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Lucy Hartley Stage 6 Academic Portfolio MArch Architecture ARC8067

Newcastle University 2018 - 2020

Lucy Hartley Stage 6 Academic Portfolio MArch Architecture ARC8067

Newcastle University 2018 - 2020 130307057

Contents

i - ARB Criteria [Mapping my Studies] ii - Written Reflection [Before Now, Now, After Now] 01 - Stage 6 [Thesis Project] 02 - Stage 5 [Building Fabric] 03 - Stage 5 [Urban Fabric] 04 - Urban Design [Elective Modules] 04a - Stage 5 Design [Bridging the Gap] 04b - Stage 6 Written [Seminar/ Blog Modules]

05 - Tools for Thinking [Applied Theory] 06 - Architecture and Construction [Professional Practice] 06a - Written Report [The Creation School: A Procurement Report] 06b - Group Presentation [Urban Sciences Building]

Mapping of the ARB General Criteria 01 - Stage 6 [Thesis Project] 02 - Stage 5 [Building Fabric] 03 - Stage 5 [Urban Fabric] 04 - Urban Design [Elective Modules] 05 - Tools for Thinking [Applied Theory] 06 - Architecture and Construction [Professional Practice]

01 GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. .1 - Theories of urban design and the planning of communities, .2 - The influence of the design and development of cities, past and present on the contemporary built environment,

01 GC1 - Ability to create architectural designs that satisfy both aesthetic and technical requirements. .1 - Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief, .2 - Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project, .3 - Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. .1 - The cultural, social and intellectual histories, theories and technologies that influence the design of buildings, .2 - The influence of history and theory on the spatial, social, and technological aspects of architecture, .3 - The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. .1 - How the theories, practices and technologies of the arts influence architectural design,

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.3 - Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. .1 - The needs and aspirations of building users, .2 - The impact of buildings on the environment, and the precepts of sustainable design, .3 - The way in which buildings fit into their local context. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. .1 - The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society .2 - The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment, .3 - The potential impact of building projects on existing and proposed communities. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. .1 - The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals,

.2 - The creative application of the fine arts and their relevance and impact on architecture,

.2 - The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context,

.3 - The creative application of such work to studio design projects, in terms of their conceptualisation and representation.

.3 - The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

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01 GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. .1 - The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design, .2 - Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques, .3 - The physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. GC9 - Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. .1 - Principles associated with designing optimum visual, thermal and acoustic environments, .2 - Systems for environmental comfort realised within relevant precepts of sustainable design, .3 - Strategies for building services, and ability to integrate these in a design project. GC10 - The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. .1 - Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design, .2 - Understand the cost control mechanisms which operate during the development of a project, .3 - Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 - Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. .1 - The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation, .2 - The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures, .3 - The basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

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01 GA2 - With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the .1 - Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations, .2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals, 3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals, .4 - Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design, .5 - Understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation, .6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances, .7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

03 04

Written Reflection [Before now, Now, After Now]

The decision to come back to complete a Masters in Architecture was not an easy decision. For most people I have conversed with during these past two years, the thought of leaving a full-time 9-5 job with a better-than-nothing wage and free evenings and weekends, to embark on yet another 2 years of full time study after spending almost 18 years in education already was one of the hardest decisions to date. For myself, all I could remember was the first day of undergrad, and two stage 2 students (my architecture ‘mum’ and ‘dad’) walked us around the building, stopped us in the Old Gallery and told us that above all, this degree will be both ‘challenging and rewarding’. 3 years and a BA Degree later, my mind dangerously only seems to remember the ‘good’ parts. That is, until the day I had to decide whether I wanted to return for the Masters. Having deferred it the first year, the self-doubt, anxiety dreams and countless sleepless nights returned once I decided to take the next step. It was the fear of failure and not being an adequate enough designer. It seems ridiculous, but my most confident review was my very first in stage 1 for ‘A Place of Refuge’. Then for some reason, my confidence began on a downwards trajectory as our knowledge and ability was supposed to be on an upwards one. All of these things were the culminating factors of why I was so anxious to return, until one day speaking to my brother about my concerns, he put it so simply and something just clicked in my mind. “Once you’ve done it, you’ll have it for the rest of your life.”

I’m not exactly sure why but these words just put everything into context for me. I don’t have to be perfect in these two years, if anything it’s the time to make mistakes and learn about who I want to be as an Architect and what I want to contribute to the profession. I don’t need to know that going into it. If anything, these are the most valuable things I can take away from the Masters not a distinction and not the ability to knock up a detail in a couple minutes. The knowledge and skills I gain will stay with me throughout my entire career. In addition to the normal thought-induced intensity and long hours that comes with any Architectural Degree, the last few months of Stage 6 also brought with it Coronavirus. Being just after the March Interim review, I feel like the virus struck at the most inconvenient time (as if there was a choice of the matter) as it was when the majority of us were really only starting to get into the designs of our project. This brought with it many circumstances where I needed to rethink my design practices and how I would normally begin this process, as I didn’t have access to most of the materials/ computer/ printer for a while at the beginning, and considering I was working with an existing building it was difficult to work into the design without physical versions of it. The whole studio dynamic was also completely lost, there was no way to gauge my performance and self-doubt once again made quite a few appearances. I guess it had some positives, however, it allowed me to explore more digital modes of representation which I would normally avoid, and I do think I have been able to develop diagrammatic and software skills during this lockdown period of limited resources. From looking back and analysing my work throughout the March, it’s become apparent to me that the research and practice I am drawn to every project is one underpinned by a strong social agenda. I would always be looking for ways, as an architectural designer, I could almost be of service to the community or communities in need to enable them to have a more equal and fair chance at life. I think this draws back to my childhood, and how hard I saw both my parents work to be able to give my siblings and I the best start in life. Even though I’m from one of the poorest/ working class places in England, I’ve worked hard for the same opportunities which people in better situations may have taken for granted.

I’ve always felt extremely grateful and guilty simultaneously for these opportunities, knowing full well that a lot of people will not get to experience them. I think that’s one of the reasons I was fortunate enough to be able to choose architecture as a career as I believe it’ll provide me the capacity to be able to help communities who have almost been failed by the system. From the first semester of Stage 5 to the last semester of stage 6, social integration and equality through the medium of pedagogy is one of the main driving forces behind my projects. For the Stage 5 Urban Fabric proposal I began by creating a festival which would celebrate the underprivileged children of Vienna and allow them to express themselves through the art of music and performance, leading onto the Building Fabric proposal in semester 2 where this transformed into a more permanent structure in the form of an alternative music school for disadvantaged children, to try and combat the elitist notion that music education is only for the highest performing ability i.e. the children whose parents could afford lessons from an early age. For my thesis project in stage 6, these social agendas manifested into proposing a project designed to celebrate the (forgotten) Syrian Refugee community in Edinburgh through an integration of traditions and cultures expressed during Fringe Festival. A proposal which aims to cross cultures and provides opportunity for the productive integration of the educational, cultural and social axes, becoming a place where each community would feel like they would belong, and equally have something to give and gain. The proposed interventions incorporate a collaborative educational and cultural resource centre with resettlement facilities, learning, creative and performance workshops. A lot of my opinions have also been enlightened through the writings and practices of some key Urban Designers such as Jan Gehl, Jane Jacobs and William Whyte which I have come across during these past two years through my elective module of Urban Design.

My main goal for after university was to continue to the next stage of the process to qualifying as an Architect, which would have been to hopefully secure a Part II Architectural Assistant job and start thinking about applying for Part III. This however, as well as the last part of my Architectural Master’s degree, seems to have been burdened by Covid-19, too. There are some positives, however, when I reflect back on it. Having a potential job offer starting my final year at a practice in which I had strong moral and ethical parallels with, I really feel it allowed me to walk into my final year feeling free and clear-headed, not having the worry for 9 months that I needed to produce a top-notch portfolio in the hopes to persuade architectural practices that I am worthy at the end of it. That’s not what the degree is about, but you know it’s the upmost priority on every final year students mind. My final passing thought as I finish this Academic Portfolio as my final hand-in, I wanted to leave this written reflection as the very last task on my seemingly neverending to-do list. Mainly because it seems like an apt concluding task – something with a real end point, unlike the anticlimactic ending my master’s degree will now have with a virtual exam, virtual degree show and virtual graduation. But also, because It’s beginning to dawn on me that how I have always imagined my career path was going to go, may in fact look so much different now. And that’s okay. This second degree was all about finding out what kind of Architect I wanted to be and what I wanted to contribute to both the profession and the world. Perhaps not going straight into a Part II job and taking some time to explore other avenues which have caught my eye along the way is also a viable option in the right direction. Maybe that is finally going for it and setting up a craft/ illustration business like I have been planning since I was 13 years old but too afraid I would fail, or finishing the MA Urban Design Degree which I was able to start over these past two years. Either option was not something I considered feasible at the start of this year as I was already on a long journey. But maybe tangents can lead to something better.

GA2.1 - Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations, GA2.2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals, GA2.3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals, GA2.4 - Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design, GA2.6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances, GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. GC1 - Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. GC9 - Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC10 - The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GA2

GC1

GC2

GC3 GC4

GC5 GC6

GC7

GC8

GC9

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123

GC10 GC11 123

123

01 Stage 6 [Thesis Project]

This thesis project makes visible the displacement of Syrian refugees within Edinburgh and provides spaces and opportunities for their community to be heard and celebrated. It aims to cross cultures and provides opportunity for the productive integration of the educational, cultural and social axes, becoming a place where each community would feel like they would belong, and equally have something to give and gain. The proposed interventions incorporate a collaborative educational and cultural resource centre with resettlement facilities, learning and creative workshops. It utilises Fringe festival as a platform to celebrate their culture and traditions, to show how they could be operated and valued within Scottish culture and helps to provide opportunities to earn a wage and build a life. Rather than just offering accommodation for the identified communities which could lead to segregating them further from the rest of society, this intervention focuses on the cultural re-integration, by providing classes and workshops, facilities and activities open to the city; with people from all different educated or non-educated, social, political and cultural backgrounds

Archiving the City: Athens and Athens of the North [The Studio]

Archiving the City: Athens and Athens of the North studio investigates architectural responses to archiving and mapping as the project drivers in the cities of Edinburgh and Athens, two urban fabrics with physical and cultural similarities and differences. The studio explores archiving as a process which explores different stages: accumulation, documentation, classification and opening up to the wider audience. The second part this studio explores is the idea of palimpsest, the idea that overlapping layers of history and culture are co-existing in the city.

