructed, so that its clear and simple spaces could be free from the previous sorrow and allow a more positive and productive future. However, after a series of public meetings the community thought that the building should be kept, as it was crucial to retain aspects of each different sides of the site’s history. Nonetheless, the first move was to take away some of the forbidding formality of the school, along with the designs of dramatic view buildings, including the machine hall, furniture restoration hall, library and cafeteria, which are now completed and in use. They formed a second phase of development, a redemptive programme of subtraction for the previous building,

‘We don’t want to leave ghosts in the old building. We have to take the old building with us.’

- Tuomey

In Donnell and Tuomey’s design, the new furniture college for Letterfrack not only created a place for learning, but also a whole context for the story of Letterfrack and its people.

Fig 1 - A drawing done by Donnell and Tuomey during their visit in Letterfrack, illustrating the view from mountain and their first thoughts of design strategy.

The first noticeable change in the site is the entry into the area. The once rigidly straight path leading from the village to the front door is removed (Fig 2), and the symmetry has been shifted with the axis changing into a curved line in the site, forming a softer, more circuitous approach (Fig 3), the new forecourt upon entry opens up the enclosed form of the courtyard plan, which has effectively helped with changing the atmosphere of at first sight. On the other hand, the architects were interested in creating aspects of character and atmosphere for buildings in conserving the sense of place and different approaches had been carried out to these senses in the furniture college. They wanted the building to embody the spirit of the endeavor that the people who used the building were involved in, and some of the ways they tried to work with was by considering material, texture and color in buildings. At the same time , the context of Letterfrack had provided a particular opportunity with its significant landscape that the building is situated in.

Besideds, there are also old buildings around the site that have their own character and atmosphere, in order to link and combine them with the new college, the architects not only looked at the forms in the landscape but also at the colors and the textures. For instance, they collected stones and shells on the local beaches, and making them part of the issues to introduce for the definition of the place. They started to work more with materials which are self-colored to relate to the colours and textures of the landscape, for instance a render for the walls of the building which uses the colors of the stones instead of painted, the color comes from sand and the shells are in the aggregate of the concrete as well as the building. Other external materials like Irish green oak andterne coated stainless steel are also used. Having this kind of color and texture has close linkage with the original landscape, it registered the passage of time in that the buildings weather naturally because they’re not painted rand they’re not coated so they change in time (Fig 5).

In response to the theme of Metaporphosis of the biennale, Ireland’s Pavilion was a transformation of the ongoing redevelopment project of the industrial school in the past century, linking with its later incorporation within a community-generated campus, and displaying the story and changes of the institution. The works attempted to tell the story of the past, present and future of the site. From the installation, we can understand the initiative behind the architects’ design for the furniture college, which is not focused only on the architecture of the new Furniture College but also to provide an overview of the history, culture and landscape of Connemara West to provide a progressive conservation of the area. For instance, the new buildings at Letterfrack stands fofr a reconsideration of the relationship betweeen the former penal institution and the place. Ireland’s Pavilion created elements of the architectural project to introduce characteristics of confinement and release, closed institutions and frameworks for evolution. Principles of form and construction was presented in an abstract form from the built structure of the furniture college, evoking memories of chapels and shrines, lobster pots and the skeletal carcasses of upturned boats.

Open Frame (Fig 7) The timber framed structure of the Machine Hall workshops (Fig 8) was an important principle of building construction in Letterfrack. The Open Frame utilizes similar structural principles, representing an elegant economy, a leaning lattice. In the biennale, the installation of frame is put to work to support three levels of exhibition information (Fig 8); As mentioned by Donnell in Saving Letterfrack, the idea of open frame represents the new buildings, which serves as a deliberate opposition to the Scary House. By calling it the open frame, it means something about the structuring support system that the community project gives in Letterfrack. Scary House (Fig 9 & 10) A different kind of structure stands in contrast to the Open Frame, displaying a more intimate and complex in respond to the previous form. This smaller building is a representation of the built transformation of the site as an industrial school in the past. It was made of two layers with one inside the other, offering the character of a lobster pot- it’s easy to get in but it’s not easy to get out, which the architects considered it as a symbolism of the character of the institution. During the construction, the architects had also refered to the form and structure of some early churches in the west of Ireland like the chapel to St. Magdaro. On the other hand, the construction of the frame relates to boat building techniques from the west of ireland for the traditional characters. Together, these abstract installtion at the exhibition created a forecourt, a point of orientation: the old religious prison as a scary house to be remembered as nightmare of the past with its fearful tilted symmetry, and the open framework of a community college in the wild, opening to endless possibilities, telling the story of an institution transformed.

