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A C A D E M I C P O R T F O L I O HOPE FRANCES FOSTER 1 7 0 3 6 1 6 8 8 2 0 1 9 - 2 0

A R C 3 0 0 1 GHOST IN THE MACHINE 2019/2020

07 11 19 Reflective Report

35 49 73

Charrette

Primer

Field Trip Case Study

Staging

Thinking Through Making

Gathering Film Photograph Community

Modelling Interface Speculation

Site Atomsphere Views Gold

Protagonist Analysis Composite

Experiment Materiality Tactil Texture

Iterative Organisation Architecture Through System Develop Form Language

Cultural Bibliography Inform Experience Enjoy

Bibliography + Figues

Appendix

Appendix A: Group Primer Booklet Appendix B: Case Study Group Presentation

New or adjusted work + Work added after review

Realisation + Synthesis

CONTENT S

79 142 146 149

R E F L E C T I V E R E P O R T The connective notion of community and transportation in my project begins with my own day-to-day experiences. I spend a minimum of two hours a day travelling into Newcastle on public transport from home and generally at the same times each day. I see the same faces and hear the same voices having the same sort of conversation; someone asks about the kids; someone heard something about their friend’s mother having a fall, they hope she’s okay; and those two ladies sat at the front really must go for a coffee sometime soon. Public transport already acts as this microcosmic community hub, but how can it be used to better facilitate this on a larger scale? This is my line of inquiry. As a studio with themes routed in systematic anf user centric design and a site based in Coventry I began mapping the two systems in primer, with each subtly influencing the way I approached the other. Looking at areas in closer proximity to transport links and the density of people in those areas; then distances and travel times between community hubs from the city centre. Coupled with historic research and the creation of system timelines really began to form the basis of how I might begin to implement a new speculative system. Until the Blitz, Coventry had a functioning tram system operating throughout the city and wider, the city council have already began planning a new system they hope to realise in the coming years, my project acts on this, alongside influence from, and with planned inclusion into, Coventry City of Culture 2021. In the city’s bid, it’s outlined that there are plans to create a moving gallery using art work on the side of black cabs. I wondered if this was an element that could become more prominent. So, in staging it manifested that my project would serve to accommodate a tram interchange, with bays for vehicle storage as well as space for a tram studio in which they can be decorated by local artists and students from the nearby Coventry and Warwick Universities in collaboration projects. These trams will then be distributed throughout the city, taking the work of community efforts back out for community usage.

Before the project could transition into the design of architecture, limitations set out by the system needed to be outlined. For ease of movement, distribution and system catalyst, a turntable was introduced. The table would not only be used for the interchanging of trams but would move platforms at the upper levels to create an interchangeability in circulation and experience of the building. The size and measurements of a tram would become the architectural generator as it set out parameters and opened opportunities for the project. Analysing the site with these factors in mind meant I could begin massing within the site and making decisions in level divisions of the existing incline, but in order to begin realising the project programmatically, determining how the tram moves through the city and through which communities was going to be just as important, using composite drawing as a tool I determined specific areas of community importance that could benefit from the system connection, this would then inform building protagonists, usership and a more specific route planning as the system and project moved into the realisation stage.

Using mapping as a method of working I integrated the past and existing public transport systems to use not only as influence for appropriate system proposal, but as a visual tool to view existing patterns so as not to simply repeat them. Doing this with the previous limitations outlined a site organisation and the architecture could then begin to be realised. I went through various iterations within the design process finding my work needed to adapt and change constantly to find the best integration of need and necessity around the system. With an initial imagining of a space akin to that of a train station, the arched form became important to the project, then further looking more specifically at the National Museum of Roman Art by Rafeal Moneo and taking inspiration from this key precedent, the arches became fins from which the arches would appear like punched-out shapes that could be used to support circulation and walkways. Using the specifics of tram size the fins were arranged around the turntable and in turn defined bay placement. This translated into a division within the building language; using a more radial form and organisation for the circulation and usage being defined by that of a more linear one. At this point, the integration of the technology module became increasingly important, deciding on structural organisation and specific regulation requirements, informed a more cohesive and logical organisation, it saw a way into optimising the trams as energy stores and helped to better articulate the industrialised elements of the moving bridge supports, the steel walkways and brick construction. In synthesising the project, I tried to create better relationships and translations between each floor in nature and space. Connecting floors through programme in a natural transition of overall purpose, resolving size, placement and better division of space and really trying to enforce the idea of a community space acting as cultural hub for each connecting point created by the tram system. Arrival begins at the approach; the protagonist is compressed through an underpass at the bottom of the site which opens up to a change in context from commercial to cultural. The tram then moves into the lower ground level of the building, repeating this compression then opening to a chamber like space defined by the radial fins, topped with a glazed drum drawing light into the space and drawing attention upwards to the view of these dynamic platform that move with the table. Exiting the tram, the user is free to explore the tram gallery on the lower level and see new artwork be painted onto the vehicles, they are then naturally led up the steel staircase and walkways and into the interchanging patterns of circulation. On the upper ground floor, with public access to the street level, the user may explore the studios of local artists working in the building, see the process that goes into making the artwork that is then available for them to purchase and support. They can then try their hand at it themselves, with workshop classes ran by the artists and open to all members of the public. They work together to produce individual and collaborative pieces celebrating Coventry as a part of the City of Culture event. These pieces are then displayed on the floor above in a community curated corridor, a winding hallway that takes visitors through the city in art form. Alongside this interchangeable space are more exhibition spaces, both permanent and temporary, and a portrait gallery for visitors to explore, accessibility determined by the time of day and position of bridge. To the journey in reaching the place that I have decribed above has reshaped the way I think about design, the importance of designing for people above all else, the central point to which these systems revolve.

gathering noun; gathering. plural noun; gatherings. 1. an assembly or meeting, especially one held for a specific purpose. 2. a group of leaves taken together, one inside another, in binding a book.