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Initial Research [Drivers]

This initial concept model shows a warped perspective of the landscape Old and New Town in Edinburgh through personal perspective and memory. It led to exploration of the stairs/ entrances of Old Edinburgh. It represents the landscape of Old Town and New Town through text and perspectival models in a generative way, which allows for the model itself to become the beginning of a new landscape. This thesis began with a cartographic understanding of Edinburgh, in particularly the Old Town, through all the steps and closes. I believe it’s as important as, if not more so, than the bridges in understanding and defining Edinburgh’s extensive topography as it’s the physical act of walking up and down which expresses this information. However, barely anything had been recorded of them if any at all, which led me on to surveying them and creating a model which attempts to show how unique the Old Town’s landscape is, as the Royal Mile follows the ridge of the volcanic rock. As a starting point I gathered the quantitative research, such as the building heights and dimensions and topography. I also gathered information about what they are used for, for example any activities during Fringe Festival, whether they are used as a thoroughfare, for daily commutes or for shelter. I also looked at the qualitative aspects, for example emotional and bodily aspects and how these change or are affected over time. I created several diagrams over the course of the day for a proportion of the stairs as an initial study, which brought to light which stairs might be used more regularly or for specific times of the day. Connected to and amongst some of the stairs are the unique Wynds and Closes of Old Edinburgh. Originally wide enough to be able to fit a horse and cart through, they were very unsanitary parts of the town. In the 21st Century, however, I saw them as passages which could lead to intriguing and hidden delights of the city.

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Total Population = 6,607 Number of business sites = 1,955 - Attracting 198,000 tourists for business purposes Total number of dwellings = 3,301 - Attracting 353,000 tourists seeing friends and family members Dwellings per hectare = 26.15 In 2018, there was a large increase in the number of tourists for holiday purposes = 1,431,000 In 2019, a record breaking number of people attended Fringe Festival = 3,012,490, with the highest concentration of people staying during the months July - September (39%)

Old Town, Princes Street and Leith Street Analysis

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MAP OF STAIRS/ COURTS/ CLOSES/ WYNDS - OLD TOWN EDINBURGH -

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Map showing steps, closes and wynds of Old Edinburgh

FLESHMARKET CLOSE

CARRUBBER’S CLOSE NORTH GRAY’S CLOSE

CRAIG’S CLOSE

CHALMER’S CLOSE

WARRISTON’S CLOSE

BULL’S CLOSE

ADVOCATE’S CLOSE

LADY STAIRS CLOSE MILNE’S CLOSE CASTLE WYND NORTH (PATRICK GEDDES STEPS) GRANNY’S GREEN

OLD FISHMARKET’S CLOSE BELL’S WYND RIDDLE’S COURT ANDERSON’S CLOSE CASTLE WYND SOUTH (PATRICK GEDDES STEPS) VENNEL

All Sets of Stairs within Old Edinburgh

FLESHMARKET CLOSE CRAIG’S CLOSE WARRISTON’S CLOSE ADVOCATE’S CLOSE

LADY STAIRS CLOSE MILNE’S CLOSE CASTLE WYND NORTH (PATRICK GEDDES STEPS) GRANNY’S GREEN

OLD FISHMARKET’S CLOSE BELL’S WYND RIDDLE’S COURT ANDERSON’S CLOSE CASTLE WYND SOUTH (PATRICK GEDDES STEPS) VENNEL

Stairs in which to Focus - Concentrated around Patrick Geddes areas of Intervention

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GRANNY GREEN - VENNEL

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CASTLE WYND NORTH + SOUTH

Sections of Stepping Routes Alone Royal Mile

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MILNEâ&#x20AC;&#x2122;S COURT

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LADY STAIRS CLOSE

Sections of Stepping Routes Alone Royal Mile

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ADVOCATE’S CLOSE

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WARRISTON’S CLOSE

Sections of Stepping Routes Alone Royal Mile

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CRAIGâ&#x20AC;&#x2122;S CLOSE

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FLESHMARKET CLOSE

Sections of Stepping Routes Alone Royal Mile

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Immediate context and entrance analysis 1:1000

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ANALYSIS OF ADJACENT BUILDINGS - OLD TOWN EDINBURGH -

RESI

The Archive of the Stairs

[9am] An analysis of the existing use of the stairs to understand which times of the day they are occupied and for what purpose

We’ve got 10 minutes!

Go ahead dear, I just need to catch my breath a moment

Almost there!

Any spare change please?

COCKBURN STREET

How many more steps to go?!

What time is the train again?

MARKET STREET

I’ve got a 9.30 meeting at HQ

2 STEPS

15 STEPS

16 STEPS

5 STEPS

21 STEPS

132 STEPS

Fleshmarket Close

16 STEPS

[9am]

I’m almost at work darling, have a lovely day Im exhausted! Is my schedule free today at 2pm? HIGH STREET

Hi Jan, sorry im gonna be about 10 minutes late this morning, train was delayed

Wanna grab a coffee?

COCKBURN STREET

What shall we do after we drop the bags of at the hotel?

31 STEPS

35 STEPS

34 STEPS

189 FOOTSTEPS

Warriston’s Close

13 STEPS

9 STEPS

2 STEPS

7 STEPS

Patrick Geddes [The Protagonist] “The Royal Mile, which stretches from the Palace of Holyrood to Edinburgh Castle, had once been reckoned the fairest street in Europe, but by 1887 it had become a decaying historical façade concealing crowded slums in every hidden close and courtyard.” ¹ After the departure of the wealthy to the New Town in the 18th century, all that were left in the heart of the city were the elderly, the unemployed, the poor and the destitute.² Geddes developed a new approach to regional and town planning based on the integration of people and their livelihood into the environmental givens of the particular place and region they inhabit. His early experiments in co-operative ‘home-building’ and student led University Halls were pioneering at the time. His innovation to let the students govern themselves in a community of cooperative living allowed for learning and intellectual interaction with others who may not have previously had the chance to as they were not from wealthy, middle-upper class families. Patrick Geddes’s regeneration of Old Edinburgh was one over many years. Starting from simple changes like cleaning and colour washes on the front of houses to simple additions of flower boxes on windowsills. As momentum, interest and investments gathered, larger changes were able to be made such as removing parts of closes and buildings to provide more light and air to the back outdoor spaces.³

5 6

4 7

7 2

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BUILDINGS 1.

PATRICK GEDDES HALL

RAMSEY GARDEN AND LODGE

OUTLOOK TOWER

CASTEHILL SCHOOL

ST GILES HOUSE

BLACKIE HOUSE

BURN’S LAND

RIDDLE’S COURT

OUTDOOR AREAS

His Regeneration of the Old Town

HUNTERS SQUARE

OLD ASSEMBLY CLOSE

TRON SQUARE

WARDROP’S COURT

LADY STAIR’S CLOSE

JAMES COURT

MILNE’S COURT

RIDDLE’S COURT

JOHNSTON TERRACE GARDEN

10.

GRANNY GREEN STEPS

Developed Programme [Place - Work - Folk]

Geddes developed a new approach to regional and town planning based on the relationship between the people and their places have an impact on each other, called the work-place-folk triad, which was inspired by the French sociologist Frederic Le Play’s triad “Lieu, Travail, Famille.”4 He mentioned that people may not just need to have a good shelter, but they also do have a need for food, work, and some social life.5 I started thinking about how I could apply the Geddes triad to try and tackle current issues within today’s society. Revolving around place, work and folk I likened them to current political debates around refugees and statelessness, climate change and increasing homelessness. Looking to expand the territory of the stairs with the idea of a continuation of Geddes regeneration, I have begun to explore his theories to continue his approach based on the place-work-folk triad.

- iii - Place Work Folk Triad - 1800’s

I started thinking about how I could apply the Geddes triad to try and tackle current issues within todayâ&#x20AC;&#x2122;s society. Revolving around place, work and folk I likened them to current political debates around refugees and statelessness, climate change and increasing homelessness.

Place Work Folk Triad - 2020

work-place

WORK

work-folk

100%

56% 100%

Climate Change – by leaves we learn

100%

2020 The practical and theoretical work of Patrick Geddes expressed a thoroughly56% modern understanding of the role that design can play in the education and creation of a sustainable human civilization. Humanities exploitation of Earth’s natural resources, more so now than 100 years ago, produces alarming ecological, social and economic effects.6 Could the rebuilding of analysis into synthesis and prioritising regionally adapted work i.e. local production for local consumption be ways in which to move forward?

Think global, act local

56%

2020

Global solutions to humanity’s current environmental problems are only to be found and brought about through local actions at the scale of communities and their bioregion. Such actions require a socially and ecologically literate citizenry. Geddes understood the importance of thinking global and acting local. His recognition of education as the facilitator of societal change prompted him to develop new theories on education on how the arts and the sciences could be combined and applied to town planning to improve living conditions.7

2045 2020 56%

2045

2045 2020

2045

Target of net-zero emissions by 2045

65 Thousand hectares have been planted since 2011 - That’s 25 trees for every person living in Scotland

36% More rainfall now recorded on the wettest day in Scotland

Sea levels are rising 3mm per year and rates of erosion increasing

In today’s society with tragedies such as the Australian bush fires, Amazon Rainforest fires, and plastic pollution harming sea life, I wonder what architecture can do to help shift emphasis on consumption and reducing waste not only in the local vicinity but also globally. Whether that is through transdisciplinary synthesis and holistic education in the form of a collaborative research centre for arts/ humanities/ science and so on. A climate strike demonstration to happen outside the Scottish Parliament at Holyrood on 14th February 2020.

place-work

PLACE

place-folk

348

SYRIA

EDINBURGH

348 refugees ressettled in Edinburhg from Syria

Refugees/ Statelessness – by leaves we live Geddes’ idea of ‘city of sweat equity’ approach to urban housing, contributed to the planning theory that men and women could make their own cities, by contributing to the process of building/ regenerating the places in which they would then occupy/ are currently occupying.8 This was initiated when he moved into James Court in Old Edinburgh and began relatively simple repair works, as well as encouraging his neighbours to do so. 25.9 million refugees worldwide