On the other hand, the tectonic communication of the furniture college has also shows aspects of conserving the history while embracing the future. While demolitation was not carried out for the original site, the architects had worked on various detail aspect to take away the original forbidding formality. Along with the dramatic view buildingsmachine hall, furniture restoration hall, library and cafeteria- that are now completed and in use, they formulated a second phase of development, a redemptive programme of subtraction for the old building.

To remove the sorrowful atmosphere of the space while keeping its form, the secretive staircases and gloomy wainscoting were taken out and the mean central porch and the finial crosses were removed, As a symbolic deconstruction, the high windowsills were cut down to floor level so that the building would be as open to its new forecourt and garden and the greeneries as what happened inside it should be opened to the local community.

Donnell and Tuomey also revealed some subtleties of design: a tall rectangular-sectioned chimney rises from boiler houses on the lower level between the two new buildings, to precisely the height of the small chimneys on either end of the old building, and also with same spacing as them, which decentred the formidable symmetry of the old and adjusting it to the new college. The new library (Fig 14), with a cafeteria below it, was built to take away the gloomy marshalling yard by laying it out up to the glass frontages of the cafeteria as an ‘academic garden’. Besides, Tuomey designed the workshops to lean away from the wind and towards the complex. Leaning towards north allows light to get into the building. Slits of shielded light enters where the roofs change pitch, and internal wall and ceiling lining are sheets of orientated strand board and birchfaced plywood butting together, providing a brighter and warmer space for the interior. Externally, there are nofascias, soffits and gutters except at the entrances which are protected by short lengths of large, clip-on box guttering, left opened at one end to create a water spout. At the same time of all these expressive structures, the past character this place is revealed at some point as a conservation of history. For instance the experience of users in the ibrary, where its lid is raised to provide a view at the mountain (Fig 13). Boys who died in the past institution were buried in the hill above, and the design functions as an memorial to the past, letting users past by the remember this place and reflecting its history before moving on.

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YUEN MAN CHENG

Case study in relation to other buildings of its type

RESPONSE TO THE LANDSCAPE AND ENVIRONMENT Centro di Formazione ProfessionaleSSIC / Durisch + Nolli

TIMBER EXPRESSION SSIC centre valley

Lake Maggiore

The building in relation to its site and surroundings 1.

Ireland’s Pavilion, Biennale 2004 , VeniceItaly Concepts of ‘Scary House’ and ‘Open Frame’

The centre for vocational training by Durish and Nolli brigs a new function to the tourism dominated area of Lake Maggiore without disrupting its identity and similarly to GMIT furniture college it introduces a different economic model based on knowledge transfer independent from the migration to the area. The building is built on a site in a valley, which has a very flat character. The building responds by its linearity acting as a membrane beUniform natural light provision tween the rural and urban landscape and its form is very sensitive to the contours of the land. Similarly to the GMIT College it responds to the nature of the undersite by utilising concrete structure for the base of the building since the site is often flooded. Furthermore, position of the building is affected by providing the natural light for the working space. Furthermore it also utilises very distinctive material strategy for the metal cladding, due to which the building appears undisrupBuildings concrete platform as means of flood prevention tive in its context. In terms of sustainability, wood might be a greener alternative, however, the programme of the vocational training centre involves activities related to metal cutting and joinery, which might be a potential risk to fire safety.

O’Donnell and Tuomey / Sandford Park School, Dublin

Drawing from the Exhibition of the Irish Pavilion in the Venice Bienale, where O’Donnel and Tuomey demonstrated and conceptualised their use of timber form as a means of expression, this approach might be characterised as an important feature of the building type in GMIT furniture college. The use of timber in a similar form as in the GMIT furniture college can be observed in other projects of O’Donnell and Tuomey as well. The way they approach the traditional material relating to the context of the site is more expressive producing a more contemporary effect as well as structural capacity. The timber acts as an evocative element that refers to the site context and history of the traditional building, however it is also means of expression of the new challenging form. This approach to the form of the structure can be observed in the Sandford Park School. Other examples of structural timber trusses communicating aesthetic value might be seen in Alvar Aalto’s Säynätsalo Town Hall.