C H A R R E T T E The over-arching theme of this years Charrette Week was ‘Highstreet’. I was in Charrette 03 led by Leah Miller. We spotlighted Coatsworth Road in Gatehead, home to various and mixing communties and cultures. The street is in decline however the street is still rich in sociality offering points of ‘Gathering’ the name of our Charrette project. Over the course of the week we engaged with digital and analogue photography and film techniques to record the value this particular highstreet posesses, as one with a lower commercial value.

the comfrey project http://thecomfreyproject.org.uk/about/our-aims/

We also engaged with the Comfrey Project, an community organisationoffering a safe place for refugees and asylum seekers. They have an allotment on site which is open to the community to tend and garden whilst simultaneously catering for social integration and inclusion. From the garden, we used small off-cuts from the plants to create negative imprints on contact sheets, which we displayed alongside the digital and film photographs, then using recyled materials, like they have done in the allotments, we built up and exhibition as a celebration of the social importantance that is carried by the highstreet.

commerce independance community highstreet culture

Digital photographs taken on trip to Coatsworth Road. The first displays an array of stores that line the highstreet. The area is rich is overlapping cultures and offers various goods from an abundance of different communnities, from Kosher bakeries to Halal grocery stores. Slowly within this area chain retail is slowly taking over; what the area might lack in commercial value, it mkaes up for in community wealth.

Taking the afternoon to talk to the volunteers at the Comfrey project was enlightening to understand how the centre operates; the inclusion of community at every stage of operation, right down to doing the dishes after they cook a meal that anyone in the community is welcome to eat from, free of charge. The allotments grow produce and are tended to by groups of volunteers. As a means of engaging with the projects, we took offcuts of [dead] plants or bits that had fallen onto the ground [as to not damage the growth of the exisiting plants], which we organizsed and applied to contact paper in a dark room. The resulting prints were then used in the end-ofweek Charrette Exhibtions.

gather assembly engage grow health inclusion feed space safe care

In assembling the exhibtion we took the film photographs and overlayed foliage to make a 16mm structural film animation loop, this was projected onto a wall. Collections of dried plants from the allotments were hung using recycled materials next to our contact prints and the remainder of the photographs were curated into a display all around the space.

waste gambling addiction homlessness police reform growth foward nature housing site analyse social colour material confession film people movement track measure sequence correlate touch accommodate structure arrangement organise

political class employment manufacturing mental health sinage daytime economy education communication food flood risk knowledge social interaction students physical health transport religion planning pollution power crime surveillance

system mapping modelling dynamic static user centric information interaction scale physical intangible engage experience interface resisitance public realm protagonist sense

Ballard narrative focus immdiate wider context pop-up infrastructure immeersive animate change network speculate community public transport past present future urban

The first stage of the project was an inital engagment with systems and how they behaved within the city of Coventry, the location of our sites. This involved both static and dynamic mappings of our chosen systems, which developed through research into the past and present exisitence in the city, in turn forming our own speculations of a future implementation that may come into being and may act through our designs. As a creative approach for the Primer Exhibtion we focused on the user centric element to systematic design in our constructing of interface models. The idea was to demonstrate what that inital engagement with a system is for a person, whether that be something they look through or something they touch.

PRIMER MAPPING SYSTEMS

PRIMER POP-UP MAPPING First engagement with mapping was in a 2 dimensional format, the two systems I was allocated were Community and Politics. Community I mapped through variation in shades of colour with a distinction in the area of greatest public density in the city centre, the commercial area. This was also the area I found a majority of bus stops, I felt there was an element of conncetion with wider community through public transport links. For political mapping, which later informed the first 3 dimensional mapping, I again used colour to represent proportionailty of party respresentation within coventry, red and blue for labour and conservation respectivley and then grey showing the lower proportion of other party representation.

community

politics

For the 3 dimensional pop-up model I followed the pattern that I used for my 2d mapping of politics, and used different coloured thread to represent the different party proportions, the strings are lose until opened by the user at which point they become tense.

PRIMER J.G BALLARD PROTAGONISTS CONCRETE ISLAND + DROWNED WORLD

Within our studio there is an important focus on user-centric design, and as an intoduction to this we were to read excepts from J.G Ballards novels. These told stories of systems generally expeienced through an architectural or insfrastrucural element. The first was ‘Concrete Island’ the story of man trapped by and interlinking motoway system. In the except I read, his environment becomes a representation of his mental state, as one deteriorates, as does the other. I made a short storyboard of the chapter highlighting markers that best demonstrate this.

PRIMER J.G BALLARD PROTAGONISTS CONCRETE ISLAND + DROWNED WORLD The second chapter I was given to read was an except from Ballards ‘The Drowned world’ the drawing I did for this chapter shows the protagonistlongingly looking out at the remains of urban civilization as it is submerged in water.

PRIMER COMBINING SYSTEMS

A small cartoon storyboard showing what might may come of a bus journey Using my inital look at a community system, I decided to further develop this alongside the public transport system in Coventry as I felt there was an oppurtunity to explore an imagining of a how a public transport system might facilitate something that engages the public to maybe start a conversation. I feel there is a potential already existing in this, as for a lot of people taking public trasnport on a daily basis, you will see a lot of the same people taking the same routes at the same time and occupying the same space for the journey. What might be introduced to incourage engagement with each other within the system and what is the point of interaction for this?

PRIMER INTERFACE MODEL AND ANIMATION

My interface model attempts to create a connection between community and how something interactive can encourage engagment. My model is a confessional in which the user slides the window across to reveal an animation behind the perforated screen. You give him your confession and heâ&#x20AC;&#x2122;ll reply with [probably unhelpful] advice.

