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STAGE 3 ARCHITECTURE PORTFOLIO SARAH BUSHNELL | NEWCASTLE UNIVERSITY | 170172833

'A VEHICLE FOR ALTERNATIVE SOCIAL ORDER: ADVOCATING INTEGRATION AT CRUDDAS PARK'

CONTENTS 01 STUDIO INTRODUCTION

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02 REFLECTIVE REPORT

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03 CHARRETTE

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04 PRIMER

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05 FIELD TRIP

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06 STAGING

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07 THINKING THROUGH MAKING

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08 REALISATION + SYNTHESIS

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09 CULTURAL BIBLIOGRAPHY

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10 BIBLIOGRAPHY

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11 APPENDIX PROCCESS ITTERATION CASE STUDY FULL SCALE DRAWINGS

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* WORK MARKED WITH [N] IS NEW WORK FOLLOWING FROM FINAL PROJECT REVIEWS.* *WORKED MARKED WITH [I] HAS BEEN IMPROVED OR ALTERED SINCE FINAL PROJECT REVIEWS.*

: 01 Studio Introduction Studio 01: Remedial Housing For Architects

â&#x20AC;&#x153;Generic, architecturally non-descript, the peripheral housing estate is one of the most frequent and familiar landscape typologies we encounter. Expansive, dispersed scatterings of houses strung out along meandering tarmac lanes and cul-de-sacs - the pattern characterises the urban edge of towns and cities across the UK; largely the same whether on the outskirts of Inverness or Middlesbrough, Norwich or Newcastle. Unpacking these landscapes will be the starting point for the studio. We will seek to understand how these places come into being, the social, cultural and aesthetic norms that are embedded within them, and the implications they have as spaces where the relations of domestic and communal life are established. We will work propositionally: challenging the normative spaces of the peripheral estate through a manifesto for an alternative housing modelâ&#x20AC;? - [Stage 3 Studio Brief, Pg. 2]

S T U DI O I N T R ODU C TION

Studio 01: Karl Marx-Hof, Vienna Field Study Trip

[Photograph: Claire Harper]

S T U D I O I N T R OD U C T I ON

: 02 Reflective Report

RE FL E C T I VE RE P O R T

RE FLE C T I V E RE P OR T

Adaptable , Ecological, Modular, Sustainable.

'A VEHICLE FOR ALTERNATIVE SOCIAL ORDER: ADVOCATING INTERGRATION AT CRUDDAS PARK'

RE FL E C T I VE RE P O R T

This year has been the most thought-provoking and enjoyable of all my undergraduate architecture study. The year-long design project development allowed for in depth and personal explorations and response, that I felt allowed for breadth of theoretical research as well as iteration and exploration across my design proposal. The project introduced me to key, stimulating themes that drove my design project and motivated design decisions. Undeniably, adequate housing is a basic need required by every person, therefore, the quality of which, is a key to a magnitude of societal issues. ‘Over a century after the Garden City Movement began, the nation is still dealing with inadequate housing and huge social inequalities’ [Henderson, Et, al: 2017]. Across the UK, challenges lie both in providing sufficient quantity of new housing and regenerating pre-existing communities. While attention must be paid to ensure that developments meet housing standards and space requirements, quality of living is determined instead by intellectual design. Residents at Cruddas Park do not need excessively large living spaces, for example, but adaptable and integrated affordable homes that enhance and develop the existing community opportunities. The global climate crisis is the second, key driver within this project. A sustainable environment, created by environmentally friendly design, paves example for a sustainable community and is depicted as key to a “long-term”, and “sustainable future” within local communities. My design proposal was therefore motivated from the prospect of longevity. As designers and architects, we hold a duty to create a better standard of living - projects must be centred around these issues, in order to introduce better residential design, and equate to positive social outcomes that tackle other societal issues relating to, but not limited to, employment and mental health – both of which are extremely prevalent at Cruddas Park, and across the North East of England. These motives became a driver for the design intentions within my project, which posed strategies that aimed to provide solutions to the modern issues within social housing in the UK. This echoes that of the prevalent societal issues and negligence of social housing development

The design project focuses on a demographically declining site in Elswick, Newcastle-Upon-Tyne. Cruddas Park hosts both residential units and commercial public facilities, however, many of the spaces are either neglected, run down, or entirely empty. Integration was an over-arching issue that linked to many further problems within the existing housing scheme.

Instead, proposals should be developed with thought and opportunity to offer a better future, that has opportunity to adapt with time, and sets the standard for better social housing expectations. Now, more than ever in a society amidst a global pandemic, we recognise the importance of creating a space that can be adaptable and accommodating of even the most unexpected demands. Through redevelopment of the site, I aim to encourage circulation, diversity, sustainability, and improve facilities in order to create a more integrated neighbour-hood expansion that offers an abundance of amenities for both its residents and the surrounding neighbourhood. Concepts and ideas for the theoretical de-sign elements are translated from precedent studies and architectural spatial theories, explored through academic read-ings and research across ARC3001, ARC3013, ARC3014, ARC3015, and ARC3060.

After much research into new housing developments in the North-East, theoretical exploration into design strategy within ARC3014, and data collection of existing strategies within developed housing within my Dissertation study; I concluded a number of strategic approaches that could be applied in coherence with the existing opportunities within the site. However, offering new design with impressive aesthetic is not necessarily the answer. (This became apparent when analysing new housing sites, such as Newcastle Great Park). Conformation to housing ‘expectations and ‘standards’ in new developments is merely hindering the housing crisis. Residences must instead be developed with strategies different to the existing approach, responsible for the current crisis.

Whilst, ARC3001, ARC30014, and ARC3060 presented me with relevant and related research topics that acted as an initial motivation for my proposal; ARC3013 and ARC3015 helped me to develop these ide-as in much greater detail, by supporting my concepts with technical theory and construction and development practicalities.

'A duty to create a better standard of living.'

I concluded that in order to appeal to mass and varying demographics, the proposal must be, above anything else, adaptable. I wanted to create a design that was modular, yet also offered space and possibility for variety. In addition to this, the surrounding area and its ecology must be cohesive within the development in order to integrate the wider community. That catered for a variety of possible inhabitants As a result of this, I aimed to, create a better environment for the present and future residents on the site, while integrating the wider community, and also bringing a more diverse demographic to encourage integration, interaction and usability within the site and between residents.

I feel that the process of development within the project has been equally as valuable as the final design proposal. It has encouraged a personal motivation and meaning to developing a design that creates a better standard of living for the present and future residents of Cruddas Park. This project has allowed me not only to develop my personal motives, but also digital, drawing, and 3D model-making skills – through explorations, methods and concepts that I have not previously had the opportunity to fully elaborate. The outcome of this experimentation resulted in a scheme that has been adapted not only to create a better and more integrated neighbourhood for existing residents, but also promotes interaction with the wider community and incentive for future dwellers. Whilst additionally, sustaining an adaptable scheme that appeals to many varying user groups across a variety of generations, both in the present and as they develop in the future.

RE FLE C T I V E RE P OR T

This Charrette focused on human behavoiurs within space. This sparked an interest in the theories that influence design and its adaptation for evolving user demands. This was also a themes that wa reflected in both my dissertation studies and design project development.

Group 04: An Emotional Highstreet

"As the highstreet develops, shops are focusing on customer experience to reinforce brand identity that in turn facilitates online sales. This means the high street is no longer just about us spending money but making us feel things. We would like to reimagine the traditional Highstreet as an emotional one borrowing the medical idea of somatisation. Somatisation is the physical manifestation of an emotional state. We all somatise. We blush when we are embarrassed, cry when we are sad or have headaches when we are stressed. This concept of physical manifestation of emotion we found fascinating and made us question whether this phenomenon could translate spatially." -[Group Brief]

: 03 Charrette

After studying examples from Northumberland Street and the surrounding area, we developed a conceptual highstreet model for the Charrette exhibition that aimed to reflect the brand of each shop and its target consumers.

[Photographs: Yew Zhi Xuan]

C H ARRE T T E

C HARRE T T E

: 04 Primer Primer presented the opportunity to explore the fundamentals of housing design, and in many cases, where it requires improvement. We worked to analyse existing housing elements and neighbourhood. This stage focused on using these analytics to think about how my own design could abolish these issues in Newcastle Great Park, as a tool to create a manifesto for better housing standards that would later influence our design decisions. Looking specifically at the element of the front garden, I found that it had been used here as a statement of separation, which isolated each resident from one another, oppose to offering consideration to the scheme as a whole. Because of this, there was very little sense of community â&#x20AC;&#x201C;

Primer Exhibition

which indicated that social interaction was key to creating a successful neighbourhood.

P RI M E R

NEWCASTLE GREAT PARK: EXPLORING THE FRONT GARDEN

Mapping of a suburban area in Newcastle Great Park - Exploring private green spaces and gardens

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Elevation exploring how gardens are segregated with barriers and fences, between the public space, discouraging integration and community interaction.