Säynätsalo Town Hall / Alvar Aalto

Classrooms

Karolina Lutterova

GMIT workshop facilities

Corte Bertesina / Traverso-VighyArchitetti

Blakstad Haffner Arkitekter / Memorial And Learning Centre, Utoya

This case study is a project encompassing environmental, social and agricultural values combining various pr grammes such as an agricultural food processing centre and shop, a bed and breakfast, a visitor’s centre for educational activities and residences. It is also a refurbishment located in a rural area near Viczenza, Italy putting emphasis on the interaction with the landscape as well as historical context. The choice of this precedent wasinspired by the relation of the repurposing of the old strucutre and creating new functions within it. This reconstruction integrates the new structures more deeply into the original one rather than being a pure addition to the existing building volume (see fig. ). The components used in the addition are mostly cross laminated beams and pannels, forming components inserted into the existing structure. However, the building also works with other materials deeply rooted in the context of the place such as the local stone. In the reconstruction of the historical building there was also a consideration for the outdoor space in the immediate proximity of the building cultivating the land and preserving the forest which is a nesting ground for a variety of wildlife. The buildings work in the views of the fields and forests. Furthermore there is also a strong emphasis on the space of the coutryar (see fig. ).

Designing with memory. Re-establishing values of site.

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The building creates a strategy for the re-establishing of a political camp on the island, after the terrorist attacks on Utøya 22 July 2011. The ambition was to reflect and reinforce values such as commitment, solidarity, diversity and democracy, both through form and function. This has been done by establishing a small village with small streets, belfry and a town square on the very top of the island. The village consists of many small units that together ad up to a bigger community. One of the guiding principles of the design that is promoting values of democracy was that violence, threats and hate can only be met by knowledge, debate and tolerance, both as individuals and as a society. The building deals with a very complicated footprint of the past and preservation of the values. In terms of spatial demonstration of this it Memorial and the rest of the village addresses the new buidlding of the memorial site erected in the place as an isolated lement which differs from the rest of the camp (see fig. ). It accommodates the ruins of the original building that stood in that place on the site. The zone between the 69 inner pillars and outer fence creates a cloister. The outer fencing shields the interior of the preserved part of the building. They filter the entry into the building through a charged spatial sequence. The cloister is open between each pillar in the fence for visibility and transparency. But it is also a fence with direction and reticence and clear entries and exits, one feels trapped in the building’s symbolic constituents. Openings to the outside are constant but placed irregularly, they are difficult to find immediately. It cold be seen as another way of addressing conservation and reemberance of the past while at the same time liberating the site of the negative stigma and focusing on the meaning of the values. The structure honours the ones lost on 22.7.11. through telling their stories. This memory will forever be part of Utøyas identity, and will be important 21. also for future generations. The design tries to allow them to create The building complex on the site The original building given a new new, positive memories, so that the history of the place can continue. meaning as a memorial

original structure addition courtyard

Buildign addition strategy in GMIT furniture college

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Integration of the new structural elements in the original structure

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Corte Bertesina in relation to the surrounding vegetation

original structure addition

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Buildign addition strategy in Corte Bertesina

Programme + response

PLACE AND MEMORY

WORKSHOP + TRAINING FACILITY

Workshop facilities

Building blending in with the landscape

ADDITION + REPURPOSING OF A HISTORICAL BUILDING

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This case study relates to the programme of the GMIT college. It is a centre for vocational training accommodating metal workshop, woodworking workshop and building technology workshop and classrooms for other teaching activity. While this building utilises steel beams to support the large span needed over the workshop facility without additional vertical supports (see fig.), GMIT college, in contrast, utilises more complex timber frame construction (see fig.).

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original structure addition

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SSIC workshop facilities

Karolina Lutterova

The interaction of the two buildings 18.

