Max Ge Mingxuan Portfolio by PDF Uploads

Newcastle University School of Architecture. Planning and Landscsape

Max Ge mingxuan

Portfolio

180255856 | Creative Synergies | ARC3001 | Stage 3

Illustrated reflective report

Studio introduction

Framing

Testing

Synthesis

Thematic case study report

124

Appendix

136

Bibliography, references and image list

140

New work

Contents

Amended work

Illustrated Reflective Diary 4

Stage 3 has been a very challenging yet rewarding year for me. The global pandemic has changed the way we work and learn. Although I find it difficult initially due to the changing environment and learning atmosphere, I am pleased to have adapted to the situation well and still made the extra effort to maximise every learning opportunity. Having classes at home for the past eight months can sometimes be depressing due to the lack of interaction with my coursemates and friends and worrying about the quality of learning. However, I am delighted that we still can meet with one another during group work and studio discussions through Zoom meeting. I am also surprised that even with the challenging circumstances, teaching has remained the same standard before Covid, and I did not find it hard to cope with along the way. Now, look back from the start of Stage 3, I am glad that I benefited from all the lessons and tutorials. I am also pleased that my tutors are very dedicated to giving us constant feedback on our design progress.

other possibilities. I am glad that through rigorous testing and guidance from my tutors, my approach to design has improved as I am now more willing to take risks and be more ambitious with my ideas. The community-focused scheme has made me realise the importance of socially responsible architecture that better serves the community as a whole. Ultimately architecture is about people, not buildings.

The journey of stage 3 to me is very different from stage 2 or stage 1. Throughout the year, we only focus on one project instead of two. The longer time frame gives me the opportunity to do more thorough research and analysis for the site and the academy. The research and understanding from the start of the project have allowed me to curate a more comprehensive scheme for my design that addresses my personal queries and interests while developing my own brief. This year I have allocated more time to read and study a handful of case studies and architectural theories that essentially framed my design direction from early stages. The relevant readings and the help of a critical friend provided me with the confidence to write my Theory into Practice essay. The group work and thematic case study during Framing was a good time to bond with my groupmates.

The lockdown and restrictions have impacted my dissertation research as it has reduced the amount of first-hand information I can collect to support my arguments and illustrate my point. I have switched to mainly secondary data and other academic papers for reference. Although, it did not go to plan, I still manage to finish my papers and made some interesting points to support my arguments.

The longer time frame in Stage 3 also gave me more time to test out my design. Although my design concept and themes stayed relatively the same from Framing outputs, I am glad that I still made bold decisions to my later designs and have developed my scheme by testing and exploring

Lastly, I would like to thank my tutors and the stage 3 team for delivering all the necessary support and guidance. The year has been a very fruitful one despite the challenging circumstances.

Working at home has definitely impacted the way I work and approach architectural design. Although there is a significant reduction of my physical models output this year, I have strengthened and explored more methods to represent my work graphically through digital production and hand sketches. I am fortunate that I am in Newcastle during the whole of Stage 3, which allowed me to visit the Site in Ouseburn. Site visit is always very beneficial and important to me, as it can reveal many tiny details that will influence and inspire my design along the way.

Skills built up from stage 2 Crafting Architecture, such as the design and mapping techniques, become handy during the early phases of the project. I also looked for the opportunity to do smaller scale models at home and explored creative ways to plaster casting at home. Technology report has also allowed me to think about design from a more micro perspective, understanding the structural and tectonics of my design. I find that the overall report is very demanding and time-consuming to do as it has many components to complete. However, I am glad that I submitted it on time so that I can focus on the final phase of my graduation project.

Craig Gray and Stella Mygdali

Studio 07

Creative Synergies

The studio’s brief focuses on the central question of what role the institution of education, and the spaces in which it takes place, can play in consolidating and mediating between the transient and established communities. The initial research focuses on extensive analysis into the architectural, topographical, cultural and historical context of Ouseburn, understanding the impact that the proposal has on the residents of Ouseburn and the communities of Shieldfield to the North and Byker to the East. Also, we will be exploring academia, using education and research as a programmatic fulcrum to rigorously test the feasibility of an institution and the tangible benefits it brings to the student community and existing residents in Ouseburn, Shieldfeild and Byker. Based on the research and understanding of Ouseburn and the academy, we will be developing our own brief that follows the studio’s themes of community engagement, Architectural & Cultural Context, Process, Inhabitation, Making/Fabrication, Craft, Research and Sustainability.

Framing

The Framing phase includes extensive research into Ouseburn from its historic, communities and landscape point of view. The readings and weekly exercise provided by the tutors and theory into practice critical friend are very helpful resources as they have provided me with a deeper understanding of the possible negative and positive impacts of regeneration and possible ways to bring architecture and participations together. Framing consists of several group works, and I am glad to catch up with some of my colleagues and visit the site together despite the difficult situation. The highlight of Framing will be the pavilion design, as it celebrates the development from my own exploration and interest of Ouseburn and the academy, which then set my direction for the Testing phase.

Ouseburn

The Ouseburn river is located in Tyne and Wear, England that flows through the city of Newcastle into the River Tyne. The lower Ouseburn Valley was once known as the cradle of the industrial revolution, recent generation has transformed Ouseburn into the most exciting cultural and creative quarter in the North East. The creative quarter attracts an eclectic crowd of creative industries such as artists, musicians, designers, printmakers and brewers. The site historical traces and fragments from the industrial past, the interaction between the past and the present gives Ouseburn valley a unique character and energy that is suitable to work, live or play. A Valley that has something for everyone.

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Site Vist

Historic Context

The Ouseburn Valley was known for its significant role in the transportation of coal from pits in Jesmond to the Tyne in the 18 century. During the Industrial Revolution, the Ouseburn Valley has a high level of industrial activities and factories that contribute to the growth of the local economy. In the 20th century, the postindustrial wasteland slowly turned into farmlands and trees are planted. Later in the 21st century, generation began to take place. Ouseburn went through a striking transformation over the years from a postindustrial wasteland to now a cultural and creative hub in Newcastle. The Ouseburn Valley is now a conservation area with many layers of history and heritage that need to be protected.

Social context

With more and more new developments, social problem such as Gentrification begins to occur in Ouseburn. On the positive ends, Gentrification can attract new creative industries into the area that will contribute to the local economy and dynamicity. However, the new developments may also contribute to the rise in rents and property prices in the area, which will drive out part of the local residents and businesses who cannot afford the increasing expenses. Hence, the role of an institution may be a mediator to address the growing impacts that Gentrification brings to the community of Ouseburn. Understanding of the social context and problems has made me pay more attention to the individual communities in Ouseburn and the possible ways to alleviate the negative impacts.

Landscape and infrastructures

Ouseburn has many layers of history, which manifests through the historical buildings, monuments, and infrastructures. Due to the industrial past of the Ouseburn, it has well-established transport routes, including bridges for train and automobiles, warehouses and factories for industrial activities, a river for boats and transportation routes and an underground tunnel for coal transportations. As we head up to the north of the Ouseburn valley, we can notice the drastic change in the scale of infrastructures. The three gigantic bridges: Ouseburn Viaduct, Byker Bridge, and Metro Bridge, runs across the valley from the City centre towards the Byker area. These bridges were the initial interest that inspired me to think about its function in relation to the context of Ouseburn, which possibly be my starting point to search for the synergies between the academy and the city.

The in-between spaces

To understand the connection between the City and the Academy, the studio started the term with research into different aspects of the academy. Understanding the academy as a whole and its essential link to the pedagogical spaces.