Scan here to view the animation

PRIMER ANIMATION STILLS

PRIMER STATIC MAPPING MODEL

My static model of Coventry transport systems maps the past present and a future speculation. An electric tram system operated in Coventry [with varying popularity across the years] until the Blitz, with connections spanning out as far as Bedford. The suspended half of this model maps the radi from the city centre outwards to each area the old tram system would travel to. The future speculation of a new tram systems [as currently being explored by Coventry city council] is mapped alongside the past routes, showing wider radi of potential connections points, including Warick University offering potential links with Coventry University. Added routes [modelled in yellow in the central photogrpah below] begin to map the present system alongside the past and future, these show common courses that are taken by buses through points of community engagement to the city centre. Following down from this to the model below, the time taken [by bus] to reach the city centre from stops currently located closest to these hubs is represented by the square prongs, seen in the model to the left, each prong representing one minute of travel time, and the orientation of each set respectively gesturing to the diection of each hub to which it individually refers.

PRIMER GROUP EXHIBITION MODEL

primer exhibtion group model static system mapping over public realm

PRIMER GROUP EXHIBTION MODEL

For our studio group primer exhibiton model we combined all of our static and dynamic mapping models onto a base cut out of the public realm in the city centre to demonstate how each of the systems in Coveventry interlink and act together simulatneously.

Additionally, around the the group model we arranged our inface models and animations for viewers to interact with and to engage with the systems that have been mapped on the baseboard collectively.

For the group primer booklet please see appendix A

GOLD

F I E L D T R I P C A S E S T U D Y GOLD

GOLD

Our field trip case study project was The Prada Foundation in Milan Italy. Designed by OMA Architects completed in 2018. A former gin distillery in Largo Isarco combines archietectures of varying types, from the old that have been rejuvenated alongside the newer builds. Our subject for this study was the Haunted House, a regeneration project covered in gold set against the neutral background of the surrounding context. FOR FULL GROUP PROJECT PRESENTATION PLEASE SEE APPENDIX B. THE FOLLOWING IS MY INDIVIDUAL CONTRIBUTION TO THE SUBMISSION.

TURIN + MILAN ‘19 After the site visit to Coventry [see Staging Chapter] our trip extended to a few days spent in European cities Turin and Milan. A walking tour of Turin took us around some of the city’s most famed architecture: Il Lingotto, the old fiat factory converted by Renzo Piano, offering not only a wonderful and grandiose space in its volume, but also beautiful views over the city, which though hazed in industrialisation appears softer sat in the landscape. The Teatro Regio di Torino, an Opera House designed by Carlo Mollino for a rebuild and opening in 73, provided the city with something unlike it’s predecessing model - and outsiders look into the high class event. Curtain walling let passers by see into the venue, stripping down the privacy those in attendance would usually expect, the class system was being thwarted through the architecture. Amidst the architecture of Turin, the spaces inbetween echo a nature similar to that of our site in Coventry. An instustrial city famed for it’s car manufacturing, is trying to re-establish itself in the present, but their is a familiarity of the English city, from Piazza to Precinct.

LAVAZZA HQ

PRADA FOUNDATION

LINGOTTO

TORRE

TEATRO REGIO DI TORINO

The last leg of the trip saw us visit Milan’s Prada Foundation in Largo Isarco, the destination of our field trip case study: The Haunted House. This will be explored in the following pages. Surrounding our study subject are a varying types of buildings from a cafe designed by directior Wes Anderson, to the Torre, a new contribution from OMA. Though it towers higher than it’s surroundings, there is a subtlety in its precence when set against the fog of the city. Interior spaces mix timber, concrete, steel and glass materials that individually echo something of the context, but together one of the most carefully detailed buildings, all in amongst a site designed with wit and care.

CASE STUDY PRADA FOUNDATION: SITE

Site Wider Access and Transport Links Milan is a metropolitan city with various links to surrounding cities. Lying just below the city centre, Largo Isarco, where the Prada Foundation resides is no different. The diagram demonstrates the location of each of these links; connections through buses, trams and main metro lines that can take you into Milan Central station and from there further through Italy. The site almost gets lost in the area, nestled into a wider industrial typology the density of the area hides the foundation within itself, with only the prominence of the Torre and the Haunted House rising above the rest to orient the foundation within the wider context.

= 200M^2

Direct Access However, the more interesting of routes is through the cafĂŠ entrance. Each threshold takes you through into a different section of building with a completely different feel, the thresholds expand and contract and glimpses of gold here and there guide you into the entrance, the experience is more intimate and personal as you get to understand the direct context and develop a relationship with that before then moving into the entrance way and through into the stairway into an equally intimate space, and through and up, with the gold exterior revealing itself in a more gradual and sensitive fashion through openings rather than all as one upon direct approach.

CASE STUDY PRADA FOUNDATION: SITE

Views and Approach Upon approaching the site, there are a couple different access routes you might take, the most natural path takes you through the opening at the gate and down an exterior passage way where the Haunted House becomes immediately visible. From there you can enter the building and then up into the stairwell.

CASE STUDY PRADA FOUNDATION: ATMOSPHERE

Atmosphere Gold “…the most surprising and now visible effect of this it is like gold and the light reflected from gold contaminates the whole environment. As soon as the light changes, the effect of this small intervention is very visible from the whole complex.” Rem Koolhaus The protagonist interacts with this gold contamination in various ways. First introduced just past the café, interspersed with a mixture of materials but nevertheless draws you forward past a threshold from a wider space with a greater public sense to a more intimate space, with only few people being allowed into the haunted house at any given time. From this you are allowed into a tight staircase, guided by frequent intervals of light; glimpses of gold from the occasional window; up into the quiet gallery spaces.

CASE STUDY PRADA FOUNDATION: ATMOSPHERE

Atmosphere Density and Fluidity Spatially, there is a weight and density to the feeling of being inside the gallery spaces, with walls almost a metre thick, crossing thresholds from room to room gives the feeling of compression before entering the open space again. The joining of the walls, floors and ceilings are finished finely, creating a fluidity to the concrete, as if each element is a part of the last. These connections can also be seen in the tower; there is not only this sense of completion within the site through this â&#x20AC;&#x153;contamination of goldâ&#x20AC;? but also connections down to the finest detail, this encourages a natural circulation of the space and a feeling of having-been while simultaneously moving forward.