3.9 million stateless worldwide

When refugees are forced to flee their countries, and are stateless or nationless, it’s very easy to feel like they don’t belong anywhere. Finding a permanent place to resettle and be able to call ‘home’ for most is taken for granted, but to refugees feels like a luxury. But having a place to call home isn’t necessarily the only thing needed to secure the feeling of belonging. Feeling needed; having some sort of purpose is very desirable for a fulfilling existence. With over 25.9 million refugees worldwide only a small percentage of these manage to find asylum in developed European Countries, with 1500 resettled in Scotland.9 There are also 3.9 million people stateless (recorded) but thought to be millions more.10 These have been denied a nationality and access to basic human rights such as education, healthcare, employment and freedom of movement. Charity Citizens UK has revealed that more refugees have settled in Edinburgh under government schemes for vulnerable people and children than many other local authorities. Since the resettlement schemes were first launched in 2014, 348 refugees have moved to Edinburgh, generally relocating from Syria.11 The City of Edinburgh Council are aware that more needs to be done to support to newly resettled refugees within the city, and state that they “want to be better at Syrian Refugee integration” in their Equality, Diversity and Rights Framework for 2017-2021.12

folk-work

FOLK

folk-work

Every 18 minutes a household becomes homeless in Scotland Airbnb banner in a park in Athens, 2020

Increasing homelessness – by leaves we love “At present, the city [Edinburgh] is afflicted with increasing homelessness, rising rents and shortterm lets.”13 Taking into consideration who already occupies the stairs in a couple of cases such as Fleshmarket Close, an idea could be to imagine a place more permanent for them and taking ownership of the places they are currently already occupying. Every 18 minutes a household becomes homeless in Scotland, and “Shelter Scotland has warned that Edinburgh is at risk of a housing crisis comparable to that of London.”14 Many factors are the cause of homelessness in Edinburgh, such as family and relationship breakdowns and cuts to mental health services leaving people vulnerable, but a major one is due to the lack of social housing available to those who are in need. Because of this, the SNP has vowed to build 35,000 affordable homes for social rent by 2021, and Airbnb has also planned to “limit lettings offered by Edinburgh properties to just 3 months a year.”15 Conflicting thoughts about Airbnb in certain areas of Athens was also evident.

JAN FEB MAR JAN FEB MAR JAN MAY FEB JUN MAR APR APR MAY JUN APR AUG MAY SEPT JUN JUL JUL AUG SEPT JUL NOV AUG DEC SEPT OCT OCT NOV DEC OCT NOV DEC Airbnb lettings in Edinburgh limited to 3 months a year

Social Bite Village on the outskirts of Edinburgh is an example of providing a place for homeless people to live. This has its limits however as it is based on sheltering them rather than effectively integrating them back into society. As research shows, the effective recovery of homeless people is to integrate them back into permanent, mainstream accommodation. The expanded territory of the stairs which have already been occupied by numerous homeless people could be a place for rehabilitation and reflection – for learning and developing specific skills, with access to health services to help them to reenter society with confidence which could lead to finding a job. 9 out of 10 private renters who need a social home are missing out

Geddesâ&#x20AC;&#x2122; Regeneration

Current Proposals

Future Regeneration

Continuation of Geddesâ&#x20AC;&#x2122; Regeneration Along the Royal Mile

H BURG EDIN EON DUNG

ARTS CITY E CENTR

BAR + HOSTEL

PUB

RESIDENTIAL/ OFFICES

+ RETAIL G/ HOUSIN OFFICES

CO-WORKING SPACE

Potential Sites

APARTMENTS

RETAIL

CAFE + RESI

/ INN

RESI

BISTRO + RESI

BISTRO/ RESI

ING

L BUILD

COUNCI

IL/ RE

RETA

RETA IL/ RE

NURSE

RETAIL/ INN

TOU

/ RESI S ICE OFF

R OPE R RATO

ST. GILES CATHEDRAL

NT AURA REST

RESI

+ BAR RESI

HIARC RE TU TEC ICE T PRAC IL/ RETA ES IC OFF

OFFICES

ANALYSIS OF ADJACENT BUILDINGS - OLD TOWN EDINBURGH 1:1000

IL/ IN

RETA

RESI

Site Options

BAR

VARIOUS RETAIL + HOUSING/ OFFICES

ERS

ELL

CIGA

JEW

Warriston’s Close – Wide and visible from Waverley bridge/ transportation systems into the city - Heavily used by many demographics - Historical elevations to highlight - In the vicinity of Fringe Festival venues

RETAIL/ HOUSING

RESTAURANT + HOUSING/ OFFICES

ARCHITECTURE PRACTICE

BACKPACKERS HOSTEL

BISTRO

HOTEL

SNEW TS N AGE

Fleshmarket Close – Links to arrival into the city but its in the Old Town so it’s in the heart of the city - Opportunities for inhabited wall spaces - Heavily used by many demographics - In the vicinity of Fringe Festival venues

BISTRO

RETIAL

CITY CHAMBERS

BAR + GRILL

IL + RETA G/ IN HOUS ES OFFIC

HAIRRS DRESSE

RETAIL

RETAIL/ RETAIL/ RETAIL/ HOUSINGHOUSING HOUSING HOTEL

THE MAN SCOTS L HOTE

PUB

/ RETAIL S OFFICE RETAIL

HOTEL

BAR + + DINER ES OFFIC

CAFE

RESI

RESI RESI

RESI

New Town

Old Town

Fringe Festival Venue Mapping

WARRISTONâ&#x20AC;&#x2122;S CLOSE

FLESHMARKET CLOSE

Urban Strategy Diagram Identifying Possible Positions of Temporary Outdoor Interventions Along the Closes

The steps are not a static part of the city. The sheer nature of them revolve around movement and passing through from one place to another. The intervention on these sites need to be sensitive to the morphology of the site, by emphasizing this movement both in the horizontal plane and also the vertical plane too, to allow for the appreciation of the architecture (in particular the facades) which are usually hidden or at least not very accessible.

Morphology of the Site - Fleshmarket Close

Morphology of the Site - Warristonâ&#x20AC;&#x2122;s Close

Fleshmarket Close - Permanent

Fleshmarket Close - Temporary

FLEXIBLE SEATING FLEXIBLE STAGING

THEATRE

LARGE ENOUGH FOR GROUP REHEARSALS

OPEN PLAN/ UNINTERRUPTED FLOOR SPACE TRUSS ROOF STRUCTURE TO ATTACH EQUIPMENT

ADAPTABLE LIGHTING

CIRCUS SAFETY NETS FOR HIGH LEVEL APPARATUS

RINGS/ HOOPS PERMANENT STRUCTURE WITHIN SKYLINE GAP

ROOMS LARGE ENOUGH FOR GROUP REHEARSALS

ADAPTABLE LIGHTING

Warristonâ&#x20AC;&#x2122;s Close - Permanent

DANCE

ADAPTABLE/ UNINTERRUPTED SPACES

Warristonâ&#x20AC;&#x2122;s Close - Temporary

Temporary Activities - (Fringe Festival) Music/ Dance Performances

Theatre Performances

User Groups Spectating Users

Fashion Shows/ Showrooms

Refugees Cross-culture â&#x20AC;&#x2DC;Cook-off â&#x20AC;&#x2122; Homeless Passers-by

Interactive Users

Permanent Facilities - (Year round)

Tourists

Education/ Cultural Centre Counselling/ Disability Support Self-Governing Accommodation

In terms of the types of activity, I thought it was important to first define the user groups at different times of the day/ year of the chosen sites and then think about activities which could be offered to suit these groups and how they could possibly interact with one another.

Theatre/ Music/ Textiles/ Cooking Workshops

The focal point is to expand the territory of the steps by filtering into the buildings along the closes, and this could be an opportunity to distinguish between the temporary performative aspects during the Fringe Festival and the permanence of the activities within the buildings.

Programme

The Programme [Thesis Statement] Moving forward, this project will aim to cross cultures and provides opportunity for the productive integration of the educational, cultural and social axes, becoming a place where each community would feel like they would belong, and equally have something to give and gain. The proposed interventions incorporate a collaborative educational and cultural resource centre with resettlement facilities, learning and creative workshops. Moving forward I am looking to expand the territory of the steps to interact with the adjacent buildings to transform the space into its own city almost. This would link back to Patrick Geddes as he didn’t add new buildings during the regeneration of the Old Town (with the exception of Ramsay Lodge), instead he worked with what was already there. By creating an intervention which binds the two elevations along the route it simply transforms the space from a stair which links two streets, to a place within its own right rather just a passage through to somewhere. The aim is to emphasise and allow for the appreciation of the architecture which interacts with the stepping route and highlight facades which are usually ‘hidden’. “Scotland is continuing its legacy of innovative social policy” 18 Edinburgh is at the forefront of welcoming Syrian refugee families.19 The proposal moving forward aims to celebrate the extremely rich and interesting Syrian Culture which is present in Edinburgh, and highlight what this could bring to both Edinburgh as a city and Edinburgh’s Fringe Festival as one of the largest international festivals in the world. The main hope is that this new ‘city’ would make Syrian displacement visible, and pave the way for similar future interventions in cities around the world of high refugee displacement. Rather than just providing accommodation for the identified communities which could lead to segregating them further from the rest of society, this intervention would focus on the cultural re-integration, by providing workshops, facilities and activities open to the city; with people from all different educated or noneducated, social, political and cultural backgrounds. It would become a place where each community would feel like they would belong. The types of resources and activities it could offer would depend on which user (as shown in the previous diagram), but generally it would be activities such as: cultural and language integration, English speaking courses, access to internet and equipment, access to theory test revision, mental health awarenes and counselling, community programmes, introduction to various arts, climate education and career advice. The steps in Athens allow extra seating space for all the restaurants to spill out onto which creates a community and fills the stepping routes with activity and becomes almost like a theatre or the stage itself. In Edinburgh, the buildings along the route will be used to house the function (i.e. educational/ cultural activities) and along the stepping route would act as the display for performances (i.e. the stage).

-v-

Syrian

Scottish

After researching traditional Syrian dances which will be performed during Fringe Festival, I analysed common steps within the dance to determine the spatial requirements for such an activity. Most of the traditional moves involves the participants in either circles or line formations, so the space in which this is performed will need to be large enough to accommodate these specific dances. There are four types of Traditional Scottish dances which are; Ceilidh, Cape Breton Step Dancing, Scottish Country Dancing and Highland Dancing, which is depicted above.

Dance Culture

Shared Working/ Practice Spaces

Solitary Working/ Practice Spaces

Design vignettes to show how the researched requirements might be translated to the design of the intervention

Auditorium

Syrian

OUTSIDE

Scottish

INSIDE OUTSIDE INSIDE

Next, I researched into the processes of different textiles manufacturing methods, specifically weaving and carpet making common amongst women in Syrian culture.

INSIDE OUTSIDE

OUTSIDE

I found that the traditional wooden loom structures are quite large so plenty of space for these would be needed, as well as outdoor areas (or well ventilated indoor areas) will be required to dry the material after the dying process. Traditional Scottish Textiles were mainly focussed around hand-woven tweed, with the water in Scotland having a special quality which contributed to the softness. There is also a large contemporary Scottish textile scene, contributing ÂŁ1 billion a year to the economy, and has its own festival with the Yarn Festival held in Edinburgh anually.