The Academy

When I think about learning spaces, what first came into my mind was the usual classrooms and auditoriums. The ongoing lessons, lectures and tutorials, the space that perhaps has a level of authority, can sometimes be stressful. What I did not realise initially was the learning happening in the in-between spaces around the campus. What I mean by in-between spaces was the transitional spaces; the circulation route from classroom to classroom, the long corridors, the central stairs, the atrium and many more. These incidental spaces often stimulate spontaneous encounters and interaction, which is a more casual and open way of learning. These alternative learning environments become my interest that later reflected in my design decisions.

The Synergies

After the research into Ouseburn and the academy; My initial thought of the synergy would mainly target the existing local creative industries and residents in Ouseburn and the transient student communities from Northumbria and Newcastle University. I can see many opportunities that the aforementioned communities can collaborate and learn, promoting a sustainable collective endeavour in an alternative learning ground where the communities can interact. My interest in Ouseburn lies in the existing infrastructure, particularly the bridges as a typology to connect and promote creative encounters for the different residents and communities.

The site

Pavlion design

The chosen site is at the North of lower Ouseburn Valley between the Byker bridge and Metro bridge right next to the Ouseburn river, with abundant vegetations and trees. The site portion uniquely positioned itself within the partially enclosed boundary created by the two bridges on a slightly sloped topography. The site is on the edge of Ouseburn towards Jesmond and has several pavements that bring people from Sheildfield and Byker down to the valley. It naturally becomes a transitional space with a constant flow of new visitors into Ouseburn and residents exiting Ouseburn. Hence, the site will be suitable to test out my initial interests in the bridges and alternative learning spaces that can make a wider connection with the city and the academy.

15m 5

Initial concept and exploration

To first explore my interests in the form and function of bridges, I began thinking of bridges as more than just a passage crossing over the valley. The primary purpose of the bridges in Ouseburn is to provide more accessible transportation for automobiles, trains and people from the City centre to the Byker area. A bridge is a tool for connectivity, bridging the people from the two parts of the city. My initial exploration of the pavilion focused on thinking of a bridge as an experiential journey that connects the people coming to Ousebrun from Shieldfield and Byker with the residents in Ouseburn. My initial design consists of an exhibition space that takes the shape of a circular loop and a linear form. The main idea of the pavilion is to make circulation spaces into an alternative learning environment where people can walk through and learn at the same time. The pavilion provides opportunities for the local creative industries and residents to display their talented artwork and providing a platform for them to exchange their ideas. Through the journey from one end of the pavilion to the other, users can meet one another spontaneously that generates creative encounters. The bridge pavilion is on an inclined surface that connects the pavement under the metro bridge towards Byker bridge, potentially creating two entrances for the communities coming from Sheildfield, Byker and Ouseburn to meet within the pavilion.

Final proposal

My final proposal for the pavilion takes the combination of my initial exploration. The slender and long pavilion is now separated into two parts, connecting a central circular volume. The long entrance/exit space still acts as a bridging space tying two ends of the site with selves for artwork display. The central circular space serves as a discussion corner that engages the visitors by providing an alternative learning environment within the pavilion.

15m 5

Testing

Through the testing phase, I began conceptualising my own brief and proposal for the institution. More thorough understanding and in-depth analysis have been done to communicate my concepts and narratives. I learned a lot from testing different ideas and variations to my design and moved out of my comfort zone to take up a more challenging and ambitious approach to my scheme. I also enjoyed reading relevant precedents and interesting proposals by architects and theorists that help me to frame my concept in a more tangible and thoughtful way. The testing chapter focuses on the narratives of my design development and documents the step by step progress leading up to the final output in Synthesis.

The academy and the city Teaching/learning Moving on from the pavilion design, I continued exploring the concept of bringing different communities to the site through an experiential bridge journey and moving forward to establish the institute in the chosen site. This concept will support my proposal for the synergies between the student communities from universities and the residents, including creative industries from Ouseburn, Shieldfield and Byker. While searching for the programmes and developing my own brief for the institute, I also continued to explore the possibilities of in-between spaces in the institute that serves as an alternative learning ground.

Students

Residents

Creative industries

Paricipation/ Collaboration

New community

coexist

Existing community

bonding

A collaborative approach to address climate crisis

The centre is an established institution that provides research facilities to the student and academic community from Newcastle University and Northumbria University. The institute focuses on the research and production of sustainable materials for the 3D Printing industries.

Upcycling through 3D printing

As a means to engage the institute with the established communities, creative practice is invited as consultants to help out with the design of the printed products. The printed art pieces include art installations and functional products such as medium-sized furniture. Residents can constantly engage with the institute by collecting recycled plastics to produce raw materials for printing.

The residents from the communities can participate in either the design of these 3D printed furniture pieces or organising their exhibition that will eventually be displayed throughout Ouseburn. The institute will keep the artistic energy in Ouseburn alive through sustainable and creative practice, acting as a mediator to better bond and integrate these communities.

Initial Analysis 46

Before jumping into the design proposal, it is vital to do a more in-depth analysis of the specific communities that the institute is trying to establish with the academia. The mapping will give us a sense of scale and direction of how the location of the institute responds to the city.

Spatial relationships Contextual mapping ( resident locations, population density, pavements and green spaces)

Initial Design

To continue my initial concept and interest from my pavilion design, I decided to keep the long and slender form of the bridge gallery as an insertion to the building, keeping it as a fully public space for the residents and student community to access. The long gallery connects the pavement under the Metro Bridge and cuts through the Byker Bridge horizontally with a similar approach to my pavilion design. I started with massing models and understanding the programmes needed for the upcycling 3d printing institute.

Entrance for byker and shieldfield residents

Gallery

open space for interaction

Entrance for creative industries

meeting rooms

Central stairs cafe

Library

Studio Storage/archive

First floor

office lift toilet workshops and material room

Ground floor

reception

study tables and discussion area

Entrance for students

A wider connection with the city

At this stage, I began to explore my design further and think of how I can expand my scheme at an urban scale that better respond to my intentions of reaching out my institute to the different communities in the city. I imagined how the bridge gallery could extend out into the deeper parts of Ouseburn and potentially creates an interconnected links from Sheildfield to Byker across the Ouseburn valley.

Architecture and the City

I started looking up relevant precedents that bring architecture to an urban scale and researching the other possibilities that the bridge can positively impact the Ouseburn communities.

Precedents

The first precedent study focuses more on a theoretical understanding of Libeskind’s design methodology in the City Edge competition in 1987. The competition entry entails overlapping rectangular volumes running across the Tiergarten district in West Berlin. The volumes turned the horizon into an oblique line running 450 meters in length, opening up the space from a pivotal point. I am less interested in his deconstructivist approach to design, but I am more interested in his theoretical framework in the design by using arbitrary axis in the city to connect the volumes from a pivotal point. These arbitrary vistas could be a valuable tool to understand the relationship between the city and architecture.

City Edge Competition by Daniel Libeskind, Berlin, 1987

“ Ancient vistas of cities and buildings, like memorable places and names, can be found on maps - the books of the world. Each appears in a different background, though any colour can be exchanged for another by a traveller whose destination is not found on the map. A voyage into the substance of a city and its architecture entails a realingment of arbitrary points, discnnected lines, and names out of place along the axis of Universal Hope.” Daniel Libeskind

The second precedent study is on Tschumi’s Bridge City competition in 1988. The project takes advantage of Lausaane’s existing bridge typologies by radically extending them, turning bridges into inhabitable spaces that link the two parts of the city that conflicts in scale and character. Tschumi’s thinking of turning the bridge into an urban generator and intervention to the place echoes my initial intention of introducing the bridge that connects Ouseburn with other parts of the city. This gave me more reason to expand my scheme on an urban scale that creates not only new spatial links between the city but also accommodate new urban events and creative encounters that effectively bring new synergy into the established institute.