Plan of the memorial building

Layering of the building envelope to emphasise the experience of the place

Karolina Lutterova

LIST OF FIGURES: Question 1 A1 - Aerial view of Letterfrack Furniture College. Available at: https://discover.digitalglobe.com/ A2 - General photograph showing the sites new structures on site. Available at: https://odonnell-tuomey.ie/index. php/furniture-college-letterfrack A3 - South facing screenshot of massing site model. By author, Jamie Bone A4 - East facing screenshot of masssing site model. By author, Jamie Bone A5 - Overall screenshot of massing site model. By author, Jamie Bone A6 - West facing site section. By author, Jamie Bone A7 - East facing Elevation. By author, Jamie Bone A8 - Massing drawing showing shape of new buildings in relationship to the landscape. By author, Jamie Bone A9 - Overall site photograph showing site in relation to its surroundings. Available at: https://odonnell-tuomey.ie/ index.php/furniture-college-letterfrack A10 - Photograph showing colour of building in relation to its surroundings: Available at: https://odonnell-tuomey. ie/ index.php/furniture-college-letterfrack A11 - Photograph showing colour of building in relation to its surroundings: Available at: https://odonnell-tuomey. ie/ index.php/furniture-college-letterfrack A12 - Zoomed in section drawing of the site showing facade detail to relate to surrounding context. By author, Jamie Bone A13 - Zoomed in section drawing of the site showing facade detail to relate to surrounding context. By author, Jamie Bone A14 - Photograph showing how the facade of the building on site has been designed to reflect and fit into its surroundings. Available at: https://www.architectureattheedge.com/sunday/2017/9/15/gmit-letterfrack A15 - Sketch by Architects O’Donnell + Tuomey shoing their proposed renovations to site. Available at: https:// odonnell-tuomey.ie/index.php/furniture-college-letterfrack Question 2 Fig 1- A drawing of design strategy by O’donnell and Tuomey. Available at: https://odonnell-tuomey.ie/index.php/ furniture-college-letterfrack Fig 2- Former entrance path of the institution. Available at: https://uk-database.net/2012/05/09/st-josephs-industrial-school-letterfrack/ Fig 3- Current entrance path of the furniture college. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 4- A view of the site and landscape. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 5- Drawings of the sense of landscape. Available at: O’Donnell + Tuomey: contemporary crafts, p.39 Fig 6- Exterior materials of the college. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 7- Interior of the machine hall. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 8- Concept of the machine hall. Available at: O’Donnell + Tuomey: contemporary crafts, p.42 Fig 9- The Open Frame model at Venice Architecture Biennale. Available at: https://odonnell-tuomey.ie/index. php?p=irelands-pavilion Fig 10- Concept of the open frame model exhibition. Available at: https://odonnell-tuomey.ie/index.php?p=irelands-pavilion Fig 11- The Scary House model at Venice Architecture Biennale. Available at:https://odonnell-tuomey.ie/index. php?p=irelands-pavilion Fig 12- Drawings of the Scary House structure. Available at: https://odonnell-tuomey.ie/index.php?p=irelands-pavilion Fig 13- A view of the furniture college. Available at: O’Donnell + Tuomey: contemporary crafts, p.41 Fig 14- View from the library to the mountain. Available at: O’Donnell + Tuomey: contemporary crafts, p.42 Fig 15- Library’s lid structure. Available at: https://www.gettyimages.co.uk/photos/letterfrack-furniture-college?phrase=letterfrack%20furniture%20college&sort=best