Great Park observational sketches

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The Future:

Model Representing front gardens observed at Great Park. Many had bold statement barriers, disproportionate to small front gardens, that are often used purely as a transition from private dwelling to public street.

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I created a series of depictions that suggest how the front garden element could develop in the future. On the left, a positive adaption that applies fewer boundaries and encourage community integration. On the right, extreme developments based of the observations at Great Park.

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Dissertation Housing Studies - I continued explorations around residential elements within my dissertation. These in particular, explored how Victorian terraces had been adapted to fit suburban residential demands of the 21st century. Great Park Mapping Model

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New Neighbourhood Strategy Proposal As a group, we developed a proposal for a better neighbourhood strategy at Great Park, based on our individual observations of varying elements. This included shared communal green space, clear through flow routes, designated pedestrian spaces, and parking delegated away from communal green space. As a part of this, we also developed a 'protest' and manifesto for better housing that addressed key areas for improvement.

Protest Posters

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HOUSING STANDARDS SHOULD NOT BE STANDARD WHO IS STANDARD?

CREATE TO INTEGRATE

CLASS, CULTURE AGE HOMES NOT HOUSES DEVELOPERS DON’T DICTATE YOUR IDENTITY FLEXIBILITY LEADS TO LONGEVITY LEADS TO SUSTAINABILITY

HOMES

THAT ADAPT TO LIFE’S CHANGES LAST LONGER PEOPLE BEFORE PROFIT THAN GRASS ECOLOGIES

MANICURED LAWNS

GREEN MEANS MORE

WON’T GROW ON NO MORE NO-MAN’S-LAND

GIVE PUBLIC SPACE PURPOSE ACTIVE DESIGN, PASSIVHAUS

THOUGHTFUL PLANNING FOR EFFICIENT HOUSES ‘CLIMATE CRISIS’? ACT LIKE IT. CALL OUT THE COUNCIL: DESIGN LIKE YOU DECLARE Primer Exhibition The exhibition included the collated element models, protest posters, manifesto, improved neighbourhood strategy and research video.

LOCALISATION... FOR ACCESSABILITY, FOR SUSTAINABILITY, FOR COMMUNITY STARTS AT HOME

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DESTROYING GENDER STEREOTYPES

DEVELOPERS DON’T DESIGN WOMEN

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"The vital first step is addressing building regulation compliance, and the performance gap between how homes are designed and how they perform when occupied."

[COMMITTEE ON CLIMATE CHANGE: 2019]

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"THE SOCIAL DEMOGRAPHIC WORKER'S PARTY OF THE 'RED VIENNA' PERIOD AIMED TO NOT

: 05 Vienna The vision behind social housing in Vienna is that "people from all income demographics can live side by side" as the government works to "encourage community living". During our studio field trip, we observed various social housing complexes, all of which became an exampler for my own design developments. The success of Vienna's social housing is evident through its popularity: "as of 2013, 1 in 4 of Vienna's inhabitants live in some kind of social housing" [www.viennawurstelstand.com].

FI E L D T RI P

ONLY PROVIDE AFFORDABLE HOUSING FOR INDIVIDUAL FAMILIES, BUT ALSO TO IMPROVE THE STANDARD OF LIVING"

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Alt Erlaa

Other Social Housing Complexes Karl-Marx-Hof

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Staging

: 06

Staging phase introduced us to the site of the project, Cruddas Park, which showed many similar characteristics to Great Park. It too suffered from extreme social isolation, with many vacant units, high crime rates and poor standards of housing. Occupants of the site were all of similar demographics â&#x20AC;&#x201C;[as can be viewed in the statistics on the next page.] I decided to focus on regenerating existing residential units, as well as developing new ones in an additional modular tower. All units will offer opportunity for shared housing and co-living, encouraging integration on a variety of scales, and questioning residential expectations. I also explored theoretical approaches, such as traces of movement and how they could be combined in strategies that incorporated old with new development. This is specifically relevant to the Cruddas Park development, where it is vital that existing traces are observed in order to ensure that the design works in coherence with existing facilities and residents, to allow for a form that accommodates present requirements as well as future function.

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NEWCASTLE CRUDDAS PARK: SITE

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Site Photos: Cruddas Park House Tower

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The coronavirus lockdown has proved difficult for the best of us but for residents living in high-rise flats across the North East it can be even more challenging. With one trip outside a day for exercise and with no outdoor space to enjoy many residents in Cruddas Park House, in Elswick, have found themselves stuck in the same four walls for hours at a time. ChronicleLive spoke to residents about what life like living in a block of high rise flats during coronavirus lockdown. John Vainola has lived alone for more than 20 years. But recently he said he has been struggling to cope, as social distancing guidelines leave him stuck on his own inside a two-bed flat. The 66-year-old said: "Living here during lockdown is terrible, there’s not a lot that you can do.

'I've had tears running down my cheeks': Residents of Cruddas Park House, Elswick, speak of what life is like being confined within their four walls. "I’ve been reading papers, trying crosswords and listening to music just to try and pass some time away. But there are some fantastic views and park across the road to walk around too which helps. "Everything is so depressing what you watch on TV and I’m not scared to admit it tears have been running down my cheeks."

Another resident who lives on the seventh floor is Lesley Slaherty. Lesley said she feels isolated shut inside and misses being able to go out to talk to friends and neighbours. The 66-year-old said: "It’s not very good living here at the moment. We only have one lift working and people are having to wait a lot of time for it. It’s been like that for over a month - it’s just horrendous. "I’m not in poor health and I can manage the stairs but I need the lift to get back up so if the lift broke, we would be snookered. "It's hard not having any areas to sit outside in. I wish we had a communal garden because we can't do anything we are just stuck in these four walls. I can’t visit my friends or to a garden to talk to my neighbours."

Site Photographs

"I worry about the elderly residents with wheelchairs and walkers who can't leave their flats as only one lift is working. I wouldn't be able to get out at all unless I waited a long time for the lift and many residents struggle to stand for that amount of time. "It feels like we've been totally forgotten about and during this worrying time people should be able to get out to help them cope." [EXTRACT FROM THE CHRONICLE LIVE NEWS: MAY,2020]

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Site Photos: Community Podium Facilities and Exterior

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Sun Path

Wind Rose, Newcastle Upon Tyne

South

West

Existing Elevations

Fig.1 - Prevailing Wind Direction, Newcastle Upon Tyne

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Transport Links

Biomass Heating System

Sun Path

Key

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Topography

Access

Pedestrian Routes Vehicle Access Cycle Access Construction Access S TAG I N G

"Edible Elswick is about bringing you together with your neighbours, helping each other and getting to know one another better. With the Elswick Garden Neighbours Project, as a resident you can sign up to receive a free garden makeover, carried out with the help of your neighbours and our Community Gardeners. Then, in exchange, those lucky residents give back their time by helping their neighbours with their gardens. It’s great to see the difference already being made and receiving wonderful feedback from residents. "

EDIBLE ELSWICK

GARDEN NEIGHBOURS PROJECT Testimonials -

“Great event for the family - it’s fun, free and always welcoming!” “Excellent - brought everyone together!” “I like gardening and soup. I liked every bit.” “Interesting. Fun. Lots to do. Learning.” “I like coming here and having fun.” “We had a lovely time… such great activities! Loved the art activity, very imaginative. The fire pit was great. Lovely to give children the trust. Will come again!”

- edibleelswick.co.uk

Fig.2 - Community Scheme Photographs

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CONCEPT AND THEORETICAL DEVELOPMENT EXISTING

PROPOSED

Cruddas Park was part of T. Dan Smith’s grand plan for Newcastle; he wanted to make the city more ‘modern’, and his plan included architectural developments and metro routes.

The site consists mainly of social housing, with around one fifth of the dwellings being privately owned. However, the council hopes to influx owner occupancy.

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Despite many attempts to revitalise the site over the years, the site has become unpopular and lacks in diversity and integration - many shops and flats are empty and spaces are neglected.

In 2011, it was reported that £28 million had been spent on improvements and Newcastle City Council agreed to provide acccess to 95% morgages.

Initial Site Proposal

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Wider Site Circulation Exploration Walter Benjamin discusses the occupation of interior spaces, stating that “to live is to leave traces”. These ‘traces’ reflect requirements as results of routes of circulation. Rituals and habits devise “an abundance of coverts and protectors, liners and cases, on which the traces of objects of everyday uses are imprinted” . I have explored how layers of movement and inhabitation are translated across the site and design proposal, altering the way it is experienced both in relation to its wider amenities and within a much more local scale.