Bridge City by Bernard Tschumi, Lausanne, 1988

Exploring Axis

Design development

Many ideas surfaced, and I began to imagine how the institute extends out to reach deeper parts into Ouseburn and out to Shieldfield and Byker. I did a mapping of the different axis/ vistas which are related to the context, including directional axis and historical paths. The different axis will help me decide the overall geometry of my design and the new entrances and exit points for the extended bridge.

Testing Axis

Linking axis After several iterations and tests, I consolidated the design with the different arbitrary axis to the main building and introduced a new entry point and exit point for the bridge gallery based on the mapping of different circulating routes around the site. The bridge gallery is repurposed into a public infrastructure, and the two separate bridges now function as a pedestrian bridge that connects the institute from Shieldfield to Byker. Continuing the idea of an alternative learning environment and an experience focus journey along the bridge, the long gallery space opens up into smaller pockets of exhibition centres that the residents can visit and participate along the bridge. Residents can take the initiatives to organise their own exhibitions in the space along the bridge after collaborating with the creative industries and academic bodies in the upcycling 3D printing institute. The scheme now has the potential to act as a catalyst for regeneration and establish tighter spatial links with the wider context of the city.

Intersection of Axis

All axis intersects at one point, the point of unification. The intersections of the axis connect the building at different heights and planes. I began to think of how the communities will meet volumetrically in the Institute, forcing the various circulation paths into a central core that unifies the axis. The arbitrary and conceptual qualities of the axis eventually turn into physical forms and volumes.

The raw concrete cylindrical solid core penetrates the building vertically, with multiple arched openings that link the bottom main stair with the pedestrian bridge, unifies the two line of axis from the city centre to Ouseburn and Shieldfild to Byker. The core becomes a vital part of the building and should be visible from the outside. A framelike structure envelopes the solid core, celebrates the heavy mass as the pivotal point of all axis.

Massing model in plaster

Plaster model exploring spatial quality of the cylinder core

Conceptual collage

Contextual and volumetric approach

The sloped topography of the site is converted into a split level on the ground floor to reduce the land excavation

The initial volume is divided into two separate volumes to better accommodate the energy-intensive workshop that produce toxic gases.

Three entrances and exits were introduced to accommodate the different residents and students coming to the institute from the bridge and ground floor.

The different axis of the volumes are paired with a unique view looking either into Ouseburn, Newcastle City Centre or the trees bushes in the North.

The printing studio and long circulation routes are placed on the south elevation to highlight the movement and activities in the institute. Conversely, more private and intimate spaces are placed on the North that responds to the serenity from the trees and vegetations.

Circulation route that takes the residents from the three entrances to the middle point where the collaboration happens

Through rigorous testing and exploration of new ideas from testing, this is the second attempt to the declared scheme where the original long bridge gallery has transformed into a pedestrian bridge that makes a wider connection with Shieldfield to the north and Byker to the East. Smaller pockets of gallery spaces are designed along the bridge to for community-led exhibitions and activities, enhancing the experiential quality of the newly introduced pedestrian bridge.

First floor

Ground floor Second floor

Thinking Through Making

In the thinking throng making week, I focused on thinking about materiality and details. I did a more detailed study of the junction between the steel frame structures and the cylindrical concrete core. Through sketching and making a 1:10 detail model, I realised the potential challenge that the construction may encounter due to the curved surface. A deeper level of research is needed to anaesthetise the exposed junctions. Also, through the process, I realise the choice of my construction materials has a high carbon footprint, so I may need to introduce more timber elements for the interior to soften out these hard materials and balance out the high carbon footprint.

Synthesis

Synthesis is the final phase of the design where we culminate our process work from testing and initial research from framing. The start of Synthesis focused on inhabitations and user experience, finalising our plans, sections and elevations. This is the phase where we need to think more in-depth into the details of the design, the structural strategy and materiality. I am grateful that my concept of using bridges to connect residents and my interest in exploring the in-between spaces as an alternative learning ground has been tested and conceptualised from Framing and eventually celebrated in the synthesis output. In the last phase of Synthesis, I have focused on curating celebration pieces of architectural visualisation that have helped me communicate my scheme.

Further development: 3rd iteration The 3rd iteration has made changes to improve the user experience and inhabitation, rationalising the relationships between the public and the private. After considering the practical issues with regards to security and accessibility. I have split the third floor into an outdoor and indoor space, where the visitors and residents can either bypass the institute to linger at the rooftop garden or visit the institute through the entrance on the third floor.

Library

Circulation

Studio

flexible gallery space Material research lab Bridge link

First floor Material library

Meeting rooms/ classrooms

Cafe Main stairs Main entrance Office

Stairs

Roof top garden

Lift

open meeting/ gathering space

Lift and escape stairs

Outdoor open space

Material workshop

Ground floor

Second floor

Site-specific approach to elevations

The approach to building’s envelope and elevations was inspired from the expressions of the three bridges at the site. The three bridges have different construction techniques and character of their own. The structure of bridges has repetitive arches that make them an infrastructure that is semi-permeable forming a partial boundary that envelopes the site. My approach to the elevation is to recreate the feeling of the rhythmic nature of the arches, which creates frame-like facades that envelope the central cores of the building. To reflect on the industrial past and pay homage to the engineering success during the industrial revolution. I decided to use an exoskeleton structural approach to my design. The boldly expressed steel frame structures on the exterior are weathering steel that matches the colour scheme of the Byker bridge. The patina patterns on the weathering steel also fit in with the aged appearance of the historic bridges. The weathering steel and exoskeleton facade will spark a new architectural dialogue with the surrounding infrastructures.

I have tested out various ways to express the structures externally, trying to find the right balance between the framed steel structures and the bridges. Eventually, I would like to arrange the exoskeleton as a uniform and sequential pattern that better respond to the rhythmic nature of the arches from the bridges. The uniform frame like facade gives a level of modesty to the building with a visual coherence. To celebrate the exoskeleton framework and the construction techniques we often use in bridges, I have decided to add a Vierendeel truss on the first floor that wraps around the building. The Vierendeel truss will transfer the loads from the columns above the first floor to the ground floor, opening up the ground floor by reducing the number of columns needed.

Sketches showing refinement of window openings

Inhabitation

Sketches exploring materials and tectonics relationship

The in-between spaces

The final proposal includes vast amount of multi-functional circulation spaces, these spaces are transitional spaces between the main programmes. These spaces are fully open to the public which cerates creative encounters for the users, spontaneously promoting interaction between the residents and the academic community. Being an institution that invites the existing and transient communities, these multi-functional circulation spaces played an important role in providing both open and intimate alternative learning enviornment for smaller groups to work and interact.