Question 3 p.1 Stella O’donnell+ John Tuomey, https://odonnell-tuomey.ie/team/john-tuomey Initial Sketch of the GMIT Furniture College, https://odonnell-tuomey.ie/furniture-college-letterfrack p.2 Layout of the former industrial school ,http://www.childabusecommission.ie/rpt/01-08.php Letterfrack Industrial School, http://www.childabusecommission.ie/rpt/pdfs/CICA-VOL1-08.PDF New design of the entrance, https://www.gmit.ie/sites/default/files/public/furniture/docs/gmit-letterfrack-newsletter-2019-2020.pdf Comission to inquire into Child Abuse, http://www.childabusecommission.ie/rpt/01-07.php St Joseph’s Industrial School,https://katekelsen.com/2018/03/15/ireland-31-days-31-pictures-day-15-letterfrack/ Initial Sketch of the GMIT Furniture College by O’donnell + Tuomey, https://odonnell-tuomey.ie/furniture-college-letterfrack GMIT Furniture College Letterfrack, https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack p.3 Letterfrack college and its landscape, https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Leicester University engineering building, https://www.e-architect.com/england/university-leicester-engineering-department Steinberg Heerrmann hat factory at Luckenwalde, https://archinect.com/news/article/132034420/let-j-rgenmayer-h-help-plan-your-nexttrip-to-berlin-with-his-own-travel-tips Collage by author Irish Pavilion, http://odonnell-tuomey.ie/irish-pavilion Sketch of Blackwood Golf Centre, https://odonnell-tuomey.ie/index.php/blackwood-golf-centre Model of GMIT Furniture College Letterfrack,https://odonnell-tuomey.ie/furniture-college-letterfrack p.4 Interior of the machine hall, https://www.gettyimages.hk/%E5%9C%96%E7%89%87/letterfrack-furniture-college?phrase=letterfrack%20 furniture%20college&sort=mostpopular external view of machine hall, https://www.gettyimages.hk/%E5%9C%96%E7%89%87/letterfrack-furniturecollege?phrase=letterfrack%20furniture%20college&sort=mostpopular Plan of the Letterfrack College, https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/publications/2002IARLetterfrack.pdf Section of analysis of the machine hall by author Question 4 1. ‘Irelands Pavilion— O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_w1800/ A093_Irelands_Pavilion_02_Photo.jpg> [accessed 14 December 2020]. 2. ‘Irelands Pavilion— O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_w1800/ A093_Irelands_Pavilion_04_Photo.jpg> [accessed 14 December 2020]. 3. ‘Sandford Park School — O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_ w1800/A153_Sandford_11.jpg> [accessed 14 December 2020]. 4. ‘Furniture-College— O’Donnell + Tuomey’ ‘, p. 06 <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/projects/_ w1800/A046_06_Furniture-College_Photograph.jpg> [accessed 14 December 2020]. 5. ‘Gallery of AD Classics: Säynätsalo Town Hall / Alvar Aalto - 4’, ArchDaily <https://www.archdaily.com/783392/ ad-classicssaynatsalo-town-hall-alvar-aalto/56de4112e58eced2d4000136-ad-classics-saynatsalo-town-hall-alvar-aaltoimage> [accessed 14 December 2020].

6. Edited, ‘Gordola’, Google Earth<https://earth.google.com/web/search/gordola+/@46.17347937,8.8913998,202.0 9108449a,27 107.10507968d,35y,0h,0t,0r/data=CigiJgokCb8jJqh4CUtAEXAsb6EF4EpAGdpQf8JQ-vq_Icr8RwxXsAHA> [accessed 14 December 2020]. 7. ‘C Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://archeyes.com/wp-content/uploads/2016/01/ Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020]. 8. ‘ Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://archeyes.com/wp-content/uploads/2016/01/ Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-09-1.jpg> [accessed 14 December 2020]. 9. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ p. <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-09-1.jpg> [accessed 14 December 2020]. 10. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-10.jpg> [accessed 14 December 2020]. 11. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020]. 12. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020]. 13. Edited, ‘2001 – O’Donnell + Tuomey: Letterfrack Furniture College, County Galway – Archiseek – Irish Architecture’ <https://archiseek.com/2002/odonnell-tuomey-letterfrack-furniture-college-county-galway/> [accessed 14 December 2020]. 14. Chemollo, Alessandra, ‘Traverso-Vighy Architetti, · Corte Bertesina · Divisare’ <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 29 November 2020]. 15. Chemollo, Alessandra, ‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14 December 2020] 16. ‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14 December 2020] 17. Chemollo, Alessandra, ‘Traverso-Vighy Architetti,· Corte Bertesina · Divisare’.‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14 December 2020] 18. Chemollo, Alessandra, ‘Traverso-Vighy Architetti, · Corte Bertesina · Divisare’.‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14December 2020] 19. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171238/vaimorcgvy931gb46nfx/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020]. 20. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’<https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171219/roxcc0hhlvwzgedz2tl7/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020] 21. Edited site plan,‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res. cloudinary. com/images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171313/gnoelbk9myu2h2y5wslp/blakstad-haffnerarkitekter-memo-rial-and-learning-centre.jpg> [accessed 14 December 2020]

22. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171211/bpivaubi7ejmepoxee43/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020]. 23. Edited plan, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171295/zzy1usg2x1hmertwxmud/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020] 24. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare ‘<https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171214/njojl0lc33usk8fupfqq/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020]

BIBLIOGRAPHY: (2020) ‘ Commission to Inquire into Child Abuse ‘, Letterfrack Industrial School (‘Letterfrack’), 1885–1974, 1(), pp. [Online]. Available at: http://www.childabusecommission.ie/ (Accessed: 2 DEC 2020).