CASE STUDY PRADA FOUNDATION: ATMOSPHERE

Daytime and Nighttime Strategies

1:50 1m

Because of the materiality of the building not only do variations in the time of day affect the atmosphere inside but as do variations in the weather. During the day, the frequent openings provide light into the spaces; the windows are deep set and as a result create amplified thresholds for the light to enter through, this creates tonal gradients in an otherwise monochromatic interior space; casting shadows and light through openings and into corners and crevices, creating a changing sense of enclosure as you move about the space. As the weather becomes less pleasant and the fog descends, as it did on our site visit, a juxtaposition is created in colour and light. The greyer the sky becomes, the more intensified the gold cladding feels, through a starker contrast. Little gold flecks immerge against the 5m white backdrop form the edges of exteriors walls where the windows are fitted. Even on the gloomier days, the gold still permeates the inside spaces. By night the intensity of the gold has lessened, but as the sun goes down the concrete coves, especially the stairwell, begin to pervade unto themselves. The spaces become darker but with the use of artificial lighting, small gaps of relief are created as you travel up.

If public transport can act microcosmic community hub, how can this be better accomodated to encourage wider community enagagement and celebration in line with Coventry City of Culture 2021?

In staging my project and building the brief, I reflected on what I was exploring during primer in the combination of community and public transport systems in the city and how my own specualtive system was forming. During the site visit to Coventry and understanding of the city first hand, I found how important transport manufacture and industrialisation was to to the citys heritage and culture. Looking further into Coventryâ&#x20AC;&#x2122;s winning bid for City of Culture 2021 I found they had proposed a moving gallery using art work displayed on the side of black cabs. I wanted to explore how this might be introduced on a more civic scale and proposed the idea of having local artists work on collaboration projects that can then be distributed throughout the city. I began to combine each of these factors together into what became the idea of a combined tram and cultural interchange, a place for local artists to work but to also engage in community collaboration projects on pieces of work that really celebrate the city. Made, curated and displayed by the people that live there. For the community by the community.

STAGING VISUAL BRIEF INTERCHANGE ADVERTISEMENT POSTERS

STAGING SITE COLLAGE

STAGING COVENTRY TRAMS TIMELINE

STAGING WIDER SITE ANALYSIS

Coventry City Centre is contained within a ringroad with a series of underpasses and level changes for roads in its surroundings. Currently the most heavily dense area is is the commerical area to the west with less greenery and higher levels of retail, which breaks up as you move further out from the centre. In and around this are are more bus stop to various places outside of the centre, but to the east lies a more compacted bus interchange and just out side of the ringroad is a depot that also distributes coach transportation.

Contour Lines

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Urban Density

Main Roads

Green Spaces

Public Transport Links 1:20000

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STAGING IMMEDIATE SITE

After reviewing the sites around Coventry, the site I chose was directly opposite Coventry Cathedral in a predominantely student area. The site is walking distance to the aforementioned bus interchange and in direct proximity to the University. The site offers a cultural element while being a primary location of tourists, avoiding highstreet commerce whilst maintaining a relatively high foot traffic level from tourists and students. The site is also only a few minutes walk from the Coventry Transport Museum and directly next to the Herbert Art Gallery, offering connections to buildings related in theme and nature. There are many approaches from various areas within the ringroad, involving routes from the retail and civic areas.

STAGING SITE PHOTOGRPAHS

STAGING SITE PHOTOGRAPHS

STAGING IMMEDIATE SITE

Access Points

Contour Lines

Summer Sun Path

Greenery

Winter Sun Path

Ubran Density

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The site is based at the top of a slope with an incline of 5m from the bottom at the underpass and up to the Herbert Art Gallery. The slope would work well with a new tram system providing the oppurtunity to build into the site rather than just on top, creating lower and upper ground floors, the accomodation for trams being below ground level, begining to form a natural division in storey height.

4.57m

3.73m

3.08m

2.59m

STAGING SLOPE ANALYSIS

CUTTING INTO THE SLOPE

STAGING INITIAL MASSING

STAGING INITIAL MASSING DISTRIBUTE

The shape of the turntable indroduces a radial form to the massing based on how it will accommodate tram bays, and beginng to form a natural core. My site analysis of the slope has opened the oppurtunity for a level division of upper and lower ground floors; setting the storey for tram storage into the ground will better faciliate a public entrace at the opposite side to tram approach.

SHELTER

In forming inital massings in site, I have decided to remove the old Student Union building that currently exists on the site. The building is out of use for its original purpose as a new building has now been built. This opens more space and allows for better implementation of tram infrastructure. Primary massings are based on the planned implementation of a turntable, this should allow better distribution, ease of storage and begins to set site limitations and opens up organisational oppurtunities.

CHAMBER

RADIAL

SET DOWN

ABOVE + BELOW

STAGING ROUTE SPECULATION

STAGING SPATIAL COMPOSITE

STAGING COMPOSITE SKETCH

STAGING PROTAGONISTS

ANGELIKA

EMMA

NANCY

Daughter of Polish immigrant parents, each Saturday she takes the tram with her father to the Polish Saturday School where she spends the day, Angelika loves art so on her way home her father takes her to a workshop class ran by a local artist at the interchange. The artist makes hand-tufted wall hangings and works primarily with textiles, Angelika and her father take part and it becomes something the two of them can share.

Emma is an art student at Warwick Univeristy and wants to work on bigger projects outside of her education. She and some others join students from Coventry University on a collaboration project in painting one of one of the trams. Her artwork is now seen all across the city.

Nancy visits her grandaughters on the other side of the city and stops at the intechange mid-journey for an art class on a Wednesday. As a woman whose seen the changes Coventry has undergone in the past decades she insits on helping curate a project of work created in the classes for the community by the community.