Perspective into the studio’s entrance and multifunctional circulation space

Pespective into the communitiy led exhibition space along the bridge

Pespective showing the framed view into Lime street

Perspective view from the west entrance

Perspective view into the outdoor area

Perspective view from the pedestrian bridge

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Final Proposal

Ground floor plan 100

1 West entrance 2 Main entrance 3 Public outdoor space 4 Bicycle parking 5 Reception 6 Cafe 7 Toilet 8 Office 9 Lift and escape stairs 10 Control room 11 Material Workshop 12 Escape stairs 13 Main stairs 101

First floor plan 102

14 Printing Studio 15 Circulation 16 Library 17 Material Research Lab 18 Material Library 19 Bridge Link 20 Lift and escape stairs 21 Lift and escape stairs

103

Second floor plan 104

22 Meeting rooms 23 Open study & working space 24 Toilets 25 Lift and escape stairs 26 Office

105

Third floor plan 106

27 Top floor entrance 28 Roof top garden 29 Lift and escape stairs 30 Gallery reception 31 Gallery 32 Toilets 33 Office 34 Bridge

107

108 109

Section - AA’

110 111

Section - BB’

112 113

Detail section

Contextual axonometric drawing

114

115

View from Byker Bridge

116

117

View from under the Byker Bridge

118

119

Perspective view on first floor

120

121

Spatial fragments collage

122

123

Bauhaus Dessau The Bauhaus was founded in 1919 by German architect Walter Gropius. Bauhaus at Dessau was built in 1926. Bauhaus literally translated to “construction house”

Thematic Case Study

The Bauhaus was not just a physical college, it has a great impact from ‘macro to micro’, from architecture to the art and craft in the world

124

Studio 7 - Creative Synergies Group members: Yating He

1.Inhabitation and Spatial Relationships of chosen Specialism

Liza Nadeem

2. Contextual Response: Between the Academy and the City

Mingxuan Ge

3. Environmental/climate crisis context

Jack Callaghan

4. Architects theooretical position/their ideas/ preoccupations

Contents Contextual Response: Between the Academy and the City

2-5

Architects theooretical position/their ideas/ preoccupations

6 -9

Inhabitation and Spatial Relationships of chosen Specialism

10-13

Environmental/climate crisis context

14-17

List of illustrations

Bibliography

125

SITE CONTEXT

HISTORICAL CONTEXT

BAUHAUS - AN UNPRECEDENTED MODEL SCHOOL FOR THE SOCIETY

The Bauhaus was founded by Walter Gropius, in 1919. It existed in three different cities of Germany: Weimar, Dessau and Berlin.

THEORY AND PRACTICE- LEARNING BY DOING

“As a ‘university of design’, the Dessau Bauhaus is not an artistic, but a social phenomenon... to bring together all vitally creative forces, so as to give harmonious shape to our society.”

Bauhaus at Dessau, sits at a flat site with a combination of types of domestic and commercial buildings surrounding it. The uncommon shape configuration of Bauhaus as shown in the plan is due to the way the spaces are put together, keeping function at the highest priority. This asymmetric pinwheel configuration, seemingly non-contextual, in facts hints at the form of airplane propellers, which were commonly manufactured in the neighboring areas of Dessau.

Bauhaus was an idea which unified first arts and craft, and later arts and industry; it aimed for Gesamtkunstwerk- total work of art. The new multi-disciplinary approach hoped to “Create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist.” Its agenda was the spiritual revival of the society through design. Bauhaus focused on providing functional and affordable consumer goods for the working class. This was a unique and unprecedented approach in college art departments which was certainly unusual for Germany. Bauhaus furniture, interior fittings and lighting made in its own workshop

The city of Dessau financed the Bauhaus project and also provided the building plot. It was designed by Bauhaus in his own office. He thoughtfully laid out the notion of Gesamtkunstwerk which considered formal and practical education equally important. It emphasized on process over product. The programme provided opportunities of hands on experience to the apprentices. The products were made to standard which were fit for industrial prposes. The very first opportunity being making the interior finishes, furniture and lighting of Bauhaus in its own workshops, hence learning by doing. It highlighted the scholastic function of a workshop.

Bauhaus Timeline

The school is deeply grounded in the turbulent history of Germany. It’s apparently radical functional style has a special place in the history of Architecture as well. The Bauhaus signifies a particular time in Architecture which challenged its surrounding context constantly.

The concept of workshop was vital in Bauhaus as Gropius’ writes in his manifesto, “The school is the servant of the workshop.” The workshop-based education yet again served as new model for the society, that became a revolution in art education system and modern architecture.

It existed under three different architect directors and in three different cities of Germany. This shifting of the school from one city to another was due to the conflicts between the school and the government. The conflicts finally led to the closure of Bauhaus in 1933; it was highly opposed by the Nazi regime and labeled as a center of communist intellectualism. Moreover, this instability also effected the original principles of Bauhaus which hoped to reform art education with a socially minded and holistic approach. Gropius’ efforts to unite art and craft reflected the ideology of William Morris- a British socialist associated with arts and crafts movement. Moreover, the style of the Bauhaus architecture itself echoed the futuristic style, the International style, rather than the Neo-classic style.

The panel of masters was twice as pivotal for the development of the Bauhaus’s philosophy. Gropius succeeded in getting well-known, experienced and avant-garde artists on board for the purpose. This also shows polarization and diversity in the curriculum of Bauhaus. “The Bauhaus, whether viewed as a school, as a style, or as an idea, was radical in conception... it created a revolution of thought and action in the formation of art, architecture, and design curricula.”

As a whole, Bauhaus was resented by the Nazi from the beginning and pressured to close it until the end. The formal end of Bauhaus and the fleeing of masters and apprentices to different destinations gave birth to various forms Bauhaus. “What might plausibly have been only a minor episode in the history of Modernism became a recurring one.”

MULTI-DISCIPLINARY- COOPERATIVE AND COLLABORATIVE

The agenda of the Bauhaus of unifying artists and craftsmen called for a multi-disciplinary approach. This formulated an educational model which used modern materials and methods. The objective was to train artists and craftsmen for the industry as well. The programme was structured around providing preliminary courses to integrate theory and application. “Educational courses with this type of structure were unprecedented and had to be completely newly developed by Gropius initially.” This pragmatic approach to design education was adopted by other design schools in many countries eg the Shillito Design School in Sydney. Moreover, today nearly most art programmes provides foundation courses- based on the Bauhaus model- in which fundamental elements of design are taught.

Bauhaus in its context

Bauhaus bombed during world war ll

Bauhaus restored after receiving UNESCO World Heritage status

BAUHAUS DESIGNING A SOCIAL UTOPIA- EQUALITY AND INEQUALITY FOR WOMEN

CITY AND BAUHAUS- INFLUENCE OF BAUHAUS ON TYPE OF COMMERCIAL BUILDINGS

CITY VS BAUHAUS Since the very beginning, Bauhaus had to face the unending criticism and pressure from the Nazi supporters. Its futuristic and modernist style, which ended the class distinction between the artist and the craftsman, was also attacked by Nazi writers including Wilhelm Frick and Alfred RosenBerg. They considered it “un-German” and intentionally created tension between the public and Bauhaus by manipulating their views by calling it “foreign”.

Keeping the political conflicts aside, Bauhaus movement and its unprecedented principles had profoundly influenced the society and the city in return. The international reputation of Bauhaus grew faster than the due significance Bauhaus was to gain within Germany. It became an experimental and commercial laboratory for design. Its multidisciplinary approach has led to a unified advancement in art, architecture, graphic design, interior design, industrial design, and typography. This also impacted the growth and type of buildings setup near the Bauhaus which includes several workshops and studios which strengthens the idea of a communitarian society and expands on the creative network across Dessau . Bauhaus also plays host to festivals, residencies, exhibitions and academic courses while being an important contributor to the heritage of Germany and Architecture.

A group photo of Bauhaus Masters showing male dominancy- Gunta Stolzl, Bauhaus’ first and only female master

Bauhaus can be lauded for providing a platform for women, who rarely had opportunities to pursue an art education in Germany. At the time, women were consistently subordinated. In his manifesto, Gropius held the banner of absolute equality, “Any respectable person will be accepted, regardless of age or gender.” He initially capped the number of women to half of the number of men anticipated to be admitted. To his surprise, women fled into Bauhaus in large numbers that soon there were equal number of men and women studying at Bauhaus. This led to many more academies and arts and crafts schools to introduce women’s classes.