Traditional Textiles

Shared Working Spaces

Gallery

Design vignettes to show how the researched requirements might be translated to the design of the intervention

â&#x20AC;&#x2DC;Cul-de-sac-ingâ&#x20AC;&#x2122;

Syrian

Scottish

I also researched traditional Syrian music; specifically styles of music and instruments commonly played. I then analysed common configurations of musical groups and used this information to determine the spatial requirements for such an activity. Traditional Scottish music sees instruments such as bagpipes, border pipes and small pipes, piano accordion, cello and the grand piano. However, each region seems to bring some difference to Scottish music in general.

Traditional Music

Shared Working/ Practice Spaces

Solitary Working/ Practice Spaces

Design vignettes to show how the researched requirements might be translated to the design of the intervention

Auditorium

I lastly researched traditional Syrian foods and found that baking and mezze dips were amongst the most common categories which are taught around the world and could potentially be taught at Fringe Festival. Commonly, everything is batch made by numerous people (mainly women/ mothers and daughters) around large tables like a conveyor belt approach. This could be carried forward within the design of the cooking school spaces

Syrian Food Culture

Shared Working Spaces

Classrooms

Design vignettes to show how the researched requirements might be translated to the design of the intervention

Solitary Working Spaces

The Spectating Link is the building complex which links the all the spaces of the intervention through access, both visually and physically, and through programme. Day to day activities will be places for people to come together as a community, asual and adaptable workspaces and a place for children to play and interact whilst their parents are taking classes or working. During Fringe Festival these spaces will transform into peformance venues and specating areas for the various events the Syrian community will hold.

Spectating Link

Links

Childcare Spaces with Natural Surveillance

Design vignettes to show how the researched requirements might be translated to the design of the intervention

Encouraged Gatherings

      

    

    

       

      

Food and Nutrition

Launching a Business talk

Continue FRINGE Marketing campaign

FRINGE Committee Meeting

Launch FRINGE Marketing campaign

Finding Investment talk

Mini graduation ceremonies of vario year

Food and Nutrition

Introduction to IT and Computing classes Financial Support programme

3 Week theory test course

Women’s meet up Business and Career Development course

Children’s Play Women’s meet up Group

Mental Health/ Disability Support Drop-in Foreign Language Course Fitness Club

Sustainable Living Course and guest speakers

Children’s Play Group

FRINGE sign up, auditions and showcase acts

Mental Health/ Disability Support Drop-in

Mental Health/ Disability Support Drop-in Foreign Language Course Fitness Club

Food and Nutrition

Women’s meet up

Personal Development

Course Introductions

FRINGE Committee Meeting

Foreign Language Course

Children’s Play Group

Eid al-Fitr

Mental Health/ Disability Support Drop-in

Foreign Language Course Fitness Club

Yearly timeline

Syrian Cooking Class

Foreign Language Course Fitness Club

Fitness Club

Sco

Women’s meet u

Foreign Language Course

Prop/ Staging/ Equipment preparation for FRINGE

Food and Nutrition

FRINGE Festival

FRINGE Clear-up 3 Week theory test course

Course Introductions FRINGE Rehearsals (dance, theatre, music, circus etc)

Personal Development

Financial Support programme Women’s meet up

ottish Cooking Class

Children’s Play Group

Syrian Cooking Class

Scottish Cooking Class

Women’s meet up

Mental Health/ Disability Support Drop-in

Women’s meet up

Children’s Play Group

Mental Health/ Disability Support Drop-in Foreign Language Course

Fitness Club

       

FRINGE Committee Meeting

  

      

        

     

   

ous courses from throughout the r

Shoe Box Distribution

Women’s meet up

Mental Health/ Disability Support Drop-in

Children’s Nativity Play Children’s Play Group

Children’s Play Group

Foreign Language Course Fitness Club

Shoe Box Drive and advertisement campaign

Mental Health/ Mental Health/ Disability Support Drop-in Disability Support Drop-in Foreign Language Course

Fitness Club

Children’s Play Women’s Group meet up

Foreign Language Course Fitness Club

Fitness Club

Children’s Play Group

Mental Health/ Disability Support Drop-in Foreign Language Course

Free Community Christmas Meal Mental Health/ Disability Support Drop-in Foreign Language Course

Fitness Club

Amenities Self-Governing Accommodation Educational Cultural Spectating Link

Refugee Daily (September - July) Typical Routine

Amenities Self-Governing Accommodation Educational Cultural Spectating Link Fleshmarket Close

Fringe Festival Daily (August) Typical Routine

WE LC OM E

FLESHMARKET CLOSE // PROGRAMME GUIDE TO :

Friday 7th August - 7pm

Opening Show Ensemble

Friday 7th August - 9pm

Dabke Dance Performance

Saturday 8th August - 2.30pm

Saturday 8th August - 8pm

Thursday 13th August - 12pm

Friday 21st August - 8pm

/ /

First Floor Spectating Link

Fleshmarket Close - Outside Stage

Cross Culture ‘Cook-off’

Fifth Floor Cooking School /

First Floor Spectating Link /

Traditional Syrian Music Group

Cross Culture ‘Cook-off’

/ /

Roof Terrace Spectating Link First Floor Spectating Link

Third Floor Textiles School

Carpet Weaving Introduction /

Roof Terrace Spectating Link

Traditional Syrian Music Group Ladies of Syria Fashion Show /

/ /

First Floor Spectating Link

Fleshmarket Close - Outside Stage

Cross Culture ‘Cook-off’

Traditional Syrian Dabke Dance

Saturday 29th August - 9pm

Fifth Floor Cooking School

First Floor Spectating Link

Traditional Syrian Music Group

Roof Terrace Spectating Link

Traditional Syrian Music Group /

Second Floor Textiles School

Traditional Syrian Music Group

Saturday 29th August - 5pm

Fringe Festival Leaflet Advertisement

Third Floor Textiles School Roof Terrace Spectating Link

Ground Floor Spectating Link

Thursday 27th August - 12pm

7TH - 31ST AUGUST // FLESHMARKET CLOSE

/ /

Garment Weaving Introduction

Saturday 29th August - 3pm

First Floor Spectating Link

Dabke Dance Performance

Friday 28th August - 8pm

Sunday 23rd August - 12pm

Saturday 29th August - 8pm

Saturday 22nd August - 8pm

Roof Terrace Spectating Link

Saturday 22nd August - 2.30pm

Friday 28th August - 5pm

Traditional Syrian Dabke Dance

Thursday 20th August - 12pm

First Floor Spectating Link

Fifth Floor Cooking School

Carpet Weaving Masterclass

Ladies of Syria Fashion Show

Saturday 15th August - 5pm

Tuesday 25th August - 8pm

Traditional Syrian Music Group

Sunday 23rd August - 5pm

Traditional Syrian Music Group

Friday 14th August - 8pm

Roof Terrace Spectating Link

Traditional Syrian Music Group /

Tuesday 18th August - 8pm

Cross Culture ‘Cook-off’

Saturday 15th August - 3pm

Ground Floor Spectating Link

Traditional Syrian Music Group

Wednesday 12th August - 8pm

Friday 14th August - 5pm

Traditional Syrian Music Group

Sunday 9th August - 12pm

“TH OF EC TH I E S TY TE PS ”

Spectating Link/ Fleshmarket Close

Traditional Syrian Music Group

Sunday 9th August - 5pm

Fifth Floor Cooking School

Fleshmarket Close - Outside Stage

Traditional Syrian Music Group

First Floor Spectating Link

Sunday 30th August - 12pm

Cross Culture ‘Cook-off’

Fifth Floor Cooking School

Sunday 30th August - 5pm

Cross Culture ‘Cook-off’

Fifth Floor Cooking School

Sunday 30th August - 7pm Sunday 30th August - 9pm

/ /

Ladies of Syria Fashion Show

Fleshmarket Close - Outside Stage

Closing Show Music/ Dance Performance

First Floor Spectating Link

Fringe Festival Leaflet Programme Guide

Self-governing Temporary Accomodation

Textiles School

Educational Spaces

Music School

The Spectating Link

Cookery School

This diagram illustrates how the programme will be divided in terms of use and the separate buildings.

This diagram illustrates where the main intervention within the buildings will be focussed along the route.

The â&#x20AC;&#x2DC;Spectating Linkâ&#x20AC;&#x2122; will provide the link between all the cultural programmes.

The other areas within the buildings will be designed as a series of fragments at larger scales in relation to the activites situated within them.

Programmatic Moves Forward

The Site within the Wider Context - From Waverley Station to Tron Kirk

C O C K B U R N

N O R T H

B R I D G E

S T

M A R KET

Zoomed Site Isonometric showing Activity along Fleshmarket Close

S T R E E T

Existing Walls Removed Accessible Route via Market St. Accessible Route to Music School Accessible Route to Textiles School

Proposed First Floor Plan

Existing Walls Removed Accessible Route via Market St. Accessible Route to Music School Accessible Route to Textiles School Accessible Route to Spectating Link

Proposed Second Floor Plan

Existing Walls Removed Accessible Route via Market St. Accessible Route to Music School Accessible Route to Textiles School Accessible Route to Spectating Link Accessible Route via Cooking School via Cockburn St.