T T M

H H

I A

N K

K I

I N

N G

G H G

My apporach to Thinking Through Making Week was to make something tactile. Our studio has been centred on user interface throughout and I had already decided on using brick as my primary cladding, so I set out enlarge the texture of the material so it was not only visible in the model but inviting to the viewer to touch it.

THINKING THROUGH MAKING TERRAZZO AND PLASTER CAST

Using plaster, I cast planes of two different textures. One using plain plaster with a concrete colour tint to replicate a more brick-like colour, and for the other I cast plain plaster onto coloured glass pieces to create a terrazzo effect and to replicate the grit of brick texture.

Once out of the cast, I began to carve into the coloured plaster to try and create a texture akin to the patterning of brick texture. Exaggerating the depth of lines and creating layers the the facade. I then oragnised the planes to form a tram stop using the textures the break up the space, as an enaging element for the public like that of the artwork proposed for the outside of the trams.

THINKING THROUGH MAKING FINAL PIECE

R E A L I S A T I O N + S Y N T H E S I S This stage posed various challenges for me, with forms becoming forced and designs becoming stunted, the need for a reafermation of sytematic importance became prevelant to the sucess of the design. Taking steps forward and testing and revisiting the actions of my chosen transport system was the key in realsing my design and even more important in synthesising the design was to test against the usership of the system to meet need and necessesity in order to produce the following scheme.

Speculative tram routes of proposed system

Current existing bus routes

Past electric tram routes (system finally demolished in the blitz)

REALISATION + SYNTHESIS INTERGRATING A NEW SYSTEM

Using my composite route drawings across the city I have mapped out the speculative routes from my site and out to wider coventry. Iâ&#x20AC;&#x2122;ve mapped the new system against the past tram system that was in place as a guide for a future system. Then laying these both out against the exising bus routes out of the city centre so as not to simply replicate what is already there, and instead focussing on connecting the various community spaces and gathering places creating a better connection to them and reach from the building site.

REALISATION + SYNTHESIS INTERGRATING A NEW SYSTEM

REALISATION + SYNTHESIS ORGANISATION THROUGH SYSTEM

REALISATION + SYNTHESIS TRAM MEASUREMENTS

Turntable

Using my mapping as a tool for organisation I decided on the building approach being from the lowest part of the slope, from the underpass, and up towards the Cathedral. The roads and routes to this poin proved more accomodating to the size of the tram and the necessary turning circle radi, that being 24m from the centre. Once these limits were set up, the most appropriate placement of the turntable could be decided.

24m

Figure1 Except from ARC3013 Technology Report

REALISATION + SYTHESIS PRECEDENTS

01. Cedric Price - Fun Palace 02. Cedric Price - Potteries Thinkbelt Price’s projects, were what one might term “plug-in architecture” frameworks with an adaptability and spontaneity. With the repurpose of traincars in the Thinkbelt to act as a two-fold carrier of people and knowledge, the system facilitates more than it was made for.

03. Richard Meier - Barcelona Museum of Contemporary Art The influences drawn from Meiers work here are predominately in plan and organisation form. His combination of radial and linear languages were a key inspiration in the progression of my floor plans.

04. Rafael Moneo - National Museum of Roman Art The inital arched forms in my building transpired into punched-out shaping in brick fins, the introduction of steel walkways running through out and adapting the arches to follow the radial lamgauge of cirulation was influence by the precedent here.

05. Iñaqui Carnicero Architecture - Hangar 16 When it came to structure and echoing an industrial train station-esque language, the use of exposed steel coloumns was and inital idea. The Hanagr 16 was instrumental in the influence of my technology report and understanding the organisation and construction of the material, which further improved my plans.

06. Diller Scofidio + Renfro - Slow House In the design on ‘Slow House’, the building is designed to follow a pattern of movement, the limations were set into a drawing instrument which allowed plan and form to come to fruition.

07. Samuel Schubert + Philipp Seitz - Time Travel. Non-Architecture Competition 2017 As an entry for an alternative museum, the proposal involves eteranlly revolving rings at varying speeds, from some full rotations taking years, while others take only a week. The change in opening and circulation saw the way for my project to implement a similar system catalyst.

08. Central Station Newcastle An example of the primary form ideas I had in the intial conceptual stages, the tall arched passaways translate the whole way through the building to the, varying at different scales to accomodate the system and creating a sense of grandeur upon arrival.

06 86

Figure 2 Precedent Studies

08 87

REALISATION + SYNTHESIS PLACING THE TURNTABLE ON SITE

REALISATION + SYNTHESIS SPATIAL WIRE MODEL

Using wire in a spatial visualisation excercise, I began to map out spaces as I imagined they might behave, with a chamber like opening for the arrival of the tram, echoing the grandeur usually found in station arrival, the opening into tall spaces. Raised galleries, maybe offering views down below onto studios or tram bays with an opposing flow in the uasge sections of the building to that of the circulation.

Fitting the turntable into the site 1:200 Model

REALISATION + SYNTHESIS INITAL ITERATIONS

REALISATION + SYNTHESIS PRECEDENT COLLAGE DRAWING

BALCONY COVERING

VIEWS DOWN

OFF-SHOOT OPENINGS

RAISED PLATFORMS

PLANAR DIVISIONS

PLATFORM LEVEL CHANGE

RADIAL APPROACH

ARCHED THRESHOLD

HIDE + REVEAL

As the turntable and tram set the first limiations, I began to follow the natural form to create spaces in a radial fashion, experimenting with threhold moments, the movement of the tram into the space and how the arrivial space might be organised. Then using my precedent studies, I extracted elements and collaged them into a drawing to create an imagining of how I was begining to view the elements that would form the architecture.

REALISATION + SYNTHESIS ITERATIVE SKETCHES

My first plan sketches attempt to configure and organise a way into allowing light into the chamber-like space, with the intention to have the core protrude from the rest of the form allowing in light from southern exposure. The circulation core and uage part of the buidling should behave as attachements to one another rather than as one wrapped space.