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Sequences of movements grow from the dimensions and boundaries of the human body. Traces are created from rituals that become a ‘muscle memory’ of this movement – expanding further than the dimensions of Corbusier’s ‘modular man’. Thus, this concept determines how space is perceived and inhabited, and is a critical element of understanding circulation. The traces of the object “also leave their impression on the interior”, creating a relationship between space and inhabitant. Circulation routes should accommodate these traces as part of the journey between reoccurring destinations and rituals within ‘everyday’ life. Whilst being direct; circulation should aim to make each facility equally accessible (prohibiting any from being less accessible or creating a sense of hierarchy). I explored society’s choice of roots and path and how they are confined by architecture, in corridors for example, I wanted to adapt these existing restrictions within Cruddas park to create opportunities for people to integrate more widely with eachother and varying spaces, whilst allowing space for activity and ecology. I looked at the different types of inhabitants that might occupy the residential spaces, as I wanted to create a proposal that allowed for as many varying demographics as possible.

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I then explored what movement may inhabit a shared space. For exampleâ&#x20AC;Ś Does each room need its own wardrobe, or can this be shared, along with , for example, a semi-private reading space. Which allows for interaction between two occupants, creates a more spacious private bedroom, and illiminate the concept of a corridor, creating a purposeful transitional space.

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I also explored how the initial building form would allow for this, although both towers were tall and narrow, I decided to create open roots around the exterior and roof that made spaces feel more exposed and connected to surrounding areas.

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Circulation development exploration

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CITU is a sustainable development construction company that prefabricates modulars before on site assembly. Their Climate Innovation District in Leeds is a recent modular project that focuses on low impact living. ‘Drawing on international best practice and harnessing the latest technology, the development will incorporate more than 500 new low carbon homes alongside manufacturing, leisure, offices and climate resilient public realm.’ ‘With an ambition to accelerate the transition towards zero carbon cities, the Climate Innovation District will forge a powerful collaboration with local and international partners to deliver an exemplar model of how to economically build zero carbon neighbourhoods that also provide healthier, smarter and better connected cities.’

PRECEDENT:

CITU, LEEDS

A mix of 1, 2, 3 and 4-bedroom homes, based around a Scandinavian model of medium density urban housing, will be manufactured at its purpose-built on-site factory, Citu Works. They aim to be ten times more air-tight than UK building regulations require. They also prevent the biggest cause of heat-loss by constructing a building envelope that has low levels of thermal transmittance, meaning less heat is able to escape through the modular elements.

[https://www.e-architect.co.uk/leeds/citu-home-inleeds,2019]

Fig.3 - Precedent: Zwicky Sud, Zurich

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'THE INTERACTION BETWEEN THE PUBLIC AND THE PRIVATE HAS A DIRECT CONSEQUENCE FOR THE DAILY COESISTANCE OF THE RESIDENTS OF COLLECTIVE LIVING SPACES.' [SCHMID, ET.AL: 2019]

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Massing and communal facilities development

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Semi-Public Winter Garden [For Site Residents] Residential Towers

Public/ Commercial Podium Facilities Exterior Ramp +Landscaping

KEY Private Shared Public/ Commercial Podium Facilities

Massing and Program Development

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EXISTING

PROPOSED

Fig.5 - Minimum dimension requirements

Private Space pp - 14.4m2 Shared space - 21.6m2 Pod total area - 50.4m2 Modular Pod to be included in design

Altering the main residential circulation root was a key motivation within my design. I wanted to change the interior,

Analysis of possible modular concept in comparison to minimum double bedroom dimensions.

confined central corridor to create an exterior gallery that created greater connections to the public realm and allowed for interaction with the other tower and surrounding community.

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Staging Depiction

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INCORPORATING EXISTING WITH NEW.

Thinking Through Making

T TM

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I explored how the proposal could be integrated with existing structures of the old tower and podium. This TTM model explores how older, existing materials can be combined with the newer in a way that they are exposed and utilises, opposed to hidden or replaced.

T TM

: 08 Realisation + Synthesis Realisation and Synthesis allowed me to refine my initial concept, influenced by theories and readings that I had explored through Staging. Developing refined plans and sections, alongside celebratory images and visuals allowed me to refine the key aspects of the project, and explore each of the â&#x20AC;&#x2DC;themesâ&#x20AC;&#x2122; in a more specified detail â&#x20AC;&#x201C; as well as frame them specifically through illustrative representation. I began the refinement process by first looking closely at the existing structure and how this could be incorporated into a new development, whilst maintaining attributes within the sequence of construction. I then explored how these retained elements could be altered as adaptable living spaces to appeal to mass inhabitants throughout the scheme to create a modular system, equipped for future development and progression. I then explored technical details and inhabitation through section, diagrams, and visuals and experimented with how these key themes could be framed using graphical representation within my academic portfolio in coherence with preestablished motivations that linked to Primer and Staging phases.

RE AL I S AT I O N + S YN TH E S IS

Existing Structure

Site Sections

I looked at how the existing stucture could be incorporated within the developed design proposal in order to pre-

I then explored how my initial staging proposals would work with the wider context of Elswick

serve as much of the existing materials and be as efficient and sustainable as possible.

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Massing Model Development

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Sectional Iteration [Existing Tower]

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Sectional Iteration [New Tower]

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Shadow Path

3D Sun-Path

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Construction Sequence This construction sequence illustrates the process of development from the existing tower and podium to the new design proposal. This involves, eliminating the central, dark corridor within the residential structure and replacing with exterior galleries, whilst many of the horizontal supporting walls have been kept. The podium will become a throughflow from the top of the site, whilst also meeting directly with communal entrances within the tower and podium. A second modular tower will also be constructed, adding 10 floors, 30 flats and space for 60- 80 occupants as well as Communal rooftop winter gardens.

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These depictions highlight the existing and new residential structures, and the location of repeated module â&#x20AC;&#x2DC;podsâ&#x20AC;&#x2122; that are located on every residential floor of both towers.

Existing

Stripped back to structure that will be reused

New structure added

Materiality

This elevation shows the process of development to the existing tower. RE ALI S AT I ON + S YN T HE S I S

View from Westmooreland Road

View from River Tyne

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I then looked back at how this alteration would work with the massing of the rest of the site and surrounded area. I created the roofshape, for example, to match that of the terraced houses.

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Existing Tower Section

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New Tower Section

PLAN Level 1 For context, I also planned the podium facilities, to explore what their relationship could be to the scheme and residential proposal. I kept the existing carpark, that would be used by residents for vehicles and storageâ&#x20AC;Ś and also integrated a gym that looks out towards the landscape and could be used by the surrounding community.

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C RS P OR TF OLIO TE MP LATE

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w w w. c r s in des igntem pl ates.co m

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PLAN Level 2 There would also be a small supermarket and a small parking/ bike storage facility for public use on the next level, to encourage wider community integration. Flat landscape to the east of the site on this level would be used initially for the modular construction of the new tower block, and later transformed into sports courts. RE ALI S AT I ON + S YN T HE S I S

PLAN Level 3 As well as the traditional communal residential facilities in the base of the residential towers, they will also host college and learning facilities and a small cafĂŠ.

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PLAN Rooftop Winter Garden Skipping to the semi-private roof, the large open plan, glass roof hosts a winter garden, maintained and experienced by residents of both towers.

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Site Circulation

Connection to Elswick RE ALI S AT I ON + S YN T HE S I S [N]

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PLAN Residential Floors

Existing Tower Plan

Existing Structure, reused

Each residential floor of the tower hosts a repetitive plan, as shown here. To the left, is the pre-existing tower floor plans, and a diagram that depicts which of the walls are being kept and incorporated within the new developments. You can also see the repeated ‘pod’ concept which is highlighted in pink in each plan. A new external circulation root has been created to give a greater sense of wider integration, as well as exterior threshold – similar to that of a street house. There are also additional communal spaces and ecology paths which aim to bring the residents together through different activities. Within the interior, each flat is dual aspect and there are a variety of adaptions that can be fit to many users. There is also opportunity for accessible flats and services are focused in central points.

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[X9]

[X20]

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MODULARITY AND ADAPTABILITY EQUATES TO LONGEVITY AND FLEXIBILITY, LEADS TO SUSTAINABILITY [Studio Manifesto]

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PLAN Modular 'Pods'

Modular pods are present on every floor. These consist of an identical exterior and opportunity for an adaptable interior that caters for different forms and levels of shared living. The standard pod has 2 private bedrooms, which share a bathroom and functional transitional space.

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A single occupant or couple may also chose a larger bedroom with additional storage

However a pod could also be adapted to cater for a young family, creating a larger bedroom for parents and smaller child's bedroom with a direct access root.

There would also be possibility to adapt the Pod to cater for, for example, an adult that requires assisted living. A small kitchenette and living space, as well as a separate front door creates independence - yet there is direct access and connections to the wider shared flat.

It may also be developed as a single bed Pod with work space.

Bedrooms could also be adapted for shared occupancy, perhaps for students, as the transitional space optimises space required for storage.