Proposed Third Floor Plan

Proposed Fourth Floor Plan

Proposed Fifth Floor Plan

Building Strategy Diagram Highlighting Interventions - West Facing Buildings

Building Strategy Diagram Highlighting Interventions - East Facing Buildings

1 - Cooking School Kitchen 2 - Cooking School Classroom 3 - Public Syrian Cafe 4 - Public Cafe Roof Terrace 5 - Shared Computer Space 6 - Flexible Working Space 7 - Flexible Shared Space 8 - Music Classroom 9 - Performance Studio 10 - Music Classroom 11 - Performance Space 12 - Access From Market Street

1 2 3

4 5 6

9 10

7 11

Long Site Section Showing Altered Structural Elements

Long Site Section Showing Activity During Fringe Festival

View showing the Music School during Fringe Festival with the Spectating Link bridge in the background

View showing Spectating Link bridge connecting both sides of the close

Fleshmarket Close Throughout the Year

Fleshmarket Close During Fringe Festival

Cross Section Through Spectating Link Showing Activity During Fringe Festival

Cross Section Through Spectating Link Showing Activity Throughout the Year

Load-bearing Structural Member Timber Wall Plate Fixed to Stonework

Unique-cut Glazing Fixed between Thin 25mm Black Framing

Timber Roof Structure Panels Creating Inconsistent Shapes and Shadows 150mm x 150mm Timber Beams

Large-scale Unique-cut Glazing Fixed between 50mm Black Framing to Create an Uninterrupted View Along Fleshmarket Close

25mm Recovered Timber Floorboards 15mm Sheet Plywood Sub-Floor

Roof Panel Build-Up:

50mm x 50mm Timber Battens

200mm x 150mm Timber Beams Fixed to Timber Wall Plate

200mm x 150mm Timber Joists

200mm x 100mm Timber Studs

50mm x 50mm Timber Battens

Stainless Steel Wall Plate Hangers to Fix Timber Joists to Existing Stonework

25mm Timber Pannelling to Soffit

Stainless Steel Wall Plate Hangers to Fix Timber Joists to Existing Stonework

Exploded Axonometric Showing Spectating Link Structural Build-Up

Closed

Opening

Sliding Doors of Spectating Link and Textiles School which Open up to Create Performances Spaces during Fringe Festival

1 - Performance Space 2 - Flexible Shared Space 3 - Public Flexible Space 4 - Textiles Shop 5 - Weaving/ Design Studio

6 - Foyer/ Gathering Space 7 - Large Meeting Room 8 - Shared Computer Studio 9 - Weaving/ Design Studio

Section through Second Floor showing Existing and New Structural Elements

Section through Second Floor showing Textile School, Music School and Spectating Link

1 - Performance Studio 2 - Music Classroom 3 - Flexible Working Space 4 - Textiles Gallery 5 - Weaving/ Design Studio 6 - Material/ Equipment Storage

7 - Outdoor Drying Area 8 - Thread Winding Room 9 - Thread Dying Room 10 - Foyer/ Gathering Space 11 - Large Design Studio 12 - Communal Kitchen

Section through Third Floor showing Existing and New Structural Elements

Section through Third Floor showing Textile School, Music School and Spectating Link

Section through Second and Third Floor showing the Organisation of the Textile School

Inside Ground Floor Textiles Shop

Inside Ground Floor Weaving/ Design Studio

Weaving Station

Inside First Floor Weaving Studio/ Gallery

Cooking Station Sectional with Construction Detail

2600mm

900mm

1000mm

3500mm

590mm

All-in-One Cooking Station Components

Typical Cooking Class Set-Up

Learning

Creating

Performing

Year Round

August

Flexibility of Shared Working Spaces

View from Textile Gallery into Spectating Link During a Lecture/ Talk

View from Textile Gallery into Spectating Link on an Average Day Demonstrating Flexibility

View from Textile Gallery into Spectating Link During Fringe Festival

Learn

Play

Group Working

Perform

Rest Collaborative Activity Stations for Childcare Sessions

Closed

Mechanical Opening Doors to Music School

Open

Music School Classroom

Opening Up Fleshmarket Close

GA2.1 - Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations, GA2.2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals, GA2.3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals, GA2.6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances, GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. GC1 - Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. GC9 - Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC10 - The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GA2

GC1

GC2 GC3

GC4

GC5 GC6

GC7

GC8

GC9

1234567

123

GC10 GC11 123

123

02 Stage 5 [Building Fabric]

The Creation School provides musical opportunities for students who are not among the elite minority of highest performance ability. It is an alternative music school which provides more enriching, extensive and varied musical experiences to broader performance opportunities that include more experiences of personal expression and encourage autonomous learning. The school focuses on alternative teaching methods through musical-play â&#x20AC;&#x201C; moving away from the effects of elitist notions of talent and the competitive environments normally associated with music education The ultimate outcome is to provide a learning environment which fosters intrinsic motivation and music engagement, focussing on the children being able to enjoy the process of learning itself rather than a concrete outcome.

Section A showing Opera Theatre

Section B showing Concert Hall

Axo Showing Programme

Site Analysis

Primary School Assemblage Mapping

Partenâ&#x20AC;&#x2122;s Stages of Play

Functional

Encompasses exploringenvironmental and musical sounds, sound production techniques and resources that introduce musical concepts and ideas

Kinesthetic The social behaviours from Parten’s Stages of Play from the previous page, have been combined with the standard categories of play (physical, artistic-aesthetic, Games and Mimicry, first established by Herbert Spencer in ‘Principles of Psychology’, 1896) and the categories of music teaching styles (Entertainer, Director, Responsive Partner and Observer, as first explored by Tarnowski and Leclerc in ‘Musical Play of Preschoolers and teacher- child interaction’, 1994) to be further developed and modified into these categories of Music-Play which can be applied in music-learning environments.

Involves a movement response to recorded music or instrument or vocal sounds, with or without objects like streamers or scarves

Categories of Music-Play

Co-operative

Recognises the role of socialisation in childrens learning and requires the children to interact and communicate

Dramatic

Uses instruments or singing in role-playing, make-believe or story-telling contents

Constructive

An extension of exploration and involves creative idea development such as improvisation, composition, instrument-making or sound recording

Games With Rules

Includes more structured music experiences such as singing, clapping or dancing games with predetermined actions and/ or socially developed rules

Music-Play Taxonomy

To begin to understand the relationships between the performer and the audience and how they interact with each other and the spaces they are in, I conducted some in-depth research into the history of theatre and performance venues. From this I began to dictate the elements I wanted to carry forward into my own design, such as the ability to provide spaces where the audience can organically form around the performer to be coherent with the alternative teaching theories I have researched. (Indicated by the rectangles) Performance venues started off being very informal places where the audience would clap/ heckle whenever. Going into the renaissance era this changed and the audiences turned stuffy and very formal. For this project I am proposing impromptu and informal performance spaces where the children can feel safe to express themselves freely.

History of Theatre and Performance Diagrams

Yale Art and Architecture School, Paul Rudolph

A second key precedent is the Yale Art and Architecture School by Paul Rudolph. Through analysing the plans and sections of the main teaching block I began to understand how the uses of voids, nests and islands helped to connect spaces on separate floors and how they can create breakout spaces which connect the whole floor both visually and audibly.

Apollo Schule, Herman Hertzberger

Finally the third key precedent was the Apollo Schule by Herman Hertzberger. Similarly to Yale, one of the main things I took away from this was also the use of nests and islands creating breakout spaces which can be very diverse. This key feature will be implemented within my design as each learning space created will need to be able to adapt for the many teaching methods which will be carried out on a daily basis. The spatial implications mentioned earlier in the music-play taxonomy were developed from analysing Apollo Schule and the individual devices he uses to make the most out of the limited space available.

Key Precedents

‘Everything’ Section

Site Plan - not to scale

Ground Floor Plan

Ground Floor Mezzanine Plan

First Floor Plan

Second Floor Plan

Third Floor Plan

Fourth Floor Plan

Section Diagram showing Spatial Organisation for Teaching Methods and Types of Spaces

Plan Diagrams showing Spatial Organisation for Teaching Methods and Types of Spaces

SYMMETRICAL

2 FLOORS TO A ROW

GROUND FLOOR DIFFERENTIATES

Front Elevation Analysis

KEEP SIMILAR HEIGHT AS CONTEXTUAL BUILDINGS

2 FLOORS TO A ROW

GROUND FLOOR DIFFERENTIATES

1 - Bi-fold Panels

2 - Double Door Panels

3 - Top Hinged Panel

Elevation Experiments

4 - Centrally Piveted Swivel Panels

5 - Two Track Sliding Panels System

6 - Single Track Sliding Panel System Elevation Experiments

Front Elevation

Site Section

Site Section Utilisiing the Ground Floor to Transition from the Park (left) to the City (right)

‘Everything’ Section

Transformable Spaces

Ground Floor

Ground Floor Mezzanine

1:200 Spatial and Materiality Model

First Floor

Second Floor

Third Floor

1:200 Spatial and Materiality Model

Fourth Floor

1:200 Model

Technical Long Section Originally 1:50

Exploded Diagram Showing 3 Levels of Structure

Technical Section Originally 1:20

Foundation Detail 1:20

External Wall Detail 1:20

‘Tell the Tale’ Moveable Inner Facade Detail 1:20

‘Tell the Tale’ Glazed Outer Facade Detail 1:20

Intermediate Floor Detail 1:20

Roof Detail 1:20

GA2.1 - Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations, GA2.2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals, GA2.3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals, GA2.6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances, GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. GC1 - Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. GA2

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03 Stage 5 [Urban Fabric]

The Creation Festival is a two-week long festival which provides opportunities to both learn about and create all different kinds of music, culminating in a festival wide performance on a grand scale of The Creation composed by Joseph Haydn. It will provide an array of workshops and classes available to everyone to learn about music theory, take music lessons and also learn about the process of making instruments. This will result in each person creating their own unique instrument, related to the music family of that specific pavilion. There are four pavilions in total; Brass, Woodwind, Strings and Percussion. The idea is then for the people to use their instruments to learn a particular section of The Creation written for said instrument. The festival will be led by existing buskers within Vienna and members from Superar. There are three designated spaces within each pavilion; a space to learn, a space to create and a space to perform.

Collages - A Response to the City

Antique Plaque Model of all Musicianâ&#x20AC;&#x2122;s Tourist Walks

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New Festival Route and Positioning of Pavilions

Pavilion

Historical Site

Life Event

Brass

St Aegydâ&#x20AC;&#x2122;s Chruch

Funeral

Woodwind

Haydn Monument

Acknowledgement

Strings

St. Stephans Cathedral

Married

Percussion

Academy of Sciences

Last Public Appearance

Each pavilion reflects a different musical instrument family of the orchestra. The design of the pavilions will resonate either the process of making the instrument, or itâ&#x20AC;&#x2122;s material and acoustic qualities. To enliven the memory of Joseph Haydn throughout the festival, each pavilion will be located at a specific site which has a resounding connection to Haydn himself through a major life event.

Assemblage Mapping

Brass is the symbol of insensibility, obstinacy and strength. â&#x20AC;&#x153;The mountains of brass speaks of have been supposed to represent the immutable decrees of God.â&#x20AC;? A solid structure, reminiscent of grand ceremonies to celebrate the life of a person at a funeral.

Woodwind instruments are all about the complexity of the opening, valves and contraptions to make the sounds.

Model Maquettes

String intruments are considered as the ‘heart’ of the orchestra. String instruments produce sounds by the vibration of the stretched strings. Are very intricately made and sculptural in appearance.

Percussion instruments are all about rhythym. “The rhythym of the drums could awaken the creative energy of the human soul.” Percussion instruments are key to the rhythym of the universe and was the first musical instrument invented by man.