In Germany, the First World War led to the conception of two different modernist movements. The Bauhaus, was a style and a movement thought by Gropius who encouraged the modernist functional style. “The Bauhaus promoted a unified vision for the arts that made no distinction between form and function.” In parallel, Germany also say the Expressionism in architecture (1910-1925). It opposed the strictly functional style of Bauhaus and was seen as a counter-movement. The expressionist style, celebrated a more poetic and expressive architecture. Therefore, it gave birth to a more romantic and utopian forms. The works of Bruno Taut, Hans Poelzig, Fritz Hoger and Erich Mendelsohn were seen under the influence of this “anti-Bauhaus” style.

Anni Albers famous weaving patterns

But the idea of equality remained purely theory. Women were steered away from opting architecture course, towards textile classes- seen as dumping ground for women. All other workshops from wood to metal were open only for men. But women Textile courses seen as dumping ground for women

challenged themselves to turn this opportunity to their benefit by introducing innovative and unique ideas into weaving, which became highly in demand later on. The weaving workshop was a testing ground for liberation for women. Compatibility between family and career was tested out here eg Gunta Stolzl brought her infant to work, which was seen as a great step in reforming the social norms of the society.

Bauhaus Style

The impact of the Bauhaus on design education and its surroundings was significant.“It is a history in which design as a social concern gave way to design as the styling of consumer goods. But it is also a history of other schools, with which it was contemporary and to which it gave birth.” Bauhaus preliminary courses collage showing diversity in teaching methods Expressionist Style

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The parti diagrams are clearer to show that each block has a different height and embrace its function as well, for example, section one. The left highest block is for living, the center lowest bridge is for parting (Auditorium) and the right is the main block for working(workshop). The simple form of each block harmonious with the function of the building to maximum spatial logic and efficiency (Art and culture 2018).

Bauhaus school acted as a pioneering model for the art school we know today.

The plan and the axonometric diagrams tried to show the facilities and the form of the Bauhaus at Dessau. It mainly includes the workshop block, technical college, housing for students and faculty members, an auditorium and offices. They fused in a pinwheel configuration. It is a radically simplified Bauhaus style form.

The sections analysis is intended to show how users would physically live in the space and highlight its key processes and the efficiently lining spatial layout as well. Every element is simply connected to respond to its Bauhaus style.

The building is comprising of three wings all connected by bridges. The school and workshop spaces are associating through a large two-story Administration bridge. This pinwheel building form characterized by an emphasis on function with little ornamentation, it illustrates a quite balanced form and abstract shape.

From the section, we can also see that the workshop occupied the largest block and deeply involved in the mode of collaborative pedagogy and knowledge building. Different disciplines people are working together. This is the key practical cooperation working experiment space to show its difference from the traditional way of working. It is also the key space that developed the industrial prototypes for mass production. Then, the artists would have new possibilities of modern technologies(Bauhaus-Dessau 2020).

The unique modernist style of the Bauhaus in Dessau are more hints to the futuristic style of Gropius in 1914 and showing the similarities to the International style. These ideas were originally explored by Gropius in the design for the Fagus Factory in Alfeld-an-der-Leine. It was completed in 1911. The Bauhaus is the further development of his idea (Griffithis 2018).

The college attempts to illustrate the breakdown of the boundaries between the discipline and well achieved its specialization. All can be associated with certain aspects of its teaching and practice (Griffithis 2018).

The collage illustrates the Bauhaus facilities synergy with the three stages collaborative curriculum because the completed building tries to express the concept of a Gesamtkunstwerk that means “total work of art” and represents different art forms are combined to create a single cohesive whole. The building design ideas are the Progressive minds that illustrate a unique group-oriented style. It is obviously different from the traditional academy at that time. It brings together a diverse range of talents that would enhance the contribution of each member of the school’s faculty. It is therefore becoming a place to express a guide of utopian handicraft combining architecture, sculpture and painting in this single and creative expression.

Thus, this college is quite different from the traditional academy that divides one class from another and divides the learning and teaching spaces. It is deeply aware of the advantages of engaging in dialogue and promote social and cultural sustainability at the same time (Art 2018).

The diagrams clearer to illustrate the spatial layout of each facility and the circulation of the building.

This part tried to highlight the benefits of collaborative working spaces. The open plan workshops and the open classroom learning spaces have a great impact on their daily rituals. Daily rituals are meaningful practices and are internally motivated. A daily ritual can provide energy and enjoyment along with efficiency and structure.

Two main entrances lead to the technical college and the workshop blocks. They connected by the administration bridge. The auditorium is more like the heart of the Bauhaus that connect the workshop block with the Prelimous living studios and the kitchen, dining spaces. The living block has its entrance as well. So, the whole spaces are well and efficiently connected (Sveiven 2010).

The open spaces promote the collaboration not only because of the more accessible feature but also because of the natural elements. The open spaces combine with the glass curtain wall maximum the sunlight directly into the rooms. It makes the spaces more comfortable and open. As an art student is important as it allows space and freedom to think, explore and create.

The spatial elements in this building show that students would be immersed in art and creative atmosphere from the moment they entered the building.

It improves the way they cooperate and resolve issues. It leads to more innovation, efficient processes, enhanced success and better communication.

On the one hand, the internal decorations have done by the students, such as the entrance doors painting or the wall painting of different spaces. It not only creates a livelier environment but also relates to the learning and the use of the primary colours. It is a basic Bauhaus theory.

Bauhaus open studio activity has cooperated with the different academy to highlight the work, study and inhabitation of the workshop spaces. For example, the Northumbria university in UK and the Verginia University in USA tried to explore the physical or intangible inhabitation boundaries. It illustrated the impacts of this key moment of Bauhaus, especially the freedom of education and teaching(Bauhaus Dessau 2020).

On the other hand, the design of the vestibules and stairs creates diverse possibilities for where to go. So, the certain spatial correspondence is manifested. The lamp on the wall or chairs to rest on are designed in the workshop.

Moreover, the workshops or the classroom are embracing quite open space to promote the collaboration between students and teacher.

The building is wrapped by the freestanding glass curtain wall that is the well-functioning cover bring the outside world in and led the inside world out. It provides more open spaces and achieved the Walter Gropius theory “Art and Technology, a new unity.”

The dwelling block facade well expressed the Bauhaus ‘focus on function rather than decoration.’ The simple flat roofs covered by asphalt tiles, so they can walk on the roof as well (Ercanselin 2019).

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ENVIRONMENTAL/ CLIMATE CRISIS CONTEXT - BAUHAUS IN 1926

ENVIRONMENTAL/ CLIMATE CRISIS CONTEXT - THE IDEOLOGY

Curtain wall in Workshop wing

One of Groupius’ students was Ian McHarg,whose Design with Nature (1969) became a phenomenal success and came to define the field of landscape design for a whole generation

Internal view on Radiator placement

In response to tackle climate crisis, new generation of young architects began to look with renewed interest at ecological design methods. They brought to the forefront the importance of the aesthetic dimensions of ecological architecture.

Site map with sun path

From today’s point of view, the Bauhaus Dessau is definitely not a role model to tackle environmental and climate crisis. It has certain significant flaws in the design that would drain excessive power to function the spaces.

“old-fashioned housing design reinforced an unfortunate dualism between humans and nature, while the new Bauhaus design promised a reunion of humans with nature through healthy living” Walter Groupius

Detail drawing of curtain wall in Bauhaus

Bauhaus Dessau required an aggressive heating system. One piece of evidence of the strain of the thermal conditions on the design of the system is the large and sometimes awkward placement of radiators.