REALISATION + SYNTHESIS DEVLEOPMENT SKETCHES

CORE AND LEVELS

REALISATION + SYNTHESIS DEVELOPMENT SKETCHES

PLANAR SEGMENTS

OUTER ARRANGEMENT OF FINS

COMPOSITE

The form of my building began to follow a predominetly radial geometry with segmentated spaces sepeated by planes with the intention to implement a glazed drum at the top of the core to allow light in and to bring attention to the platforms above. After careful reflection, though the form followed the geometry of the core it lacked itâ&#x20AC;&#x2122;s own organisation and langauge as the purpose and uasge differed. It felt more apppropraite that that organisation should also differ. I felt there should be more control in the plan.

REALISATION + SYNTHESIS FORM DEVELOPMENT

In this stage of my project my building went through various changes in organisation, with constant changes to heights, the distrubution of the tram bays and the circulation around the building, thought there was some development the configuration was stunted. To find better clarity and resolution in my design I took the arched fins I had been working with and revisited my system limitations to work outwards from this point.

HEIGHTENED SHELTER

ADDING LINEAR SPACES

ELEVATION/SECTION ITERATIVE SKETCH

98 The southern bays can accomodate two trams per bay, the increase in vehicals would suggest these bays act as accomodation for the trams acting as a part of the gallery as it would be more suitable and safer for them to remain stationary for longer periods of time.

With the site limitations and necessity for other accomodation, there are three bays available to the noth of the building and three available to the south

Structually the fins will be steel beam primary structure with brick cladding and cross bracing for additional support

Arched fins used for circulation support can be arranged into the determined pattern

Sizing dicatates the available bay spacing, dertimining 16 around the circumference

using the radial language, begining to map out an organisation arount the turntable

Using the tram to determine bay sizing nad any entrances and exits

REALISATION + SYNTHESIS REVISITING ORGANISATION REALISATION + SYNTHESIS REVISITING ORGANISATION

Outlined above are the processes I wennt through in the reconfiguration of the central space in the building.

Figure 3 - Excerpt from my ARC3013 Technology Report

REALISATION + SYNTHESIS DETTACHMENT

REALISATION + SYNTHESIS 3D VISUALISATION

After the re-oganising of my core I reassessed the composition of the rest of the building in relation to the centre. Two factors directly influenced this reworking; the first being Richard Meierâ&#x20AC;&#x2122;s Museum of Contemporary Art in Barcelona, the combined languages and plan control provided a great example of how I might begin to move forward. The second was developing a better understanding of my structure through my ARC3013 technology report. Immediately implementing a strcutural grid and using this as the guidlines for my spaces. The two uppermost levels became seperate from the core with attachments formed through balcony walkways, retaining the views down into the space below but through more appropriate circulation.

The lower ground floor returned to the radial language with the southernmost side existing below ground, working with the natural incline and designating most of the northmost part for service and staff usage with a lower ground street exit.

The upper ground floor now offered a more structured space for studios and workshops to be organised in, and is now clearly distinguished from the ciruclation to be usage, creating threshold changes that should feel seperate from the dynamic platforms in the core.

ATRIUM SKETCH

SUPPORTED CIRCULATION

Like the floor below the linear language at the top floor meant there should now be more oppurtunity for spacial change as exhibtions change with a new simplicity that lends for better adaptability. INTRODUCING GLAZING INSTEAD OF BRICK CLADDING TO CORE

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REALISATION + SYNTHESIS INTERIOR IMAGININGS

BRICK FINS AND DIVISON

REALISATION + SYNTHESIS INTERIOR IMAGININGS

PORTRAIT GALLERY AND OPENINGS

GLAZED CONNECTIONS

VIEWS MOVING THROUGH THE CORE

ATRIUM SPACE

Now my plans were begining to feel more cohesively realised, I began to focus on the connecting spaces and thresholds. I translated the arched fins up from the upper ground floor to the first to form a portrait gallery with regular linear divisons to be best used for hanging artwork. Creating an atrium in the open space formed between the core and rest of the budiling, following the glazing of the drum atop the core outwards as a cover, then adding glazing between the fins to maximise the light gain. Above are sketches of how I began to imagine moments of connection as you move throught the building. The final on the far right was a sketch of the atrium space providing environmental oppurtunities for stack ventilation, solar gain through natural daylight and allowing the brick fins to be used as a thermal mass.

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REALISATION + SYNTHESIS SUN EXPOSURE AND WINDOW PLACEMENT

Using a digital site model built in Revit I tested the building against summer and winter sun exposures to determine how the light effected the brick facades. At the south facing facade the solar gain was reduced due to the over hang at the public entrance while still allowing the lower winter sun to achieve higher solar gain. East and north eastern facades required more lighting as they faced denser areas and the west facing facade was susceptible to shading during the winter.

Windows were arranged based on this study alongside an outlined grid and interior arrangment.

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REALISATION + SYNTHESIS LOWER/UPPER GROUND FLOOR RELATIONSHIP

REALISATION + SYNTHESIS LOWER/UPPER GROUND FLOOR RELATIONSHIP To better synthsise my floor plans I introduced a better division of space at lower ground level as I found there lacked a specificity in zoning around the turn table, the spaces gaped and the circulation was lacking guidance. Following the radial geometry and the lines already made by the walkways on above floors I worked the two floors together to create a better relationship between the two. Spaces were divided for waiting, ticketing, ciruclating and viewing the trams, really trying to utilise the formation of brick to celebrate it more than to have it simply follow across two axisâ&#x20AC;&#x2122;.