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1 -Plaster-board Cladding 2 - 0.38mm Metal Panel

3 - Steel Frame C-section (insulation is packed between this)

4 - Brick Outer Skin (attached with brick ties after all modules are compiled)

Development of Modular

Model of Modular flat in existing tower

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1.7m

16.5m

Each modular flat fit onto the standard lorry dimensions.

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On site Construction [new tower]

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Germany’s first office building with rooftop urban farming offer’s grounds for precedent when configuring a secondary steel frame structure that encourages ecology. The rooftop greenhouse hosts strawberries, lettuces and garden herbs, that are grown mainly on rolling tables, where a hose system supplies them with aqueous nutrient solution. There is a clear aesthetic contrast between the heavy and dense tower structure below and light, translucent ‘crown’ - this is something that aims to be echoed within the Cruddas Park Regeneration. [DETAIL inspirations, 2020]

Precedent Study - ‘Produktive Stadkrone: Garden City Crown” ‘Despite the spatial separation, the building enables technical synergies between its two parts. Warm exhaust air from the offices provide the plants with CO2 to help them grow. A grey water system installed in the basement is used, among other things, for watering the vertical garden. The greenhouse receives most of the water it needs from a cistern that collects rainwater from the roof.’ A similar system will also be integrated within the proposed winter garden and roof structure at Cruddas Park.

Structural Strategy A ‘Metsec’ frame structure will be adopted for this. The diagram above depicts a standard detail of a compound cill to single jam stud. This structure is lighter in weight. [metsec.com, 2020] This Illustrates the compilation of structure within the existing residential tower adaptation. They will run as a repeating framework. fig.50 is repeated on every floor. The structure also forms a secondary steel frame element that supports smaller adaptations to the design and forms a roof lattice. This will be incorporated across both residential towers and connect the two by a frame structure that will be added in a later design phase.

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Fig.6

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NORTH

As well as the pre-existing structure, and repeated module, there is also an additional secondary steel and glass structure, which can be viewed in these depictions This is used to break up the faรงade, provide additional structural support, and accommodate opportunities for ecology and social spaces

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RAIN

SOLAR PANELS

Visually, the lightweight, translucent crowning structure aims to reduce the perceived height of the residential towers and allow more opportunity for sunlight passage, whilst contrasting the dense structure below. The shape of the roof also allows multiple opportunities to collect rain water to use within sprinkler systems for the winter garden below. The multiple pitches also allow for maximum south-facing surface area for solar panel placement.

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The site currently hosts many species of tree that are situated around the podium, and in denser clusters on the south facing bank. All of the design adaptations within the site are focused on existing boundaries, this means that no trees or vegetation will be destroyed or replaced. The focus of the design development is to frame and enhance the already existing landscape. Flowering plants - (located on private balconies/ in flower beds, around park area, and within enclosed rooftop garden) “The array of insects and the seeds produced by the flowering plants all provide good feeding opportunities to a range of birds, from common garden birds, such as greenfinch, blackbird and wren, to goldfinch, linnet and even the rare black redstart in certain parts of the country. This proliferation of insects is also likely to be a feature that will be of benefit to foraging bats, as all the UK bats are insectivorous.”

Ecology was also developed in a previous expansion of the site when three new residential towers were constructed further down the southern bank. This included 2 different species of shrubs and grasses - the most common being the Fagus Sylvatic Parplerea bush. Incorporation within future development proposal: The same plant species from the recent development near to the site will be incorporated within the new design to create interaction and integration between the two areas.

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By providing shading from the sun, living walls can significantly reduce the external temperature of a building - they also intend to act as an additional form of insulation. “Living walls also help reduce the urban heat island effect by intercepting heat which would otherwise be largely absorbed and radiated by the building surfaces back into the surroundings.” It will also help to shield the surface from ultra-violet light, which could be “an important consideration for some modern cladding materials” - this is particularly relevant in relation to its location on the southern facade.

For Green Walls“Small herbaceous species with soft stems – such as ivy-leaved toadflax, ferns, hawkweeds, yellow corydalis, stonecrops, bellflowers, winter annuals, purple toadflax, Oxford ragwort and many others – do not break down walls. Many are considered attractive and can be left to decorate walls, providing local character and softening otherwise hard landscape features”- The Steel structure will provide a frame for climbing plants, meaning that it does not attach to the wall. This will also, “enable redecoration of the wall behind the plant.” “Ivy is also important for other wildlife. It provides a home and food source for some invertebrates, but it can shade out lichens. If important lichen species are present it may be preferable to remove some of the ivy.”

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Museum aan de Stroom by Neutelings Riedijk Architects, Antwerp, Belgium

"On the exterior, these panels are accentuated by decorative metal hands, a touch of ornament that references Antwerpâ&#x20AC;&#x2122;s foundational urban legend" - https://www.architectural-review.com

Fig.7 - Precedent Study: Granby Four Streets - Assemble Studio

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Fig.8

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Proposed Ground Level

Existing Ground Level

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This elevation shows how there are opportunities for ecology that are incorporated within the secondary structure, as well as the rest of the site. It also indicates an initial and change in ground level to allow for a throughflow and increase accessibility.

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COMPARISON TO: HOUSING STANDARDS

: PRIMER STUDY GREAT PARK

CRUDDAS PARK

'74m2 minimum area for entire flat'

Area = 99m2 'A dwelling with 2 or more bed spaces has at least 1 double (or twin) bedroom.'

2 double bedrooms per dwelling + a smaller 'spare' room 'A double bedroom must be at least 11.2m2 in area'

Area = 14.4m2 Minimum floor to ceiling height is 2.3m for at least 75% of the gross internal floor area'

100% of floor to ceiling height = 2.4m

- [Technical housing standards â&#x20AC;&#x201C; nationally described space standard, GOV:2015] SECTION [extracted from celebraory image] + Individual Flat PLAN of new tower design

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My primer study explored how front gardens and green spaces were often used as a statement of separation and isolation within Newcastle Great Park. In these depictions, I compare the separated green spaces in Great Park to the open communal spaces within the Cruddas Park development proposal.

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Materiality Exploration I was keen to use brick for the faรงade to match the surrounding terraced housing . I created a plaster cast to explore what this could look like and used water colours to create colour swatches of brick. I felt like the plaster reflected the rustic materiality evident in the surrounding area and made suggestion of how the material may change as it weathers. This also worked well in contrast to the other materials shown in the collage to the right that are present within the building (the pre existing concrete and secondary steel structure.)

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The left visual illustrates that of a working from home adaption in the existing tower, and how the flat can be made to feel less confined when opened to the balcony. The right visual looks at an open gallery in the newer tower, which explores how these flats can have an affordable exterior space that encourages integration and interaction.

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Central Site Inhabitation

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Section - Rooftop Winter Garden

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Community Integration

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Visual From Rooftop Winter Garden

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Original Site Photo

Intergrating the new structure around pre-existing material in the original Tower

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C L I E N T.

C RS P OR TF OLIO TE MP LATE

W E B.

w w w. c r s in des igntem pl ates.co m

CREATE TO INTEGRATE

[Studio Manifesto]

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FUNCTIONAL TRANSITION SPACE

Existing Tower, shared residential spaces. Visual of communal transitional space within 'pod'.

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: 09 Creative Bibliography

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I also took part in various thinking through making workshops. These included metal work, cardboard, collage, 3D printing, paper, and glass.

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Lilac,Cohousing Visit

Citu Factory + Site Visit, Leeds

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ANON, 2007. Collective Housing. Alboraya (Valencia): Pencil. ANON, Theccc.org.uk. 2020. [online] Available at: <https://www.theccc.org.uk/wp-content/uploads/2019/02/UK-housing-Fit-for-the-future-CCC-2019.pdf> [Accessed 13 June 2020]. Assemble. 2020. Granby Four Streets. [online] Available at: <https://assemblestudio.co.uk/projects/granby-four-streets-2> [Accessed 13 June 2020]. Barac, M. & Wigglesworth, S. Around & about Stock Orchard Street (London: Routledge, 2011) Beaumont, E., 2020. Museum Aan De Stroom By Neutelings Riedijk Architects, Antwerp, Belgium. [online] Architectural Review. Available at: <https://www.architectural-review.com/today/museum-aan-destroom-by-neutelings-riedijk-architects-antwerp-belgium/8616613.article> [Accessed 13 June 2020]. Bøllingtoft, Anne, Collaborative Communities Of Firms (New York: Springer, 2012) Chatterton, P., Low Impact Living a Field Guide to Ecological, Affordable Community Building., (Hoboken: Taylor and Francis, 2014) Colomina, Beatriz, Privacy And Publicity (Cambridge: MIT Press, 1996) Edible Elswick. 2020. Edible Elswick. [online] Available at: <https://www.edibleelswick.co.uk/> [Accessed 13 June 2020]. Eyck, Aldo van, and Vincent Ligtelijn, Aldo Van Eyck, Works (Basel: Birkhäuser Publishers, 1999) Fernández Per et al., HoCo : density housing construction & costs (Vitoria-Gasteiz, Spain: a t ediciones, 2009) Fernández Per, A., Mozas, J. Form & data: collective housing projects: an anatomical review (A T architecture publishers, 2016)