Model Maquettes

D DW IN OO

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Initial Designs in Context

I N G S T R

Site 3 Plan - not to scale

Sketch perspective working out how the form of the pavilion works with its context

70mm red birch wood

30mm cyclindrical bent aluminium rod

2800mm

50mm red birch wood

900mm 700mm

200mm diameter circular steel plate

Detail study of the structure and materiality of a section of the workshop area

30mm cyclindrical bent aluminium rod

Perspective section through pavilion showing all three zones; learning, creating and performing

GA2.1 - Ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations, GA2.2 - Ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals, GA2.3 - Ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals, GA2.6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances, GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. GC1 - Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. GC9 - Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC10 - The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GA2

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04 Urban Design [Elective Modules]

As part of my Journey through the MArch, I chose the Urban Design accelerated route as my elective module. As I figured out throughout the BA Architecture undergraduate course and then even more so from my years in practice, I had a fundamental understanding that architecture was not only concerned with the single building, but also the built environment and communities it is situated in. Therefore this module was the best choice in my opinion to help me better understand these contextual and social factors, as well as different professional disciplines that are incorporated within the built environment sector. 04a - Stage 5 Design [Bridging the Gap] This group design project was concerned with the social agenda surrounding the existing Aldo Rossi structure in Milan, Italy. The outcome was a phased project designed to be sensitive to the needs of its existing community and also attracting other communities to enliven the vast site once more, by providing workshops and activities centred around 3 elements of the Urban Environment: Nature, Species and a Place of Refuge. The assessed outcome was to produce the following four A1 boards to present at a review, which we chose to present as one long continuous drawing to stay sensitive to the phased intervention we were proposing.

GA2.4 - Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design, GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC10 - The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GA2

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04 Urban Design [Elective Modules]

04b - Stage 6 Written [Blog Module] - 2 Blog Posts - 2 Blog Comments - 1 Reflexive Summary Stage 6 Written [Seminar Module] - 1 Fifteen Minute Individual Presentation on Selected Reading - 20 Readings/ Summaries of Readings

Improved Urban Form: A Collective Goal?

Domino Effect: From Run-down to Social Town What attracts you to a space?

Who actually designs our urban environment? After attending a recent lecture “Place Making in the Garden Village Tradition” by Mark Massey from IDPartnership, it forced me to begin to wonder, who actually designs our urban environment? Particularly with regards to housing developments, I’m interested in deciphering where the voice and the power comes from in order to create a prominent element of our urban environment. From politician to professional to public In order to understand who dictates our urban environment, we must dissect each of the three key perspectives to get to grips with what they do or do not contribute.

In her recent lecture “Measuring Pubic Space: The Star Model” by Dr Georgiana Varna, she talked about the five dimensions of publicness (through the star model) and how to measure the publicness of public spaces.1 The aspect that intrigued me was when she discussed Jan Gehl’s measurements for the quality of the urban environment. The Domino Effect Jan Gehl, a Danish Architect, characterised activities into three categories; Necessary, Optional and Social.2 He described optional activities as activities such as going for a stroll, standing around and enjoying life or sitting.3 These are by far more likely to occur when the urban environment (place) lends itself to them as they become more enjoyable and sociable. Ouseburn Ouseburn, the go-to place for most students of this generation within Newcastle, has become a thriving and exciting place to be both day and night, all year round. The once run-down area which had nothing to offer, is now on the social map as an exciting and lively community, which truly strives to cater to everyone’s needs.

Figure 4: Seven Stories with Cluny to the right, circa. 1980's

Figure 1: Google Search Engine results for ‘tories housing’

Gentrified?

Top-down or bottom-up? With Ministers wanting to “speed up developments”1 – is this the way to proceed? What we will have is a repeat of post war housing where they are constructed for speed but will not necessarily last the test of time and are very unlikely to comply with modern design principles to successfully contribute to the regeneration the urban environment. I suppose, ultimately, every member of society from politicians to the public should have the opportunity to engage with their surroundings and the place they call home. It is very democratic to account for everyone but is the only way the urban environment can improve, realistically, to listen to the ‘experts’?

Tags: architect, byker, bykerwall, community, community engagement, conservatives, housing developments, nclurban, Newcastle, politicians, Ralph Erskine, social housing, tories, University, urban design, urban design blog, urban environment, urban form, urban regeneration

Yes, gentrification can have very negative connotations, but in some respects, it can definitely bring positive ones too. With the example of Ouseburn Valley in mind, the once derelict buildings now house small independent and local businesses bringing jobs to the area.4 The opening of the new pubs and social spaces bringing life and activity back to the neighbourhood. Ouseburn Regeneration was about restoring the character back to the area and enriching the architectural features which had been lost, such as re-opening the Victoria Tunnel. That’s why when the Wimpey Tower bid for a 32 storey tower block was proposed, it faced strong opposition and eventually had to be dropped.5 With all of this in mind I think, therefore, the regeneration of Ouseburn Valley has been invaluable to both the city of Newcastle and the people that live in it. Tags: blog, blogurbandesign, community, design, dominoeffect, gentrification, ma urban design, ncl, nclurban, newcastleuni, ouseburn, public space design, urban regeneration, urbandesign

Georgiana Varna, “Measuring Pubic Space: The Star Model” (October 31, 2019). Jan Gehl, Three Types of Outdoor Activities, in The City Reader, 1987. Pg. 532 Gehl. Pg. 532 4 Ouseburn Trust, “A Celebration of 30 Years of Ouseburn Regneration,” 2012, https://www.ouseburntrust.org.uk/Handlers/Download.ashx?IDMF=fb5f13c4-efb3-45b1-bd1d-725741666d28. [Accessed: 10th January 2020] 5 Trust. 2012 [Accessed: 11th January 2020] 1 2 3

BBC, “Budget 2017: Plans to Build 300,000 New Homes a Year.” [Accessed: 15th November 2019]

Blog Post No.1 (Excerpt)

Blog Post No.2 (Excerpt)

Thank you Ameeta, for your insightful post about the Garden Villages and in particular the mention of how this inspired Ralph Erskine’s designs for Byker Wall Estate. Garden villages as you mentioned, were designed primarily for working-class people. I believe it was amongst these ideals which inspired Ralph Erskine in his attempt to regenerate Byker Wall Estate in the 1970’s. What interested me, however, was whether he was successful in his attempt to socially mix the existing communities with new ones after the redevelopment? There is little evidence that ‘social mixing’ (or gentrification in disguise) actually effects positive change across different classes within society.1 But I wonder whether it does even amongst the same class. “To maintain to all extent the value, traditions and characteristics of the neighbourhood”2 – as you mentioned, these were some of the principles that Erskine thought integral, so what went wrong? Was the attempt to manufacture bonds and friendships within the estate what they truly needed from the new development, or rather just upgraded living conditions? Although the existing community were at the forefront of the planning and development of the regeneration of Byker3, there was something which caused them to not return. Even though it was intended to be designed for the existing neighbourhood, fewer than 20% of the people who lived there previously, returned to the new estate.4 In recent years Byker Wall has been named ‘best housing estate’5 and ‘best neighbourhood’6 and even been given Grade II listing; so it’s intriguing to me as to why a place which is getting all these accolades, wasn’t up to standards for the neighbourhood in which it was created for. Was it not enough that there were some communal areas? It may have also benefitted from some activity to be injected into it such as shops or some form of entertainment to truly encourage people to come together, rather than relying on people to cross paths naturally. Forcing people to integrate will never work, but there is a definite domino effect when people see some form of activity, they are more inclined to follow suit.

1 Loretta Lees quoting Walks and Maaranen in, Gentrification and Social Mixing: Towards an Inclusive Urban Renaissance?, The Urban Studies, 2008. 2 Mark Massey, “Place Making in the Garden Village Tradition” (November 14, 2019). 3 Anna Minton, “Byker Wall: Newcastle’s Noble Failure of an Estate – a History of Cities in 50 Buildings, Day 41,” The Guardian, May 21, 2015, https://www.theguardian.com/cities/2015/may/21/byker-wall-newcastles-noble-failure-of-an-estate-a-history-of-cities-in-50buildings-day-41. [Accessed: 9th January 2020]. 4 Minton. [Accessed: 9th January 2020]. 5 James Draper, “The UK’s Ultimate HOUSING ESTATES Revealed: Newcastle’s Byker Wall Is Unlikely Winner in Urban Awards Top 10,” Mail Online, November 10, 2017, https://www.dailymail.co.uk/travel/travel_news/article-5069951/Newcastle-s-Byker-Wall-named-besthousing-estate-10.html. [Accessed: 9th January 2020]. 6 Joe Shield, “Byker Wall Estate Is Officially the UK’s Best Neighbourhood,” Newcastle Magazine, November 13, 2017, https://newcastlemagazine.com/byker-wall-estate-is-officially-the-uks-best-neighbourhood-88451/. [Accessed: 9th January 2020].

Blog Comment No.1 (Excerpt)

Thanks Van, for your take on the homogenisation of modern housing developments in Newcastle. I in particularly agreed what you said towards the end when you noted that it’s the social connections and daily interactions that might actually contribute to a more successful and liveable community, rather than the aesthetic of the houses themselves. Modern software systems and applications such as Revit and AutoCAD I believe definitely contribute to the ‘copy and paste’ mentality to get housing estates built quickly and to comply with the Government’s aim to reduce the cost of construction by 30% (in 2019).1 Within Revit, for example, families are created for different elements such as windows and doors. In my personal experience in practice, I know certain design decisions were made based on standardised elements as these. I fear this leads to laziness and lack of originality. Alongside these easily copied elements, there is also the issue of ‘cut and paste’ specifications.2 These are becoming a bad habit and I believe are a sign of idleness; this can quite easily lead to buildings which underperform and to more extremes, be rendered unsafe to occupy. Using tools like NBS specification templates can help tremendously. Practices should be more rigid about their specifications which are issued, especially in light of recent tragedies in this post-Grenfell period.3 I think a positive impact in recent times, however, is how modern design principles make sure to incorporate a key feature of making housing developments look different by providing varied housing types.4 Mark Massey from IDPartnership actually mentioned some of these in a recent lecture he gave at Newcastle University when discussing the housing concept and principles his firm utilized when developing the proposal for Staiths South Bank scheme. Some of which were to provide communality, landscape and play, pedestrian primacy, connectivity, innovative and varied housing types and a contemporary appearance.5 These principles address both the need to provide housing that aren’t the ‘copy-and-paste’ or ‘quick-and-cheap’ schemes but that also deals with the social issues of providing social spaces which welcome community gatherings and the feeling of belonging to the place they call home.