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Layered plans in better clarity with further inhbaition

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REALISATION + SYNTHESIS LOWER GROUND FLOOR PLAN DEVELOPMENT

The iterative process of my floor plans has not been without rigour and faced constant changes through circulation, division and organisation. Need and necessisty became apparent through technology work to meet regulatory requirments as well as providing the staff and public with the appropriate services for public transport operation in combination with studio and gallery space requirements. The lower ground floors have adapted with radial organisation to implement bays for longer stay trams, and for those required for more frequent operation. Private areas for staff have changed to accomodate larger storage areas for exhibition works, service cores, plant room, office space, private toilets, two delievery entrances and a conference room for artist meetings. There are two smaller seconday accessible circulation cores for public use in addittion to the central one. In event of fire, the service cores are also accessible and compartmentalised, with public and disabled toilets located inside this core for safety in the event that someone becomes stuck. Public services include platform waiting spaces, enclosed waiting areas for longer depature times, information desk and self-service ticketing machines. Theres necesssary safeguarding on the tram bays that are more frequently moved. The spaces for trams in longer stay bays are fully accessible as a part of the exhibiton and welcome public circulation.

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REALISATION + SYNTHESIS UPPER GROUND FLOOR PLAN DEVELOPMENT

Moving around the core and up the steel walkways into the upper ground floor, theres public access to street level with information desks at the threshold. Adjacent are areas for coat checking and any additional storage that public users may need. Moving through towards the north part of the building, the user would find studio pods for local artists where they can see the process of how the artwork is made. Theres an oppurtunity to support the artists in purchasing the works made on site in the gallery shop situated beside the studios. Past the first few studios is a kitchen and cafe space just before you turn the corner towards the workshop area where the artists can teach classes to the public and assist them as they collaborate as a community in the making of artwork that celebrates the city of Coventry for the City of Culture 2021 event.

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REALISATION + SYNTHESIS FIRST FLOOR PLAN DEVELOPMENT

The first and uppermost floor follows a simpler plan, with requirements for wider spaces needed for exhibtions. From the central walkways and intechanging bridge, access to each exhibiton space is dependent on the time of day and position of the bridge, as determined by the turntable below. The spaces lend themselves to a portrait gallery displaying 2D artworks, spaces for installation and a culture corridor that is especially designated for displaying the work made by the community in the workshops. A winding hallway that is curated by those who have spent the time in creating the works it shows, pieces that celebrate the city in a creative form.

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REALISATION + SYNTHESIS FORM DEVELOPMENT THROUGH SECTION

Key to my development throughout the project was working in perspective section, working in a 3D visualisation in conjunction with the plan development helped better identify areas that didnt work spatially not just only in a pragmatic sense. The overally form has developed frome the scales of my spaces, changing to fit the needs of my system and improving the aticulation of accomodation changes and threshold transitions. My form developed from that of a predominently radial geometry in most aspects, to gradually incorperating a more linear patterns in repsonse to technology intergration. The last imagine on the right shows a section nearing synthesis, with a few changes still required, but as it resides in this form, the dramatic spatial changes can be read across from the inital sketches at the begining of the realsiation phase to a form that better accomodates both a system and it inhabitiants.

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REALISATION + SYNTHESIS FINS AND DRUM DEVELOPMENT

As is seen in image to the left, there was issue with the realtionship between the drum and fins in the centre of the building. The drum at the top seemed to only sit atop the building without really having a connecttion to the core it was meant to be emphasising, and the fins seemed lack-luster to the elvation. To improve on this relationship I began to model the structure with iterative sketches to form a more resolved understanding.

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REALISATION + SYNTHESIS FINS AND DRUM DEVELOPMENT

The final models I made had the intent to bring the height of the fins up, to surpass the level of the atrium glazing and connect to steel beams exposed on the outside with an interior ring beam support, this would then support the slightly angled roof to the drum. The arrangement of steel support would follow down to the atrium covering with additional beam support but with the general arrangement following the radial patterning.

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FINAL PROJECT SCHEME PROPOSAL

REALISATION + SYNTHESIS WORMS EYE VIEW

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3 4

6 7

Lower Ground Floor Plan

1 10 11

1:250 5m

10m

15m

20m

1 Turntable and Tram Arrival 2 Staff Entrance 3 Staff Offices 4 Meeting Room 5 Service Core 6 Exhibition Storage 7 Short Stay Tram Bays 8 Plant Room 9 Information Desk 10 Enclosed Waiting Room 11 Platform Waiting Area 12 Compartmentalised Core - Public Toilets - Disabled Toilets Cleaners Store Room 13 Self Service Ticketting Boxes 14 Tram Painting Store Room 15 Long Stay Tram Bays and Tram Gallery

25m

1 3 5

4 1

1 1

Upper Ground Floor Plan 1 Artist Studios 2 Workshop Space 3 Kitchen 4 Cafe 5 Service Core 6 Gallery Shop 7 Compartmentalised Core - Public Toilets - Disabled Toilets Cleaners Store Room 8 Coat Checking and Public Storage Space 9 Information Desks 10 Public Entrance

8 9

1:250 5m

10m

15m

20m

25m

2 2

First Floor Plan 4

1 Arts Library 2 Exhibition Spaces 3 Service Core 4 Community Culture Corridor 5 Compartmentalised Core - Public Toilets - Disabled Toilets Cleaners Store Room 6 Portrait Gallery 7 Interchanging Bridge

1:250 5m

10m

15m

20m

25m

REALISATION + SYNTHESIS INTERIOR PERSPECTIVES

Artist Studio Corridor

Lower ground floor arrival area. Waiting room and ticketting.

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Workshop Class Space

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REALISATION + SYNTHESIS INTERIOR PERSPECTIVES

View onto walkways at uppermost level and moving bridge

Entrance to culture corridor

Scan here for a gif of the moving bridge View of arched fins and balcony walkways

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REALISATION + SYNTHESIS SITUATION IN WIDER CONTEXT

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REALISATION + SYNTHESIS SITUATION IN WIDER CONTEXT

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REALISATION + SYNTHESIS SITUATION IN WIDER CONTEXT

The map to the left shows the project situated in its site context alongside the systems in which it acts upon or facilitates.