: 10 Bibliography

Fernández Per, Aurora, and Javier Arpa, Density Projects (Vitoria-Gasteiz: A+t ediciones, 2007) Fletcher, David, Rooftop Garden Design (Mulgrave: Images Publishing, 2015) Fromm, D., 1991. Collaborative Communities. New York: Van Nostrand Reinhold. Glendinning, Miles, and S Muthesius, Tower Block (New Haven: Yale University Press, 1994) GOV. Technical Housing Standards – Nationally Described Space Standard [GOV: 2015] Hedblom, Marcus, Bengt Gunnarsson, Behzad Iravani, Igor Knez, Martin Schaefer, and Pontus Thorsson and others, Reduction Of Physiological Stress By Urban Green Space In A Multisensory Virtual Experiment, Scientific Reports, 9 (2019) <https://doi.org/10.1038/s41598-019-46099-7> Henderson, K., Lock, K. & Ellis, H. The art of building a garden city designing new communities for the 21st century, (2017) Liang, Haoguang, and Yaojun Zhang, The Theoretical System Of Belt And Road Initiative North, Alissa, Operative Landscapes (Basel: Birkhäuser, 2013)

Lomholt, I., Welch, A., Welch, A. and Welch, A., 2020. Citu Home In Leeds, Sustainable Buildings - E-Architect. [online] e-architect. Available at: <https://www.e-architect.co.uk/leeds/citu-home-in-leeds> [Accessed 13 June 2020]. North, A., 2013. Operative Landscapes. Basel: Birkhäuser. Schmid, S., Eberle, D. and Hugentobler, M., 2019. A History Of Collective Living. Basel: Birkhauser. Shaoqianq, Wang, Collective Housing ([Hongkong]: Sandu Publishing, 2014) Strauven, Francis, and Aldo van Eyck, Aldo Van Eyck - The Shape Of Relativity (Amsterdam: Architectura & Natura, 1998) Vienna Würstelstand. 2020. Home. [online] Available at: <http://www.viennawurstelstand.com/> [Accessed 13 June 2020]. Webb, Michael, Building Community (London: Thames & Hudsnon, 2017) Www-taylorfrancis-com.libproxy.ncl.ac.uk. 2020. Shibboleth Authentication Request. [online] Available at: <https://www-taylorfrancis-com.libproxy.ncl.ac.uk/books/9780367814618> [Accessed 13 June 2020]. Link-springer-com.libproxy.ncl.ac.uk. 2020. Shibboleth Authentication Request. [online] Available at: <https://link-springer-com.libproxy.ncl.ac.uk/content/pdf/10.1007%2F978-3-319-90397-2_4.pdf> [Accessed 13 June 2020].

LIST OF FIGURES

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Fig.1 - meteoblue.com/en/weather-maps Fig.2 - https://www.edibleelswick.co.uk Fig.3 - Anon, DETAIL inspiration. Fig.4 - www.e-architect.co.uk/leeds/citu Fig.5 - [Adaptef from] www.dimensions.guide Fig.6 - Anon, DETAIL inspiration. Fig.7 - assemblestudio.co.uk Fig.8 -www.architectural-review.com

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: 11 Appendix

160

AP P E N DI X

Process Sketches

AP P E N D I X

161

Individual Case Study Work

MICHAELERPLATZ SQUARE

SUNPATH

LOOSHAUS

HORBURG

KEY Looshaus Eatery Cafe Church Historical Commerce Access Route Pedsestrian-only Access Route

VINDOBUNA ROMAN RUINS

MICHAELERKIRCHE

SITE MAP

Looshaus was constructed during the Viennese Secession movement at the turn of the 20th century, when traditional neo-baroque and neo-gothic architecture styles combined with art-nouveau influences. Adolf Loos stretched this development even further with “stark and minimalist” style in works across Vienna - including Looshaus.

Located on the square of Michaelerplatz, the site of Looshaus hosts varying architectural styles. The square was ‘intended as the place where the city shows itself and its identity.’ The square is defined by different landmarks that refer to a specific and precise time in the history of the city. These consist of Roman ruins of Vindobuna, the medieval church of Michaelerkirche, the Imperial Palace of Horburg, and the bourgeois architecture of Looshaus. Although Looshous’ formal massing was contextual with the rest of the site and its crice height aligned with the adjacent church, the austere upper facade created a public controversy when it was first constructed.

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AP P E N D I X

163

SECONDARY STAIR

Michaelerkirche XII I century

LOOSHAUS SECTION

Horburg XIX century

TOWER

VINDOBONA RUINS I century BC

Looshaus XX century RAMP

OPEN AIR STAGES

VINDOBONA ROMAN RUINS ELEMENTS

SECONDARY STAIR

WINDOW

CENTRAL STAIR

COLUMNS / ENTRANCE

“The choice of developing the design on the element of the circle reflects the intention of adobting the same grade of importance for each landmark, without favour for any axes or view to the detriment of the others” Excavations at Michaelerplatz unearthed remains of a Roman house as well as some medieval foundations and remains of the former Burgtheater. The ruins are now exposed and can be seen from street level.

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Loos defines culture as “that balance of man’s inner and outer being which alone guarantees rational thought and action” - this is reflected throughout the thresholds within Looshaus. Mirrors, smooth curves and juxtaposition with the site through thresholds each create a sense of reflection. The privacy established by each of the thresholds implies a sense of calm; whilst mirrors located around prominent thresholds encourage thought and consideration of spatial boundaries - particularly as occupants transgress between spaces.

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INTERIOR DOOR

WINDOWS/ STORE FRONT FACADE

MAIN ENTRANCE - COLUMNS

Geometric collage exploring symmatry and reflection on mirror pattern.

Mirrors and reflections change the sense of each threshold, distorting one’s perception of special boundaries. As well as physical mirrors, reflections in marble also play with interpretation of space and inhabitants’ perception of each threshold. Dominantly these reflective threshold features are located around stairs and passageways. Loos’ architecture sought to address a “perceived loss of balance” - this sense is created through reflections and controls how it feels to pass between spaces. This became “ his way of resisting the entire spectrum of cultural falsifications that he saw in Austrian life”.

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The columns are occupant’s first interaction with Looshaus; they are described as “conservative and radical”, which is evident through Adolf Loos’ “uneasy juxtaposition” between the “plastic materiality of the Doric column” and other architectural surroundings, which are depicted to have “prismatic and crystalline austerity.

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(a) Architect

Raumplan: Space Plan

‘I do not draw plans, facades or sections’

Introduction..............................................................................................................................5 Context (a) Architect.............................................................................................................................6 (c) Site.....................................................................................................................................10

The way in which Loos designed was to imagine the spaces and the experiences first, then translate that onto two dimensional drawings. Raumplan as a theory is something Loos concretised later in his career, but as a way of working it is still evident in his early designs. You can see by studying the facades of these two buildings that there is no clear elevational grid, or any organisation related to how the facades are supposed to look. Every window placement is based on the interior experience and the spacial sequence that Loos had designed.

“To every age its art, to every art its freedom”

The Secessionist Movement, Vienna

William Morris

Secessionist Inspiration

Group Case Study Work

(a) Architect

Charles Rennie Mackintosh

(d) Programme.......................................................................................................................14 (e) Concept and Design Development..............................................................................16 Pre-secessionist architecture, Vienna Künstlerhaus Genossenschaft

Strategy / Detail (h) Structure............................................................................................................................20

(k) Materiality..........................................................................................................................25 (l) Threshold.............................................................................................................................27 Bibliography............................................................................................................................32

Haus am Michealerplatz Goldman & Salatsch Building

Rufer House, Vienna, 1922

‘Kiss’ 1908 Gustav Klimt

In response to this, a group of artists and architects came together at the end of the 19th century to form what would become known as the Secessionist movement. This movement aimed to bring together different disciplines, like fine art and applied art, and different styles. It is this ‘pluralist approach’ that makes the Secessionist movement different from its counterparts, the Art Neavou and Jugendstil movements. Secessionists believed that returning to hand crafted art was a solution to the moral decay caused by industrialisation.

‘Beethoven Frieze’ 1901 Gustav Klimt

MAP OF VIENNA

(b) Site

Ornament and Crime

Adolf Loos

Lack of ornamentation on the windows

Steiner Haus 1908

The Secessionist Building, Vienna, 1898, Joseph Maria Olbrich

(a) Architect

Loos Haus, also known as Haus am Michaelerplatz or the Godlman & Salatsch building, was comissioned in 1909 and completed in 1911 for the exclusive gentlemen’s tailors, Goldman & Salatsch, by architect Adolf Loos. When the ornamentless facade was first revealed in 1910, it caused mass controversy in Vienna. Adolf Loos strongly opposed ornamentation, which was an opinion he wrote extensively about, particularly in his essay ‘Ornament and Crime’ published in a book of the same title.