The attempt to base design on biological footing points back to the very core of the modernist heritage. Indeed, the program of trying to unify art and science may serve as the very definition of the modernist architecture that traces its heritage back to the Bauhaus school. As Huxley once said about the school’s founder: “[Gropius’] lifelong aim was to work for the reunification of art and science, without which there can be no true culture.”

Tempertature distribution

The building had one of the first “curtain walls” in the history, a thin, uninsulated single pane of glass in iron spandrels that surrounded three sides of the building. While effective in bringing in natural light into the studios and producing a sense of openness and engagement, this design and construction approach was remarkably poor as a thermal system, effectively drawing heat out of the space and into the lower atmosphere. Detail drawing of curtain wall in Bauhaus

The curtain wall is offering none of the thermal performances expected today however, It is a pioneering work; but also, a work which is perfectly adequate to the expectations back in the 1920s. For several decades, curtain walls, at construction level, would be solved, substantially, in that manner: without cutting thermal bridges, with no shading device, and single glazing

The timeline for Bauhaus ideology and its inflenence on solving environmental crisis heat trasnfer analysis axonometric view of the curtain wall

ENVIRONMENTAL/ CLIMATE CRISIS CONTEXT - THE IDEOLOGY

ENVIRONMENTAL/ CLIMATE CRISIS CONTEXT - BAUHAUS IN 2011

ARTS

SCIENCE

The European Commission has started an initiative that will bring together scientists and artists to develop “new aesthetics” combining design and sustainability principles as part of EU efforts to tackle climate change. Newly added photovoltaic panels that generate renewable electricty

The European Bauhaus initiative, inspired by the highly influential Bauhaus arts and crafts school will be “a bridge between on one hand the world of science and technology and on the other hand the world of arts and culture”, Commission president Ursula von der Leyen said on 14 October 2020. “It is about a new European Green Deal aesthetics,” von der Leyen said, referring to the Commission’s package of environmental sustainability policies, and will bring “the comfort and attractiveness of sustainable living” to EU citizens.

In 1996 the Bauhaus Dessau was included on the UNESCO World Heritage List; a process that aimed to restore the building to its original condition while also respecting the need for substantive mechanical upgrades (Kentgens-Craig 1998).

She mentioned the European Bauhaus would be a “think and experimentation space” that could include a forum for discussions, a lab for experimentation, an accelerator for innovations and a hub for expertise.

In 2011 Brenne Architekten, a Berlin-based firm that focuses on the energy retrofit of modernist buildings, was hired to renovate the building according to changing thermal standards, without compromising the heritage value of the structure.

Collage showing collaboration and new vision inspired from Bauhaus to solve climate change

Effect of newly added windows for better ventilation in summer

The initiative will be rolled out in three phases, von der Leyen said. An initial design phase will “explore the ideas and shape the movement”, drawing on the expertise of “everybody who wants to take part”, such as scientists, students, architects, designers, artists and entrepreneurs.

A number of other interventions were made to increasethe energy efficiency of the dormitory wing, the bridge, and the north wing: 1. resealed double glazed windows with insulated steel profiles. 2. cavity to dry the condensed water 3. un-openable windows are replaced with openable windows for better ventilation in summer 4. new insulated curtains to provide further insulation with an air-space. 5. Photovoltaic panels were added to the roof of the north wing and dormitory to provide energy for the electrical system. compensate for the large electricity consumption in the workshop unit. As a result, the total energy consumption reduced by 72%.

A second phase for delivery will start in 2021 with five sustainability projects in different EU countries. The third and final phase, from 2023 onwards, will seek to disseminate the movement “beyond Europe’s borders”.

BAUHAUS

Detal drawing for newly install double glazed window

Effect of insulative curtains in Winter

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List of illustration

Yating He

Liza Nadeem

Mingxuan Ge

Jack Callaghan

Figure 1: Specialism Collage Figure 2: Building form diagram(Photoshop the drawing from Archidaily 2010) Figure 3-8: Plan diagram to show the key fascilities (traced the plans from Sveiven 2010 Archidaily) Figure 9-12: key spatial element drawing Figure 13: Spatial diagram Figure 14-17: key spatia element drawing Figure 18: Section diagram to show the inhabitation and key fascilities(traced the Section from Sveiven 2010 Archidaily) Figure 19: Cutting section diagram(Photoshop the drawing from Archidaily 2010) Figure 20-21: Spatial Parti diagram Figure 22: Collaboration diagram Figure 23: Section diagram to show the inhabitation and key fascilities Figure 24-25: Collaboration drawing Figure 26: Collaborative spaces collage Figure 27-28: Contouring Habitat programme in Newcastle and Verginia(image from Bauhaus Dessau 2020)

Bauhaus in its context- https://www.bauhaus-dessau.de/en/architecture/bauhaus-building.html

All illustrations are done by the author

Fig 1 - https://commons.wikimedia.org/wiki/File:Der_Architekt_Walter_Gropius,_Begr%C3%BCnder_des_Staatlichen_Bauhauses_Weimar,_um_1919.jpg Fig 2 - http://www.museografia.it/lab_interni/materiali_didattici/arnaldo/00/lezione_00.pdf Fig 3 - https://de.wikipedia.org/wiki/Fagus-GreCon Fig 4 - https://pragmatika.media/imennik-dnja-valter-gropius/3503047809_fcf980d35e_b/ Fig 5 - https://dalei.me/ Fig 6 - http://www.set-science.com/manage/uploads/ISAS2018-Winter_0039/SETSCI_ISAS2018-Winter_0039_0030.pdf Fig 7 - http://209.216.230.86/en/articles/2019/01/25/100y-j25.html Fig 8 - https://www.getty.edu/research/exhibitions_events/exhibitions/bauhaus/ new_artist/history/principles_curriculum/ Fig 9 - https://www.zdf.de/nachrichten/heute/neues-bauhaus-museum-dessau-wird-eroeffnet-100.html Fig 10 - https://chagalov.tumblr.com/page/151 Fig 11- https://www.dw.com/en/ingenious-minds-the-bauhaus-artists-whose-designs-became-icons/a-44876363 Fig 12 - https://www.penccil.com/museum.php?show=11045&p=860160957440 Fig 13 - https://sites.google.com/site/terzacigraf/home/bauhaus/bauhaus Fig 14 - https://www.pinterest.co.uk/pin/697706167259126759/ Fig 15 - http://johannespintor.blogspot.com/2015/03/johannes-itten-1888-1967pintor-y.html Fig 16 - https://www.alamy.es/bauhaus-taller-metalurgico-museo-bauhaus-museum-weimar-image211743383.html Fig 17 - https://www.vivadecora.com.br/pro/tag/walter-gropius/ Fig 18 - https://diffusive.wordpress.com/2009/08/31/sloterdijk-on-apartments/ Fig 19 - https://app.emaze.com/@ATWTFLRO/british-history-in-19-century#1 Fig 20 - https://www.design-is-fine.org/page/1570 Fig 21 - https://www.utdt.edu/ver_contenido.php?id_contenido=18556&id_item_ menu=29365 Fig 22 - https://www.bazonline.ch/schweiz/standard/die-flagge-ist-nicht-verboten/ story/11382885 Fig 23 - https://getpocket.com/explore/item/how-the-bauhaus-kept-the-nazis-atbay-until-it-couldn-t Fig 24 - https://artsketch.wordpress.com/2010/01/17/workshops-for-modernity-moma/ Fig 25 - https://en.wikipedia.org/wiki/Wassily_Chair Fig 26 - https://architexturez.net/file/lange-superjumbo-jpg Fig 27 - https://ideat.thegoodhub.com/2016/12/09/plongez-dans-les-archives-dubauhaus/ Fig 28 - https://artaurea.de/lucia-moholy_portrat-laszlo-moholy-nagy_1926_bauhaus-archiv_vg-bild-kunst_web/ Fig 29 - https://kuenste-im-exil.de/KIE/Content/EN/Persons/gropius-walter-en.html Fig 30 - https://www.architecture.com/image-library/RIBApix/image-information/ poster/walter-gropius/posterid/RIBA106508.html Fig 31 - https://static.dieter-horn.de/images/produkte/knoll/knoll-wassily-sessel-limited-bauhaus-edition.pdf + https://chaplins.co.uk/shop/thonet-set-b-9-nesting-tables.html Fig 32 - http://www.extatic.ru/en/magazine/design/marianne-brandt/ Fig 33 - https://esotericsurvey.blogspot.com/2018/06/bauhaus-dessau.html Fig 34 - https://www.dreamstime.com/bauhaus-art-school-iconic-building-dessaugermany-dessau-germany-march-bauhaus-art-school-iconic-building-designedimage121445281 Fig 35 - https://www.dezeen.com/2018/11/01/bauhaus-100-guide-architecture-design/ + https://en.wikipedia.org/wiki/Walter_Gropius Fig 36 - https://www.dezeen.com/tag/walter-gropius/