‘Hampshire Cam UK - The Photographic Rambles of a Retired Photographer’ <http://www.hampshirecam.co.uk/ travels06/travels_nov606.html> [accessed 1 December 2020]

Children’s Home () st Joseph Industrial School, Letterfrack, Co. Galwa, republic of Ireland, Available at: http://www. childrenshomes.org.uk/LetterfrackIS/ (Accessed: 2 DEC 2020). Fernández-Galiano, Luis. O’Donnell Tuomey : Contemporary Crafts. 2016.

‘In Conversation: Sheila O’Donnell + John Tuomey with Kenneth Frampton’, The Architectural League of New York <https://archleague.org/article/conversation-sheila-odonnell-john-tuomey-kenneth-frampton/> [accessed 26 November 2020]

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‘L&L Luce&Light lights up the Corte Bertesina farm’, Archiproducts <https://www.archiproducts.com/ ru/%D0%BD%D0%BE%D0%B2%D0%BE%D1%81%D1%82%D0%B8/l-l-luce-light-lights-up-the-corte-bertesinafarm_61344> [accessed 13 December 2020]

Odonnell + Tuomey (2002) GMIT Furniture College Letterfrack Galway, Available at: https://odonnell-tuomey.ie/ index.php?p=furniture-college-letterfrack (Accessed: 2 DEC 2020). O’Doherty, B. & Tipton, G., 2005. Space: Architecture for Art. s.l.:Circa Art Magazine.

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O’Donnell, S. & Tuomey, J., 2006. O’Donnell + Tuomey: Selected Works. s.l.:Princeton Architectual Press.

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Patsy McGarry (2002) 100 died at Letterfrack school, say Brothers, Available at: https://www.irishtimes.com/ news/100-died-at-letterfrack-school-say-brothers-1.1104242 (Accessed: 1 DEC 2020). Robinson, T., 2009. Connemara: The last pool or darkness. Second Edition ed. s.l.:Penguin. Saving Letterfrack (Steve Simons, 2005) Shane O’Toole (2002) ‘Redemption in Letterfrack’, , 19(), pp. [Online]. Available at: https://s3-eu-west-1. amazonaws.com/odonnell-tuomey-static/publications/2002IARLetterfrack.pdf (Accessed: 30 NOV 2020). WorkGroup, ‘Award-Winning Practice Based in Dublin, Cork...’, O’Donnell + Tuomey (O’Donnell + Tuomey, 2020), https://odonnell-tuomey.ie/ <https://odonnell-tuomey.ie/index.php/index.php> [accessed 13 December 2020] WorkGroup, ‘Award-Winning Practice Based in Dublin, Cork...’, O’Donnell + Tuomey (O’Donnell + Tuomey, 2020), https://odonnell-tuomey.ie/ <https://odonnell-tuomey.ie/index.php/index.php> [accessed 13 December 2020] ‘2001 – O’Donnell + Tuomey: Letterfrack Furniture College, County Galway’, Archiseek - Irish Architecture, 2002 <https://archiseek.com/2002/odonnell-tuomey-letterfrack-furniture-college-county-galway/> [accessed 27 November 2020] ‘AD Classics: Säynätsalo Town Hall / Alvar Aalto’, ArchDaily, 2016 <https://www.archdaily.com/783392/ad-classicssay-natsalo-town-hall-alvar-aalto> [accessed 13 December 2020] ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare.com/projects/335665-blak-stad-haffner-arkitekter-memorial-and-learning-centre> [accessed 29 November 2020] ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016 <https://archeyes.com/centro-formazione-professionale-ssic-durisch-nolli/> [accessed 26 November 2020] ‘Cities Connection Project | VOCATIONAL EDUCATION CENTER SSIC. GORDOLA’ <http://www.citiesconnectionproject.com/project/vocational-education-center-ssic-gordola/> [accessed 28 November 2020] ‘Corte Bertesina’, Traverso-Vighy Architetti <https://www.traverso-vighy.com/en/project/corte-bertesina/> [accessed 13 December 2020] ‘Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://durischnolli.ch> [accessed 14 December 2020] ‘GMIT Furniture College’, Ex-Centric / Architektura Mimo Centra <http://www.ex-centric.eu/cs/galerie/gmit-furniture-college1?type=foto> [accessed 26 November 2020]

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