Villa Muller, Prague, 1930

Secessionist Art

In pre-secessionist Vienna, the art and architecture favoured the recycling of classical style over new, modern styles, and artwork that was modernist or impressionist in style was rejected over classical academic works. However, throughout the rest of Europe, modernism was beginning to be embraced.

(i) Environment.......................................................................................................................23

The Ringstrausse boundaries around the city became symbolic of the oppressive neo-classical style that was favoured pre-secessionism.

The building sits in Michaelerplatz, a central sqaure in Vienna, Austria. This added to its controversy and ill recieval when it was first built. However, the building, and its architect Adolf Loos, contributed greatly to the modernist movement in Vienna, but also throughout Europe.

Although Looshous’ formal massing was contextual with the rest of the site and its crice height aligned with the adjacent church, the austere upper facade created a public controversy when it was first constructed.

Timeline of notable works

Loos House Elevation, Vienna, 1909

Steiner House, Vienna, 1910

Cafe Museum, Vienna, 1930

Grace Au (e) concept design and development (k) materiality Sarah Bushnell (c) site (l) threshold

Cafe Museum 1930

Marcus Cornelissen (d) programme (i) environmental strategy Ellen Willis (a) architect (h) structural strategy

Loos’ Flat, Lina Loos’ bedroom 1903

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Villa Muller 1930

“in a reaction to the florid forms of Art Nouveau, Loos declared that decorative details were for degenerates – he believed that real design should be strong and stolid and stripped-back. His buildings, such as Villa Müller and the Steiner House, were economical, utilitarian and pure of form.”

‘Do you not see the greatness of our age resides in our very inability to create new ornament? We have gone beyond ornament, we have achieved plain, undecorated simplicity...Soon the streets of the cities will shine like white walls!’

Matt Gibbered, author of Ornament and Adolf Loos, in his essay ‘Ornament and Crime Crime’ American Bar 1908

‘Since ornament is no longer a natural product of our culture, but a symptom of backwardness or degeneracy, the craftsman producing ornament is not fairly rewarded for his labour.’ Adolf Loos, in his essay ‘Ornament and Crime’ 9

Loos was against ornament as he saw it as unintelligent and unecessary. He believed that the beauty of modernism is that it was functional and understated. In addition to aesthetic preferences, ornament meant that buildings could go ‘out of style’, whereas Loos’ buildings had no style so they would be acceptable for much longer. Also, because Loos predicted that ornamnetation would go out of style, it meant that any craftsmen would now not have their work appreciated and would be underpaid. 10

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(b) Site Michaelerkirche XII I century

MICHAELERPLATZ SQUARE

(b) Site

(e) Concept and Design Development

(d) Programme

Private rooms LOOSHAUS

LOOSHAUS SECTION

Horburg XIX century

Public Spaces SUNPATH

First and foremost, Loos was concerned with the arrangement of the interior spaces within the building. He and Goldman worked closely together to produce a plan, Goldman’s experience and input in running a tailoring business proving invaluable to this part of the design process.

Vertical Circulation Store Rooms

HORBURG KEY Looshaus Eatery Cafe Church Historical Commerce Access Route Pedsestrian-only Access Route

Austrian architect Ernst Epstein was hired as a technical advisor to Loos after the first designs were made. Initially, decorative facade plans were drawn to appease the council for approval while Loos had designs of a more striking facade without ornament behind closed doors.

TOWER

VINDOBUNA ROMAN RUINS

Looshaus XX century

VINDOBONA RUINS I century BC

Voids in structure

“I told the clients, therefore: I will work only if I have a clear mandate. Let us make a contract. And I wrote the following:

Kitchen / Dining RAMP

MICHAELERKIRCHE

SITE MAP

Toilets

Preliminary plan for the ground floor, July 1909 (?) This shows Loos’ first attempts to arrange the lower level of the main shop and the adjacent spaces. The facade is wider than the existing building, and there are a lack of free standing columns. As it is rendered, it’s possible that this was the drawing presented to Goldman and Aufricht as a proposal. Being a commericial building, Loos’ concept came from wanting the building to show its purposes through its facade. Early plan of second-story mezzanine, August 1909 (?)

1. We assign the building on the corner of Kohlmarkt and Herrengasse to the architect Adolf Loos.

This drawing shows refinement of the initial concept, and there is evidence of working out the positioning of the stairs and other spaces. In the lower right corner, there are sketches of potential finishes for the interiors, ceilings and walls. Loos was also already considering the possible arrangements of furnishings.

VINDOBONA ROMAN RUINS ELEMENTS OPEN AIR STAGES

2. In the event that we find someone who can produce a better ground plan than Adolf Loos, he will withdraw from the commission.

Excavations at Michaelerplatz unearthed remains of a Roman house as well as some medieval foundations and remains of the former Burgtheater. The ruins are now exposed and can be seen from street level.

3. The final decision concerning the disposition of the ground plan is ours. We have no say in the design of the façade.”1 1 11

12 12

(b) Site

(e) Concept Development Shows positioning of elevator in a shaft extending into the courtyard, inspired from American architecture

(d) Programme

Early plan for mezzanine floor, August 1909

Loos Haus throughout its history has had two different uses throughout the whole of the building. It was originally used as a tailor with suit workshops, iron workshops, shirt workshops, apprentice workshops and classrooms. These spaces were eventually changed to apply with the current use as a bank, the majority of rooms throughout the building are private office spaces, there is very few public space within Loos Haus.

What occurred next was a series of back and forth events that would lead to Loos suffering a mental and physical breakdown, due to the determined loyalty to his principles about the unnecessary nature of ornament. Criticised bitterly by the press and critics, the facade went through several revisions and periods of stalling until a compromise of window boxes as a form of decoration was reached.

Elevations of sales area on ground floor

Loos was already considering the arrangement of cashier stands, counters, lighting and glass vitrines and display cases.

Looshaus with the new marble veneer

Because of the use of hand drawing, quick revisions and iterations could be sketched on top of the drawings. One of Loos’ critics, Conservative architect Hans Schieder sketched revisions on top of a plan of traditional façade with moldings and inset panels.

Caricature “Los von der Architektur” from Illustrirtes Wiener Extrablatt, January, 1911

“The House without Eyebrows” 2 “The building was a “stab in the heart” of old Vienna; it was a “declaration of war””3

Loos’ design process is mostly made up of drawings by hand and quick sketches. In December 1909, Loos constructed a model of the building that showed the blank plaster facade but as he was trying to conceal his more radical design, accounts of it come from his friends and it itself no longer exists. Most of changes to the building came from criticism from the press and the general public.

Submitted plans of ground floor, March 1910

AP P E N DI X

Throughout this difficult process, it was essential to Loos that the facade communicated the building’s purpose of a commercial store, without the use of unnecessary ornament or commercialism. Additionally, the facade had to be appropriate within its site and complement the surrounding palace and church, while maintaining privacy to the interiors.

“The Dung Crate on Michaelerplatz”1

Submitted Elevations, March 1910

170

(e) Concept Development

Criticism and Controversy Originally, the exterior walls were flush with edge of concrete frame added bay windows between the piers, wanted to place the building approx 6 feet behind the city-sanctioned building line, bc he thought the property line extended too far into the square, making the building footprint smaller would make it look more balanced with the surrounding buildings Figuring out the main features of the lower façade, considering the use of classical columns on the entrance and canted corners

The interior atmosphere was key for Loos and everything was secondary to the inhabitants experience. The program and circulation throughout the building were both affected by Loos idiosyncratic ideals of public and private.

Both the plans and elevations submitted to the council for approval are very different to the facade built, as if Loos created a palatable design to appease the council. 13

Christopher Long, The Looshaus (New Haven Conn: Yale University Press, 2011), p.43.

Loos knew that architecture in Vienna traditionally focussed on the second piano noble floor as the main space, so he placed the private fitting and sewing spaces on the mezzanine.

Karl Rykl, manufacturer of cast stone products and resistant to new architecture, attacked Loos by calling it a “monstrosity of a building”4 1 2 3 4

Loos’ and Epstein’s facade designs, July 1910, showing Hans Schneider’s pencil corrections

Revised facade designs by Epstein with Schneider’s suggestions, December 1910

Christopher Long, The Looshaus (New Haven Conn: Yale University Press, 2011), p.106. Ibid., p.107. Ibid., p.107. Ibid., p.100. 18

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Structural concrete hidden by material covers.