Raw images from: Bauhaus bombed during world war ll- https://www.smow.com/ blog/2016/12/bauhaus-in-east-germany-the-formalism-debate/ bauhaus-dessau-bomb-1945/ Bauhaus restored after receiving UNESCO World Heritage status-https://www.anthonycardle.com/blog/bauhaus

https://pixabay.com/photos/bauhaus-dessau-martin-gropius-bau-4196320/ https://i.pinimg.com/originals/79/e8/7d/79e87da31ddfa2748d836c3b7f3dc48c. jpg https://mcharg.upenn.edu/ian-l-mcharg

Bauhaus Style (left) – https://de.wikipedia.org/wiki/Datei:Haus_ am_Horn,_Weimar_(S%C3%BCdwestansicht).jpg Bauhaus Style (right) – https://www.architecturaldigest.com/gallery/bauhaus-buildings-germany Expressionist Style (left)- http://www.potsdam-park-sanssouci.de/ einsteinturm-eng.html

https://www.vulture.com/2020/05/spaceship-earth-review-biosphere-2-documentary.html https://www.themodernhouse.com/journal/house-of-the-week-bjarke-ingelsgroups-8-house-copenhagen/ https://www.bloomberg.com/news/articles/2020-12-14/the-climate-mayors-welcome-a-biden-white-house

Expressionist Style (middle)- https://en.wikipedia.org/wiki/Chilehaus Anker, P. From Bauhaus to ecohouse. Expressionist Style (right)- https://en.wikipedia.org/wiki/ Gro%C3%9Fes_Schauspielhaus Bauhaus furniture, interior fittings and lighting made in its own workshop 1- https://bauhouse.medium.com/walter-gropius-andthe-bauhaus-6226d706d5ad

https://sanslartigue.com/tag/bauhaus-building/ https://theconversation.com/wind-power-affects-climate-cooling-and-warming-regions-around-farms-studies-claim-22988 https://www.wm.edu/as/

Bauhaus furniture, interior fittings and lighting made in its own workshop 2- https://www.dezeen.com/2018/11/05/bauhaus-dessau-school-building-walter-gropius-germany-architecture/

https://www.pinterest.com/pin/649081365025243960/

Bauhaus furniture, interior fittings and lighting made in its own workshop 3- https://www.royalacademy.org.uk/article/travel-on-the-bauhaus-trail-anniversary-new-museum Bauhaus furniture, interior fittings and lighting made in its own workshop 4- https://www.pinterest.com/pin/119204721365094932/ A group of photo of Bauhaus masters showing male dominancyhttps://www.dw.com/en/ingenious-minds-the-bauhaus-artistswhose-designs-became-icons/a-44876363 Anni Alber’s famous weaving patterns- https://www.thetextileatlas. com/craft-stories/anni-albers Textile courses seen as dumping ground for women- https://www. bloomberg.com/news/articles/2019-03-15/the-false-equality-ofthe-bauhaus Note: All the other drawings, diagrams, collages and illustrations etc. are Author’s own.

Bibliography Yating He

Liza Nadeem

Mingxuan Ge

Arts and Culture, 2018. The building of the future[online]. Available from: https://artsandculture.google.com/exhibit/the-building-of-the-future/ CgICHINPyRJPLQ [Accessed 9 December 2020] Art, 2018. Ten Bauhaus principles that still apply today[online]. Available from: https://art.art/blog/10bauhaus-principles-that-still-apply-today [Accessed 9 December 2020] Bauhaus-Dessau, 2020. Bauhaus building by Walter Groupious [online] Available from: https://www. bauhaus-dessau.de/en/architecture/bauhaus-building.html Bauhaus Dessau, 2020. Open studio newcastle 2020[online]. Available from: https://www.bauhausdessau.de/en/programmes/open-studios/newcastle-2020.html [Accessed 9 December 2020] Designcurial, 2019, ‘IT HAS AN IMPACT ON EVERYTHING I DO’: ARCHITECTS AND DESIGNERS ON THE BAUHAUS LEGACY [ online]. Available from: http://www.designcurial.com/news/architects-and-designers-reflect-on-the-bauhaus-7400145/ [Accessed 9 December 2020] Ercanselin, 2019, Bauhaus Dessau research [online]. Available from: https://ercanselin.wordpress. com/2019/02/25/a-research-about-bauhaus/ [Accessed 10 December 2020] Griffithis, A 2018, Walter Gropius designed school in Dessau to reflect the Bauhaus values[online]. Available from: https://www.dezeen.com/2018/11/05/bauhaus-dessau-school-building-walter-gropius-germanyarchitecture/ [Accessed 9 December 2020] Sveiven, M 2010, AD: Classics: Dessau Bauhaus/Walter Gropius [online]. Available from: https://www. archdaily.com/87728/ad-classics-dessau-bauhaus-walter-gropius [Accessed 7 December 2020] Winton, A 2016, Bauhaus 1919-1933 [online]. Available from: https://www.metmuseum.org/toah/hd/bauh/hd_bauh.htm [Accessed 9 December 2020]

“10 Bauhaus Principles That Still Apply Today.” 2019. ..ART <https://art. art/blog/10-bauhaus-principles-that-still-apply-today> [accessed 15 December 2020]

(2020). Retrieved 15 December 2020, from https://www.researchgate. net/publication/267337587_Six_Works_for_Six_Architects_Explorations_ around_Invisible_Links

“Bauhaus Building by Walter Gropius (1925฀26).” 2019. Bauhaus-Dessau.De <https://www.bauhaus-dessau.de/en/architecture/bauhaus-building.html> [accessed 15 December 2020]

Gropius, W., & Shand, P. (1998). The new architecture and the Bauhaus. Cambridge, Mass.: M.I.T. Press.