1 David Fitzpatrick, “No Place for Cut and Paste Specification,” MBS - Modern Building Services, February 7, 2019, https://modbs.co.uk/news/fullstory.php/aid/18447/No_place_for_cut_and_paste_specification.html. [Accessed: 12th January 2020] 2 Fitzpatrick. [Accessed: 12th January 2020] 3 Fitzpatrick. [Accessed: 12th January 2020] 4 Mark Massey, “Place Making in the Garden Village Tradition” (Newcastle University, November 14, 2019). 5 Massey.

Blog Comment No.2 (Excerpt)

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Firstly, hello and thank you for reading our blog! When I started the March programme in September 2018, I couldn’t have imagined that I’d be involved in running and writing a blog and it being part of my assessment. I think for many of us the blog writing experience was a very new concept. Even just in basic terms of academia, the relaxed language style combined with referencing felt a little like a minefield which I didn’t know how to approach and was weary about stepping on. However, I think in terms of the blogging format of assessment it really allowed me to engage with multiple different topics of urban design and research numerous elements. Writing on this blog, alongside the weekly lecture series and seminars we attended as part of another Urban design module has definitely broadened my perspective and allowed me to engage with key writings on urban design, rather than just focusing on one area like what would have happened if we were to have written one essay. I engaged with local architectural history via Byker Wall Estate after attending a lecture with Mark Massey discussing modern Garden Villages, [here] and discussed the domino effect within Ouseburn Valley after Georgiana Varna’s lecture on measuring public space. [here] In terms of the meetings, I think we potentially missed a good opportunity to really be able to talk about elements of the blog and the opportunity to discuss our work. The idea of it being student-led was an interesting and new aspect, however, I think there would have been more substance to them had a tutor been present also. In saying that, the almost relaxed approach definitely did help in allowing us time to gather our thoughts and research after the lectures to be able to write something of quality - especially during a very demanding first semester of my final year of the March degree. I think in terms of time management; this module has definitely tested me. Also like I said previously, as the blogposts are available for anyone in the world to read, there is an extra pressure to take the time to produce something that you are proud of and associate your name with, especially as future employers will be able to read these. I think blogging alongside the Instagram and Pinterest platforms, could be a potential avenue to pursue in the future, as it can actually be quite a therapeutic way of getting your ideas and thoughts out there and having the ability to read comments in response from anyone in the world, not just your tutor. Attempting a different approach to academic writing and communication - as the likelihood that I’ll need to write in an essay format when I enter my job is slim - has been a fantastic experience and a skill I endeavour to keep improving upon, which can only help me as I advance in my chosen career path.

Blog Reflexive Summary (Excerpt)

Attributes of a great public space

(As defined in his research from the Street Life Project) • • • • •

Camillo Sitte

William H. Whyte

Jan Gehl

Greenacre Park, New York

The Social Life of Small Urban Spaces, 1980

City: Rediscovering the Centre, 1988

Seagram Building, New York

People engaged in a wide range of activities and uses; Diversity of ages and balance of genders; People present in groups as well as alone; Most parts of the park are used (there are few empty or unused areas); Well-used at all different times of day and week, even during poor weather conditions.

Paley Park, New York

J.C Penney Plaza, New York

1961 Zoning Resolution

Union Square, San Francisco

Integral Seating Congress Square Park, Portland ME, USA - 2015

Grey Street Gathering, Newcastle upon Tyne

Travis Park, San Antonion, TX, USA - 2013

His Legacy

Grey Street Gathering, Newcastle upon Tyne

04b. Individual Presentation (Excerpt)

Strauss Park, St Louis, MO, USA - 2015

GA2.4 - Critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design, GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC3 - Knowledge of the fine arts as an influence on the quality of architectural design. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. GC9 - Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC10 - The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GC11 - Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. GA2

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05 Tools for Thinking (Excerpt) [Applied Theory]

How do Digital Technologies Compare to more Traditional Methods of Representation within Conservation Architecture and have these made way for any advancements within the field?

Representation within Architectural Conservation is a multidisciplinary notion, requiring critical and interdisciplinary understanding and knowledge. The Nara Document on Authenticity defines Conservation as; “All operations designed to understand a property, know its history and meaning, ensure its material safeguard, and, if required, its restoration and enhancement.”1 I would like to place the emphasis on ‘knowing’ the building and its history. Throughout the process of architectural surveying, there is a large amount of ‘human’ interpretation required of the information to translate it from data to visual representations. The more the interpreter knows and critically understands about the building they are surveying, it narrows down the opportunity to misjudge the data and will allow for the most accurate and communicative digital models. “In practice, the survey accuracy is in part set aside, in favour of standardized parametric families.”2 Although this may be true for new builds; throughout this essay I hope to contend against that notion, especially within Architectural Conservation where there are vast historical, ethical and cultural issues to consider. The survey is arguably the most fundamental part of the process and building a base of accurate and precise information will ensure no catastrophes in the future.

In his book Modernity and the Hegemony of Vision, David Levin commented of the cultural hierarchy of vision in the Western civilisation from the beginning, “Beginning with the ancient Greeks, our Western culture has been dominated by an ocularcentric paradigm, a vision-generated, vision-centred interpretation of knowledge, truth and reality?”3 The architectural surveying process largely relies on the sense of sight to both collect data and interpret the information into 2D and 3D visualisations. Within this essay I also aim to explore the role vision has together with various digital technologies, in particular point cloud analysis, and whether or not they carry the potential to make way for advancements within the field or hinder them.

Raymond Lemaire and Herb Stovel, eds., “The Nara Document on Authenticity” (UNESCO, 1993), 4. Stefano Brusaporci, Digital Innovations in Architectural Heritage Conservation: Emerging Research and Opportunities (IGI Global, 2001), 90. 3 David Michael Levin, Modernity and the Hegemony of Vision (University of California Press, 1993), 2. 1 2

What I have realised from my time in a Conservation Architects practice and through writing this essay, is that transparency must be apparent during the process of any form of interpretation. “Thus, transparency should be a reference in any interpretation: In documentation, surveying, modelling, visualization, communication, and education.”4 With each of the cases studied at Seaton Delaval Hall as examples, it is worth taking the extra time and having a degree of transparency throughout the surveying and modelling process where aspects can easily be altered as otherwise it could, and probably will, cause numerous issues in the long run and delay the project.

We must also question whether the sense of vision is still hegemonic in this digital age as the more we use and advance technologies, the more we as individuals are allowing our senses to deteriorate and we become ever blinder. Max Horkheimer discussed this in his book Dawn and Decline; “As their telescopes and microscopes, their tapes and radios become more sensitive, individuals become blinder, more hard of hearing, less responsive.”5 Reflecting on this, one must wonder what the new hegemonic form of sense-data would be? As mentioned previously, I believe haptic perception would be key in helping to bring out knowledge of the surface qualities and material build up; two largely important pieces of information in critically understanding Conservation Architecture.

While new technologies certainly have the potential to greatly help, they need to be combined with a level of ‘human’ understanding, interpretation and judgement. These technologies should not be used to supplement existing knowledge, rather, they should look to be the base foundation for information. “Awareness of accuracy and limits of different technologies is the starting point to merge metric survey purposes with a multidisciplinary approach to diagnosis.”6 There is a tendency to believe that because of the sheer content of information the survey can provide that it is accurate. In fact, I believe they should be treated with caution and interrogated against existing base information and a working knowledge of the building itself, often best gained first by site visits and inspections.

Brusaporci, 16. Max Horkheimer, Dawn and Decline - Notes 1926-1931 and 1950-1969 (New York: The Seabury Press, 1978), 162. 6 Balzani, Maietti, and Mugayar Kühl, “Point Cloud Analysis for Conservation and Enhancement of Modernist Architecture,” 75. 4 5

GA2.5 - Understanding of the context of the architect and the construction industry, including the architectâ&#x20AC;&#x2122;s role in the processes of procurement and building production, and under legislation, GA2.6 - Problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances, GA2.7 - Ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process. GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC7 - Understanding of the methods of investigation and preparation of the brief for a design project. GC8 - Understanding of the structural design, constructional and engineering problems associated with building design. GC10 - The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GC11 - Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. GA2

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06 Architecture + Construction [Professional Practice]

06a. The Creation School: A Procurement Report A written report to describe and reflect on how (hypothetically) my Stage 5 Building Fabric project could be implemented in practice if it became â&#x20AC;&#x2DC;realâ&#x20AC;&#x2122; with a fee-paying client. 06b. Urban Sciences Building A group presentation investigating a key professional practice issue that was instrumental in the implementation of a real-life building project.

1. Brief, Context and Site Location This report is based around the procurement of an innovative music school for primary school aged children (4-10 years) within the city of Vienna, Austria. Functional The Creation School is supposed to be a complimentary addition to compulsory primary school and is a place where children from more humbled and unprivileged backgrounds can learn instruments, music theory and music performance, to break down the elitist notions that music is only for the highest performing ability and talent. Spatial The Creation School takes inspiration from alternative teaching methods in an open plan space which can cause many constraints structurally. It is situated on the North-East corner of a block of buildings along a very prominent street within the city centre called the Ringstrasse and acts almost as a gateway between Stadtpark and the city (as shown in fig. 3).

Technical The concept is centred around large-scale open plan and adaptable spaces which also require tight acoustic qualities. The entire front and back facades are wrapped in a double skin which also need to have the option to be openable. As the project is funded privately through donations to the Alternative Music Schools Foundation and the board, it did not need to follow public procurement regulations by issuing a public tender. As the client wanted an innovative building which would attract people from all over the world, they issued a European design competition with a pre-qualification questionnaire with the hopes of appointing an expert in this field. This was shortlisted to a handful of practices who were invited to tender, in line with UK objectives to help achieve value for money.1

2. Description and Justification for Professional Practice Issues This next section will discuss professional practice issues which may occur hypothetically if this project were to be implemented in real life. I will discuss it with regards to the latest UK Buildings Regulations and RIBA Plan of Work 2020. Client Priorities and Constraints In terms of client priorities and their constraints, there was a large amount of pressure to have the school finished for the start of the school year in September, otherwise they wouldn’t have been able to enrol any students until January the following year which would mean profit loss and potentially a bad reputation for the client.