(e) Concept Development

Resolution & Compromise

(i) Environment

(i) Environmental Strategy

(h) Structural Strategy Loos Huas is an iron reinforced concrete frame structure, but this is concealed by the lavish interior and exterior finishings. The way in which Loos developed his design was that he imagined the experience first, and the emotions he wanted to evoke through his designs, then designed the structure to hold up these experienetial spaces. It is clear from photographs that the structure is not expressed, and is either integrated within, or hidden from, the experience of the interior spaces.

Looshaus with five test bronze window boxes, late 1911

Looshaus, November 2019 19

Triple glazing -

Replacing the original single glazed windows will alter the facade but provide valuble heat and sound proofing to the building.

The interior of Loos Haus seemingly covers up any possible stratergy, either that or the structure doesnt contain an enviromental strategy. Having explored images, plans and sections a serises of sections and images have been created to show what could be if a modern day enviromental stratergy was used in the building, completly disregarding interior materiality.

‘the artist, the architect, first sense the effect that he intends to realise and [then] sees the room he wants to create in his mind’s eye.’ ‘The architect’s general task is to provide a warm and liveable space. Carpets are warms and liveable. He decides for this reason to spread one carpet on the floor and to hang up four to form the four walls. But you cannot build a house out of carpets. Both the carpet on the floor and the tapestry on the wall require a structural frame to hold them in the correct place. To invent this frame is the architect’s second task.’

Will hide original ceiling but provided needed space for additional services required in modern day heating, ventilation, electrics and plumbing.

Along with structure, the eviromental stratergy came along as secondy to materiality and atmosphere. Along with the fact it was built in 1910 enviromental stratergy was not at the forefront of Loos’ mind.

‘interior is a form of covering. But it is not simply the walls that are covered. Structure plays a secondary role, and its primary function is to hold the covering in place.’

Photo of Looshaus with Loos’ drawings of the new window boxes

Suspended ceilings -

Wall insulation -

May require a second leaf to be added to the strucutre coving up intior finishing but will dramasitcly lower the U-Value and proving a more thermal efficiant building.

Floor insulation -

May require added depth to the floor effecting the height of the rooms but will again provide valuable heat and sound insulation.

Exploded axo with highlighted load bearing elements.

Photographs of the building showing how structure is hidden, or integrated. 23

(h) Structure

Structure of the entrance elevation

Material Palette The interior spaces in the commercial space and residential space are both a little disorientating, with panelled mirrors refracting and reflecting the light, making the space appear infinite. The main attraction in the store is the polished mahogany staircase, surrounded by glass cabinets. The positioning of the stairs reinforces the journey of customers ascending as a crossing of the boundary between public and private space.

MATERIALITY Loos stuck rigidly to his principles of showing the purpose of a building on the outside when designing the facade. The functional zones of the building are clearly marked on the facade by the choice of materials. The residential area is clad with simple, traditional Viennese stucco plaster, whereas the commercial floors are dressed in a luxurious sheath of marble. The richness and solidity of the marble running through the building greatly contrasts with the stark, simple facade of the upper floors.

Blue-green Greek Cipollino marble for exterior and four columns

It’s possible that marble may have been selected as a material because of its significance of luxury and richness, as the commercial space was to house a tailoring business opposite the palace.

Loos wanted the four marble columns (shown with the red line) at the base to not be structural elements, which meant that all the support for the structure above came from the two cornermost concrete columns. It is all supported by the horizontal concrete beam, which is just over 14m long. The area shaded in red is actually suspended from the above concrete frame, as the iron reinforcments were hung from the horizontal concrete beam.

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Structural drawing by the engineers, Pittel & Brausewetter 21

Red-white Skyros marble for the apartment entrance and the lower portion of the entrance staircase

White Carrara marble for the main floor of the shop and the upper staircase

Using marble as a cladding, Loos has no need for ornament as the natural grain of the marble is bespoke ornament by itself. The entrance to the apartments is sheathed in marble cut through the grain and placed in a way to create a mirrored effect. Loos appears to have had a common palette of materials of marble, polished mahogany, snakewood, brass, glass in the forms of translucent glass skylights, and curved and prism-like windows, mirrors, natural and artificial light. These materials convey a feeling of luxury, but in a way is both minimal and appreciates craftsmanship.

However, the choice in materials emphasises the importance of Loos’ views in “Ornament And Crime” about craftsmanship being taken for granted. The use of marble meant that the surface was already adorned without need for more time and energy on decoration. Loos was concerned with the welfare of craftspeople and evidently chose materials to make this building work with his personal morals on respecting with craftspeople.

NOT STRUCTURAL

What are these columns if not ornamental?

Photograph from construction

Lack of ornament on Loos’ windows compared to the building opposite, Hofburg Imperial Palace.

The facade, like the rest of the building, is a reinforced concrete frame. The use of concrete rather than stone or brick allowed the windows to be completely ornamentless, because structurally there was no need for lintels. However, the bottom half of the elevation is not as simple.

Interior of Looshaus’ shop floor at night 22

Entrance to apartments 26

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(l) Threshold

LOCATION OF THRESHOLD STUDIES CENTRAL STAIR

Adolf Loos, ‘Ornament and Crime, Selected Essays’, California (1998), 39-189 Adolf Loos, drawings, Europeana Collections, <https://www.europeana.eu/portal/en/search?q=adolf+loos&qf%5B%5D=haus+am+michaelerplatz> [accessed 15/11/2019]

Jackie Craven, ‘The Looshaus Scandal in Vienna’, Thought Co., 2019, <https:// www.thoughtco.com/scandal-in-vienna-the-looshaus-177737> [accessed 15/11/2019]

References for additional images:

Charles Rennie Mackintosh, ‘Rose and Teardrop’, Textile design, < https://www. theguardian.com/artanddesign/2018/ jun/07/charles-rennie-mackintoshIntroduction: Own work based on Adolf architect-of-choice-blade-runnerLoos, drawings, Europeana Collections, doctor-who-madonna-glasgow> (1915<https://www.europeana.eu/portal/en/ 28) [accessed 12/12/2019] Front Cover: Own work

Mabriabruna Fabrizi, ‘I do not draw plans, facades or sections’, Socks, <http:// socks-studio.com/2014/03/03/i-do-notChristopher Long, ‘Review of ‘Silent Revodraw-plans-facades-or-sections-adolutions in Ornament: Studies in Applied Arts lf-loos-and-the-villa-muller/> [accessed and Crafts’, Journal of the Society of Archi- 15/11/2019] tectural Historians, 73 (2014), 285-287 Privacy and Publicity: Modern Architecture Cox Bernard Hugh, photograph, <https:// as Mass Media, Colomina, Beatriz, Massawww.architecture.com/image-library/ chusetts (1996), 234-276 RIBApix/image-information/poster/ loos-haus-michaelerplatz-vienna/posterid/ Roberto Rosenman, ‘The Vienna Secession: RIBA9026.html> [accessed 15/11/2019] A History’, Vienna Secession, 2017, <https:// www.theviennasecession.com/vienna-seCynthia Jara, ‘Adolf Loos’ ‘Raumplan’ The- cession/> [accessed 04/12/2019] ory’, Journal of Architectural Education, 48 (1995), 185-201 Unknown author, ‘Adolf Loos’, Architectuul, 2019, <http://architectuul.com/architect/ Elana Shapira, ‘Adolf Loos and the Fashadolf-loos> [accessed 15/11/2019] ioning of ‘the other’, Interiors/Design/Architecture/Culture, 2 (2011), 213-237 Unknown Author, ‘Loos Haus, Vienna’, Architectuul, 2019, <http://architectuul.com/ Elise Wasser King, ‘Harnessing Light: Illumiarchitecture/loos-haus-vienna> [accessed nating Lighting in Adolf Loos’ Early Com15/11/2019] mercial Designs’, Journal of Design History, 25 (2012), 145-154 Unknown Author, ‘The Story of the Loos Haus’, Secret Vienna, 2017, <https://secretEvan Rawn, ‘Spotlight: Adolf Loos’, Archvienna.org/the-story-of-the-loos-haus/> Daily, 2019, <http://scindeks-clanci. [accessed 15/11/2019] ceon.rs/data/pdf/0354-6055/2011/035460551131016V.pdf> [accessed 15/11/2019]

(l) Threshold Loos defines culture as “that balance of man’s inner and outer being which alone guarantees rational thought and action” - this is reflected throughout the thresholds within Looshaus. Mirrors, smooth curves and juxtaposition with the site through thresholds each create a sense of reflection. The privacy established by each of the thresholds implies a sense of calm; whilst mirrors located around prominent thresholds encourage thought and consideration of spatial boundaries - particularly as occupants transgress between spaces.