Edwards, M. Jean. 2019. “Lessons of the Bauhaus,” Journal of Interior Design, 44.3: 135–40 <https://doi.org/10.1111/joid.12158> Griffiths, Alyn. 2018. “Walter Gropius Designed School in Dessau to Reflect the Bauhaus Values,” Dezeen (Dezeen) <https://www.dezeen. com/2018/11/05/bauhaus-dessau-school-building-walter-gropius-germany-architecture/> [accessed 15 December 2020] “Hannes Meyer’s ‘Bauhaus and Society’ (1929).” 2010. Modernist Architecture (Modernist Architecture) <https://modernistarchitecture.wordpress. com/2010/10/20/hannes-meyer%E2%80%99s-%E2%80%9Cbauhaus-and-society%E2%80%9D-1929/> [accessed 15 December 2020] Harimurti, Puspito, Djoko Wijono, and Adi Hatmoko. 2008. “Bauhaus Ideology, Concept and Method on Architecture,” ResearchGate <https:// www.researchgate.net/publication/206382301_Bauhaus_Ideology_Concept_and_Method_on_Architecture> [accessed 15 December 2020] “How Bauhaus Art Radically Changed the Modern Landscape.” 2019. Invaluable <https://www.invaluable.com/blog/bauhaus-art/> [accessed 15 December 2020] Le Masson, Pascal, Armand Hatchuel, and Benoit Weil. 2015. “Design Theory at Bauhaus: Teaching ‘Splitting’ Knowledge,” Research in Engineering Design, 27.2: 91–115 <https://doi.org/10.1007/s00163-015-0206-z> Maristella Casciato, Gary Fox, and Katherine Rochester. 2019. “Principles and Curriculum,” Bauhaus: Building the New Artist <https://www.getty.edu/ research/exhibitions_events/exhibitions/bauhaus/new_artist/history/principles_curriculum/> [accessed 15 December 2020] “Modern Architecture.” 2020. Wikipedia <https://en.wikipedia.org/ wiki/Modern_architecture#Bauhaus_and_the_German_Werkbund_ (1919%E2%80%931932)> [accessed 15 December 2020] Saval, Nikil. 2019. “How Bauhaus Redefined What Design Could Do for Society,” The New York Times <https://www.nytimes.com/2019/02/04/t-magazine/bauhaus-school-architecture-history.html> [accessed 15 December 2020]

Heating the Bauhaus. (2020). Retrieved 15 December 2020, from https:// iicec.sabanciuniv.edu/sites/iicec.sabanciuniv.edu/files/kleinman-center/ Heating%20the%20Bauhaus.pdf Anker, P. From Bauhaus to ecohouse. ‘New Bauhaus’ will bridge science and art to tackle climate change Research Professional News. (2020). Retrieved 15 December 2020, from https://www.researchprofessionalnews.com/rr-news-europe-universities2020-10-new-bauhaus-will-bridge-science-and-art-to-tackle-climatechange/ What a Second Bauhaus Movement Means for Europe. (2020). Retrieved 15 December 2020, from https://www.bloomberg.com/news/articles/2020-10-02/europe-s-green-deal-includes-a-new-bauhaus-plan

Jack Callaghan Books:

Bauhaus, 1919-1928 Herbert Bayer 1900-. Walter Gropius 1883-1969 The Bauhaus 1919-1933 : reform and avant-garde Magdalena Droste. Peter Gössel 1956-; Bauhaus-Archiv. 2006 The Bauhaus Uwe Westphal. 1991 Bauhaus Boris Friedewald author. 2016. Updated edition. Bauhaus : 50 years ; German exhibition Royal Academy of Arts (Great Britain); Württembergischer Kunstverein. ( Stuttgart ). 1968 Bauhaus Frank Whitford 1941-. c1984 Websites: https://en.wikipedia.org/wiki/Bauhaus https://www.dezeen.com/2018/11/01/bauhaus-100-guide-architecture-design/ https://raumexperimente.net/en/meta/nothing-is-ever-the-same/ https://www.getty.edu/research/exhibitions_events/exhibitions/bauhaus/ new_artist/history/ http://www.artnet.com/magazineus/reviews/davis/bauhaus1-28-10.asp http://theoria.art-zoo.com/the-theory-and-organization-of-the-bauhaus/ http://209.216.230.86/en/articles/2019/01/25/100y-j25.html https://www.archpaper.com/2019/09/walter-gropius-biography-bauhaus-goes-west/ https://trydesignlab.com/blog/bauhaus-school-five-lessons-for-todaysdesigners/ https://www.metmuseum.org/toah/hd/bauh/hd_bauh.htm https://www.archdaily.com/911606/the-unfamiliar-history-of-an-expressionist-crafty-bauhaus

Sveiven, Megan. 2010. “AD Classics: Dessau Bauhaus / Walter Gropius,” ArchDaily <https://www.archdaily.com/87728/ad-classics-dessau-bauhaus-walter-gropius> [accessed 15 December 2020] “Teaching at the Bauhaus - Bauhaus-Archiv | Museum Für Gestaltung, Berlin.” 2019. Bauhaus.De <https://www.bauhaus.de/en/das_bauhaus/45_ unterricht/> [accessed 15 December 2020] “The Bauhaus Women’s Class - Bauhaus Dessau Foundation.” [n.d.]. Google Arts & Culture <https://artsandculture.google.com/exhibit/ the-bauhaus-women%E2%80%99s-class-stiftung-bauhaus-dessau/qALyDJ_rSG37KQ?hl=en> [accessed 15 December 2020] The Editors of Encyclopedia Britannica. 2019. “Bauhaus | Biography, Architecture, Art, & Facts,” Encyclopædia Britannica <https://www.britannica. com/topic/Bauhaus> [accessed 15 December 2020] Wikipedia Contributors. 2019. “Bauhaus,” Wikipedia (Wikimedia Foundation) <https://en.wikipedia.org/wiki/Bauhaus> [accessed 15 December 2020]

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Plaster casting at home

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additonal outputs

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Architecture competition: Reviving mines Two weeks before the start of Stage 3, I have participated in an architecture competition with my coursemate Iman and Daniel. The brief of the competition is to propose creative solutions and interventions to the dismissed mines in Zibo, Shangdong, China. The concept of our proposal constitutes of an ecological, social and cultural approach to mitigating the damaged and polluted site. In order to counter the upset local ecosystem in Zichuan due to the persistent mining in the past, our main priority would be regenerating the site with eco-friendly activities and to raise awareness for environmental issues.

Cultural Bibliography

Firstly, we would like to create a lake that could kick start a local microclimate for better climate control. This serves as a driving force for other species such as plants and microorganisms to grow. To revitalise the abandoned mine, we keep the unique typography from the mining activities and turn it into a one-of-akind eco-tourism destination where there are houses to stay for exciting experiential activities such as skiing in the winter and farming and trailing during the other seasons.

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We aim to collaborate with the local entrepreneurs and villagers to run the eco-tourism place so that it will bring an authentic and enriching experience for the guests to experience the indigenous culture of Zichuan as well as to bring new alternative incomes for the villagers and local entrepreneurs.

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Libeskind. 2021. First Prize I.B.A. Building Competition City Edge Libeskind. [online] Available at: <https://libeskind.com/publishing/firstprize-i-b-a-building-competition-city-edge/>

Pg 57 - City edge competition models retrieved from: https://i.pinimg.com/ originals/a7/d4/c8/a7d4c84ca3479e388d26382f7a3c9919.jpg Pg 58 - Bridge city collage by Bernard Tschumi Architects Retrieved from: http://www.tschumi.com/projects/31/

Frac-centre.fr. 2021. Frac centre. [online] Available at: <https://www. frac-centre.fr/_en/art-and-architecture-collection/rub/rubauthors-316. html?authID=115>

Pg 14-15 Ouseburn historic analysis timeline, Image by Liza Nadeem

Tschumi.com. 2021. Bridge City Lausanne, 1988 Bernard Tschumi Architects. [online] Available at: <http://www.tschumi.com/projects/31/>

Pg 16-17 Community mapping, Image by Aurelia Thompson

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Illustrations

Bibliography

Ouseburn. 2021. About Ouseburn • The Ouseburn. [online] Available at: <https://www.ouseburn.co.uk/about-ouseburn/>

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