Figure 1: Wider Site Context Diagram Crown Commercial Service, ‘Public Procurement Policy’ (UK Government, March 2018), https://www.gov.uk/government/organisations/crown-commercial-service. [Accessed: 2nd April 2020]

Figure 2: Site Boundaries and Location Plan

06a. The Creation School: A Procurement Report

This meant that from the very beginning there was a strict schedule to uphold to. This was clearly stated before any building contracts were signed and was a core consideration the design and construction practices needed to account for before accepting any contractual offer. This is a public building which was striving to lead the international music school division; the quality certainly could not be compromised. The client made it clear that they demanded the highest specifications and innovative solutions with a cost-effective budget and time efficient programme. Therefore, it was important that the architectural and construction practices matched the values of the client, and that their principles and values uphold to both the ARB and RIBA morals and professional code of conduct.

Services Provided Under Client Appointment The lead designer, in this case the architect, will develop the full detailed design programme that will confirm all design information from both the design team and the contractor team. This information would be produced before the building contract is signed to give the client certainty on the quality and value of the project.2 This could cause the potential risk of delayed works on site which could be controlled by clear communication and information exchanges from the teams and a collaborative approach from the very beginning of the project. As it is such a large-scale project as well as high profiled (in terms of the client and the prestigious location of the site) the appointed practices will need to plan out their staffing resources for at least 2-3 years (i.e. a precautionary longer time than the design programme). This would be to guarantee an expert team throughout the entirety of the project but more importantly a consistent one, to ensure comprehensive information exchanged to minimise and control the project risks. The architect/ project lead needs to perform due diligence to ensure the client, the Alternative Music Schools and Board of Trustees, will cover all necessary fees for preapp, planning applications and relevant demolition (since 2013)3, before contractually accepting the commission to ensure it is viable within a Conservation Area and the time period stated. Legal Hurdles and Relevant Statutory Approvals Planning permission and change of class use will need to be approved and confirmed before the architect agrees to any form of appointment or building contract as otherwise the project would not be able to go ahead as the same brief advertised during the competition which could ultimately affect the time, cost and quality of the overall project.

The previous use of the site was for a national chain of banks which would fall under the use class A2 (professional and financial services)4, which has a permitted change of use to either music halls or schools in use class D2 (Assembly and Leisure), subject to prior approval.5

Before starting the project, a site and ground investigation will need to be carried out as it used to be an underground cinema decades ago, so it is imperative to confirm the foundations are stable enough to erect a new six storey building.

Once these applications have been obtained and approved the project can go ahead but without will hinder the progress greatly, which inevitably means time delays and cost increases. The costs of these applications should either be funded by the client upfront or incorporated into the architect’s fee and they would then complete the application processes acting as the agent on behalf of the client.

Inputs Required from Other Professional Disciplines

Site and Other Constraints With regards to the site constraints, the location of the school is in a very prominent location along the Ringstrasse within a Conservation Area. Not only are the corner plots the most expensive and prestigious locations, but they also need to follow precedents for the importance of architecture along this street. As the school only occupies half of the client’s site ownership, there will be ample room for material deliveries and a site management portacabin office during the construction phase to control the risk of potential health and safety issues and to also be able to hold on site meetings and project updates. The potential health and safety issues are documented at every stage of POW in the HIRR document (hazard identification and risk register). This would cause minimum to no disruption to traffic or the general public as everything would be confined to the site boundaries. The Landscape Architect will design around access issues with discrete elements designed by the contractor, which is why in this case the Landscape Architect is a sub-contractor and not a consultant.6

Figure 3: Site Section Showing Juxtaposition of the park, the site and the city

As this is an alternative music school the nature of it means it will be loud daily. The fact that most of the classrooms adhere to a large-scale open plan layout only increases the noise constraints. In addition to this, there is an adjoining building with a party wall to the West side and buildings in very close proximity on the North and East sides. For a design project which aims to be at the forefront of music performance, it was imperative to bring on a specialist acoustic consultant, building services engineers and main contractor as early as possible to set out the fundamental design principles from the start. Early engagement and a collaborative approach across all professional disciplines within the project aims to mitigate risk. It is in the contractor’s best interest to state potential problems straight away as anything which would cause a cost increase or time delay is something that would cost them money as a result of the fixed price contract, aimed at reducing risk for both the client and the architect.

Table 1 RIBA, ‘RIBA Plan of Work 2020 Overview’ (RIBA, London, 2020), https:// www.architecture.com/-/media/GatherContent/Test-resources-page/Additional-Documents/2020RIBAPlanofWorkoverviewpdf.pdf ?la=en.

Historic England, ‘Conservation Area Consent | Historic England’ [Accessed: 4th April 2020] http://historicengland.org.uk/advice/planning/consents/conservationareaconsent/.

‘The Town and Country Planning (Use Classes) Order 1987 (As Amended)’ (Legislation.gov.uk, Last Up 2017), http://www.legislation.gov.uk/ uksi/1987/764/contents/made.

Town and Country Planning Order, ‘Planning Use Classes Orders 2017 & Change of Use’, May 2017, https://www.knightfrank.co.uk/use-class-orders.

Table 1 outlines all the professional disciplines appointed during the project and their title role within the project:

JCLI, Landscape Works Contract with Contractor’s Design 2017 (Landscape Institute, 2017).

06b. Urban Sciences Building

Figure 4: Client ownership and demolition boundaries 3. Discussion of Two Key Issues Which are Important to Achieving Value and Controlling Risk Partial Demolition of Existing Two Storey Structure (in a Conservation Area) One of the key issues which arose from this project was the need to demolish an existing two-storey structure in a Conservation Area. As updated in 2013, there no longer needs to be ‘Conservation Area Consent’ to demolish an unlisted building within a Conservation Area.7 Instead, planning permission will be required for ‘relevant demolition’ for an unlisted building in a Conservation Area.8 Before any demolition can begin on site, a demolition notice must be submitted to the local authority building control at least six weeks in advance (as advised by the consultant who the architect has been in contact with from the start) who will then respond with permission and/ or precautions to protect adjoining properties and prevent health and safety issues.9 As part of the detailed programme, which the architect issued in this project in consultation with the CDM co-ordinator, sets out the timeline for the construction phase. The first part of this phase is to demolish the section of the two-storey building within the boundary of the client’s ownership shown in fig. 4.

Historic England, ‘Conservation Area Consent | Historic England’.

Historic England.

This then will provide the room for access to the site for deliveries and the site management office. The demolition specialist would control the risk factors and containment of the demolition, leaving the structural engineer to control the high level of precision for the demolition of the party wall to the adjoining building, so as to not risk the structural integrity of the adjacent building, providing value for the client.

Choosing the Most Suitable Procurement Route For such a large-scale building with an innovative function, a two-stage Design and Build contract seemed the most appropriate to enable the main contractor to be able to bring on board the required disciplines as soon as possible, and shorten the time frame by doing so to help adhere to the tight programme schedule.

As fig. 4 shows, there is a side street which the demolition would affect, so adequate signage would be displayed well in advance to warn pedestrians and road users of temporary closures this road. As this is only a narrow side road not a highway, there is no need to submit a temporary traffic regulation order, but permission will be needed from the local council who are responsible for that road. There is a time period (21 days)10 where the public can contest to the road being closed for the demolition, however, as the building previously had a reputation for the being the eyesore along the Ringstrasse, this is not a huge cause for concern. To control this risk further for the client, however, the project lead could hold a public consultation during the planning stages to explain the new scheme and help to alleviate public concerns, and act as a first point of contact to stop them from going straight to the council.

James Garrett, ‘Demolition - Building Regulations’, Planning Portal (Planning Portal), UK, accessed 4 April 2020, https://www.planningportal.co.uk/info/200130/ common_projects/13/demolition/2.

Figure 5: RIBA Plan of Work 2020

Louise Butcher, ‘Roads: Traffic Regulation Orders (TROs) - Business and Transport’ (House of Commons Library, November 2014).

Nec3 Option A contract will be utilised, as recommended by the government for large-scale projects over £5 million,11 as it is updated month by month rather than just at the start of the project which encourages both sides (architect and contractor) to state problems immediately and gives the other side a certain time frame to respond. Early engagement and a collaborative approach will maximise quality as requested by the client, cost and time efficiency. Appointing the contractor much earlier in the project helps to build a good working relationship and collaborative approach to the project, as well as hugely further mitigating the risk for the client as it reduces the length of time that the client carries most of the responsibility. The architect will be appointed to deliver design services as well as being lead consultant and principle designer, in charge of bringing on board necessary consultants up until RIBA plan of work (shows in

fig.5) stage 4, where the lead responsibility will be novated to the main contractor through stages 4-7 (technical design to handover and use) and the architects role will reduce to lead designer. This form of contract helps mitigate risk for both the client the architect and places the single point of responsibility on the contractor, who takes on the responsibility much sooner than they would in single stage Design and Build, and ultimately less risk for the client than Traditional contracts. Two stage Design and Build contracts also reduce the delivery schedule by overlapping the design and construction phases of the project, without the value being compromised. To optimise project value, it is important to get the specialist advice on design as early as possible rather than at stage 4 as generally what happens with a traditional contract which could compromise the prescriptive information and upset the balance with the descriptive information.12 Allowing both the design team and contractor team to appoint their own sub-consultants/ sub-contractors would ensure that they trust and have worked with them previously and can vouch for their standards being as high as their own, providing an increase in value for the client by improving the standard and quality of the project and controlling the risks of appointing someone unsuited to the role.

11 RIBA, ‘Make Sure You Choose The Right Building Contract’, July 2019, https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/makesure-you-choose-the-right-building-contract. [Accessed: 2nd April 2020] 12

RIBA, ‘RIBA Plan of Work 2020 Overview’.

Design Teams

Design Team Stages 1-4

Steps to Address the Issue

Steps Design Team Stages 5-7

Stage 5

Stages 5-7

Architect/ Lead Consultant Hawkins Brown

Architect/ Lead Consultant Ryder (Red Box)

Building Services Buro Happold

Building Services HG Bailey

Structural Engineer Buro Happold

Structural Engineer Mott MacDonald

Landscape Architect BD Landscapes

Landscape Architect Wardell Armstrong

Stages 5-7

NEC3 Opt. A

Client

Contractor

Newcastle University

Bowmer & Kirkland

Advisor

Architect

Hawkins Brown

Redbox

C&S Mott MacDonald

M&E NG Bailey

Landscape Architect Wardell Armstrong

Ryder Architecture Communication

Steps to Address the Issue Proactive

Conclusion

NEC3 Contract

Contractor

NEC3 Opt. A

Continuation of design leads

Bowmer & Kirkland

Client

Early engagement

Timing

Communication Collaborative approach

Urban Science Building

06b. Urban Sciences Building (Excerpt)

Consultant