Architect: Unknown Author, ‘Did Adolf Loos think Ornament was Crime?’, Phaidon, < https://uk.phaidon.com/ agenda/architecture/articles/2018/ december/10/did-adolf-loos-thinkornament-was-crime-and-was-heright/> [accessed 12/12/2019] Unknown Author, ‘Adolf Loos ‘Private Spaces’ at Barcelona Design Museum’, Bigmat International Architecture Agenda, < https://www.bmiaa.com/ events/exhibition-adolf-loos-privatespaces-at-barcelona-design-museum/> [accessed 12/12/2019]

WINDOW SECONDARY STAIR CENTRAL STAIR COLUMNS / ENTRANCE

SECONDARY STAIR

Unknown Author, ‘The Cafe Museum Story’, Cafe Museum, < https://www. cafemuseum.at/en/cafe-museum/thestory.html> [accessed 12/12/2019]

Ermengem, Kristiaan, “Michaelerplatz, Vienna”, A View On Cities, 2019 <https://www.aviewoncities.com/vienna/michaelerplatz.htm> [Accessed 12 December 2019]

Emma Taggart, ‘Meet William Morris’, My Modern Met, (2018), <https:// mymodernmet.com/arts-and-craftsmovement-william-morris/> [accessed 12/12/2019]

CENTRAL STAIR

Gustav Klimt, ‘Beethoven Freize’, painting, < https://www.klimtgallery. org/the-complete-works.html?ps=96> [accessed 12/12/2019] Site:

Unknown Author, ‘Künstlerhaus Wien’, Wikiwand, < https://www.wikiwand. com/de/K%C3%BCnstlerhaus_Wien> [accessed 12/12/2019]

Jackie Craven, ‘Biography of Adolf Loos, Belle Epoque Architect and Rebel’, Thought Co., 2019, <https://www.thoughtco.com/adolf-loos-architect-of-no-ornamentation-177859> [accessed 15/11/2019]

Gustav Klimt, ‘Kiss’, painting, < https:// www.klimtgallery.org/the-completeworks.html?ps=96> [accessed 12/12/2019]

Jay Merrick, ‘The Loos Cannon’, Architects’ Journal, (2011), < https:// www.architectsjournal.co.uk/culture/ the-loos-canon-adolf-loos-at-theriba/8610849.article> [accessed 12/12/2019]

Unknown Author, ‘Rufer House’, Great Buildings, <http://www.greatbuildings. com/buildings/Rufer_House.html> [accessed 12/12/2019]

Frederic Morton, ‘Vienna’s Evening Star’, Vanity Fair, <https://www.jstor.org/stable/41687791?seq=3#metadata_info_tab_ contents> [accessed 04/12/2019]

SECONDARY STAIR

Unknown Author, ‘Hoe cities have been shaped by defence’, Munson’s City, < https://www.pinterest.co.uk/ pin/420734790162597310/> [accessed 12/12/2019]

Loos, Adolf, Roberto Schezen, Kenneth Frampton, Joseph Rosa, and Maria Nievoll, Adolf Loos (Salzburg: Residenz Verlag, 1996)

Jackson, Jake “Jake Jackson”, 2019 <https://jakejackson652211045.wordpress.com/> [Accessed 12 December 2019] “VIE I PEE VIENNA | Vip Table & Bottles | Bookings, Info & Prices”, Nightlife VIP Tables, 2019 <https://nightlifeviptables. com/vie-i-pee-vienna-vip-table/> [Accessed 12 December 2019]

vienna, Map, and Austria. Europe Map of Vienna, “Map Of Vienna, City Map, Austria. Europe Stock Vector - Illustration Of Minor, Europe: 114911027”, Dreamstime, 2019 <https://www.dreamstime. com/map-vienna-city-austria-europestreets-capital-satellite-view-wien-image114911027> [Accessed 12 December 2019] Sforzi, Riccardo, “Exhibiting The City Kooza/Rch”, Kooza/Rch, 2019 <https:// www.koozarch.com/interviews/exhibiting-the-city/> [Accessed 12 December 2019] Programme: “Flickriver: Photoset ‘AUSTRIA Architecture In Vienna’ By Carlo. Fumarola”, Flickriver.Com, 2019 <https://www.flickriver.com/ photos/carlofumarola1978/ sets/72157627101256615/> [Accessed 12 December 2019] “Vienna Luxury And Elegance At The Loos House - The Vienna BLOG - Lifestyle & Travel Blog In Vienna”, The Vienna BLOG - Lifestyle & Travel Blog In Vienna, 2019 <https://www.theviennablog. com/2016/09/03/vienna-luxuryand-elegance-at-the-loos-house/> [Accessed 12 December 2019] profile, View, “Inside The Loos Haus #2”, Vrenisviennadailyphoto.Blogspot.Com, 2019 <http://vrenisviennadailyphoto. blogspot.com/2016/09/inside-looshaus-2.html> [Accessed 12 December 2019] 1, Správa, “Loos Interiors: Official Website Of The City Of Pilsen”, Pilsen. Eu, 2019 <https://www.pilsen.eu/tourist/ visit/the-best-from-pilsen/loos-s-interiors/ looss-interiors.aspx> [Accessed 12 December 2019]

Burger, Manfred, “Loos -Fotografie Von Archtitektur | Manfred Burger Wien”, Manfred Burger, 2019 <https:// www.architekturfotografie-wien.at/ referenz/looshaus-wien/> [Accessed 12 December 2019] “Goldman And Salatsch Building Dwg Drawings”, Archweb.It, 2019 <https:// www.archweb.it/dwg/arch_arredi_ famosi/Adolf_Loos/Michaelerplatz_ building/Goldman_Salatsch_Building_ drawings.htm> [Accessed 12 December 2019]

Structural Strategy:

Materiality:

Unknown Author, ‘Inside the Loos House #3’, Vreni’s Vienna Daily Photo, (2016) < http://vrenisviennadailyphoto.blogspot. com/2016/09/inside-loos-haus-3.html> [accessed 12/12/2019]

Own work based on “Goldman And Salatsch Building Dwg Drawings”, Archweb.It, 2019 <https://www. archweb.it/dwg/arch_arredi_famosi/ Adolf_Loos/Michaelerplatz_building/ Goldman_Salatsch_Building_drawings. htm> [Accessed 12 December 2019]

Unkown Author, ‘Looshaus’, Wikipedia, (2019), < https://en.wikipedia.org/wiki/ Looshaus> [accessed 12/12/2019] Christopher Long, ‘The Looshaus’, (Yale: Yale University Press, 2011)

Concept Development:

Environmental Strategy:

Christopher Long, ‘The Looshaus’, (Yale: Yale University Press, 2011) p.47

“Looshaus”, COOL CITIES, 2019 <https:// www.cool-cities.com/looshaus-232/> [Accessed 12 December 2019]

Ibid., p.47 Ibid., p.48 Ibid., p.51 Ibid., p.86 Ibid., p.87 Ibid., p.118 Ibid., p.106 Ibid., p.104

Week, Vienna, “TOUR 3: CZECH INTERPRETS LOOS — Vienna Design Week”, Vienna Design Week, 2019 <https://www.viennadesignweek.at/en/ archive/2018/tour-3-czech-interpretsloos/> [Accessed 12 December 2019] “Goldman And Salatsch Building Dwg Drawings”, Archweb.It, 2019 <https:// www.archweb.it/dwg/arch_arredi_ famosi/Adolf_Loos/Michaelerplatz_ building/Goldman_Salatsch_Building_ drawings.htm> [Accessed 12 December 2019]

Ibid., p.105 Ibid., p.132 Ibid., p.146

White Carrara marble photograph, Christopher Long, ‘The Looshaus’, (Yale: Yale University Press, 2011) p.169 All other photographs own work.

Threshold: Loos, Adolf, Roberto Schezen, Kenneth Frampton, Joseph Rosa, and Maria Nievoll, Adolf Loos (Salzburg: Residenz Verlag, 1996) “Celebrating Vienna’s Architecture”, Thoughtco, 2019 <https://www. thoughtco.com/architecture-in-viennafor-casual-traveler-177742> [Accessed 12 December 2019] BELL, DAVID. “The Irritation of Architecture.” Journal of Architectural Education (1984-), vol. 64, no. 2, 2011, pp. 113–126., www.jstor.org/ stable/41318787.

Own work

“Search The Royal Institute Of British Architects Image Library | RIBA”, Ribapix, 2019 <https://www. architecture.com/image-library/ribapix. html?PageIndex=2&keywords=adolf%20 loos> [Accessed 12 December 2019]

“

(l) Threshold

INTERIOR DOOR

WINDOWS/ STORE FRONT FACADE

MAIN ENTRANCE - COLUMNS

Geometric collage exploring symmatry and reflection on mirror pattern. Mirrors and reflections change the sense of each threshold, distorting one’s perception of special boundaries. As well as physical mirrors, reflections in marble also play with interpretation of space and inhabitants’ perception of each threshold. Dominantly these reflective threshold features are located around stairs and passageways. Loos’ architecture sought to address a “perceived loss of balance” - this sense is created through reflections and controls how it feels to pass between spaces. This became “ his way of resisting the entire spectrum of cultural falsifications that he saw in Austrian life”.

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