Future Specualtive Tram Route Exisiting Bus Routes Past Tram Routes Prior to the Blitz

1:350

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REALISATION + SYNTHESIS ELEVATIONS

ELEVATION B

ELEVATION C

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REALISATION + SYNTHESIS KEY ELEVATION AND SECTION

ELEVATION A

1:400 8m

16m

24m

32m

40m

1:400 8m

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16m

24m

32m

40m

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REALISATION + SYNTHESIS BUILDING IN SITE CONTEXT

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REALISATION + SYNTHESIS BUILDING IN SITE CONTEXT

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C U L T U R A L BIBLIOGRAPHY

SEFTON PARK

In November I attended the preview party to the Baltic’s new opening with a few friends to get a first look at some of the upcoming features. A favourite exhibition was that of Joy Labinjo. Her first solo exhibition showed an array of domestic studies of her family, working from photos she collaged together images to create new compositions that explore her experience growing up in the UK with Nigerian heritage.

LIVERPOOL’19 Labinjo, J., 2019. Baltic Preview Party: Autumn/Winter ‘19: Our Histories Cling To Us. At the start of the academic year I took a trip to Liverpool, one of my favourite cities. While there, after having consumed the usual amount of Beatles memorabilia for a single trip I extended the visit to the World Museum which at the time was displaying entries to a spacescape photography competiton. The image below shows the sun but the photograph has been inverted to disperse the usually glow

WORLD MUSEUM . Additionally the Tate was showing an exhibtion of the works of a favourite artist of mine Keith Haring who began his career with street art in subway stations and grew to have his works as features in raising awareness

BALTIC PREVIEW PARTY AUTUMN/ WINTER’19

ARTWORK BY JOY LABINJO 142

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CRAFTING ARCHITECTURE: COLLAGE

REYNER BANHAM LECTURE SERIES AND FILM 144

Banham, Reyner, Reyner Banham - Megastructures 1, 1974 <h My dissertation focussed on famed ps:// www.youtube.com/watch?v=ectOi0KXeus> [Accessed 28 architecture critic Reyner Banham, December 2019] in the process of research I found a fondness in his approach to the way he discussed architecture, my interest Reyner Banham: Myths, Meanings & Forms Of 20Th Century extended outside of my dissertation Architec- ture (March 26, 1976) Part 1 Of 2, 2017 <h ps://www. studies and past the finish of the youtube.com/ watch?v=pDEXfDwl9W4> [Accessed 6 October module. His cinematic take on the 2019] city of Los Angeles directly influenced my own views on the architecture of the usually contentious city, my tastes Banham, R., 2011. Reyner Banham Loves Los Angeles. [video] towards architecture generally and Available at: <https://www.youtube.com/watch?v=WlZ0Nput a new perspective on the short bC-YDo> [Accessed 6 November 2019]. time I had previously spent there.

I attened the Crafting Architecture Collaging workshop ran through the University. Though I had no previous experience with the medium before this I found it to be a relaxing and enjoyable process, it was something I was keen to find a way of incorperating into my own work. I used the method in a precedent study after the workshop to layer elements I planned on incorperating into my building but did so with a hand drawing rather than using paper cuttings.

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BIBLIOGRAPHY “About Fun Palaces - Fun Palaces”, Fun Palaces, 2020 <https://funpalaces.co.uk/about-fun-palaces/> [Accessed 18 November 2019] Architect Magazine, 2012 <https://www.architectmagazine.com/project-gallery/slow-house> [Accessed 4 February 2020] Banham, Reyner, “A Clip-On Architecture”, Design Quarterly, 63 (2020), 2-30 h ps://doi.org/10.2307/4047309

F I G U R E S

“Barcelona Museum Of Contemporary Art – Richard Meier & Partners Architects”, Richardmeier.Com <https://www.richardmeier.com/?projects=barcelona-museum-of-contemporary-art-2> [Accessed 15 March 2020]

Figure 1 - Excerpt from authours ARC3013 Technology Report

“Cedric Price. Fun Palace For Joan Littlewood Project, Stratford East, London, England (Perspective). 1959–1961 | Moma”, The Museum Of Modern Art, 2013 <https://www.moma.org/collection/ works/842?sov_referrer=artist&artist_id=7986&page=1> [Accessed 19 November 2019]

Figure 2 - Precedent Studies Cedric Price Fun Palace

Cogley, B., 2018. Tadao Ando Designs Wrightwood 659 Exhibition Space In Chicago. [online] Dezeen. Available at: <https://www.dezeen. com/2018/11/05/tadao-ando-wrightwood-659-architecture-exhibition-space-chicago/> [Accessed 19 April 2020]. Crawley, Ken, “System Map”, Coventrytramways.Co.Uk, 2001 <http://www.coventrytramways.co.uk/map.htm> [Accessed 5 November 2019] Crawley, Ken, “A Brief History Of Public Transport In Coventry”, Coventrytramways.Co.Uk, 2001 <http://www.coventrytramways.co.uk/history.htm> [Accessed 31 December 2019] “Light Rail And Trams”, Campaign For Better Transport<https://bettertransport.org.uk/light-rail-and-trams> [Accessed 5 February 2020] “Polska Szkoła W Coventry | Polska Szkoła W Coventry”, Polskaszkolacoventry.Co.Uk <https://polskaszkolacoventry.co.uk> [Accessed 7 March 2019]

Cedric Price Potteries Thinkbelt

“THE THINKBELT: THE UNIVERSITY THAT NEVER WAS”, Discover Society, 2014 <https://discoversociety.org/2014/07/01/the-thinkbelt-the-university-that-never-was/> [Accessed 19 November 2019]

Richard Meier Museum of Contemporary Art in Barcelona

National Museum of Roman Art

Hangar 16

“THE THINKBELT: THE UNIVERSITY THAT NEVER WAS”, Discover Society, 2014 <https://discoversociety.org/2014/07/01/the-thinkbelt-the-university-that-never-was/> [Accessed 19 November 2019]

Langdon, David, “AD Classics: National Museum Of Roman Art / Rafael Moneo”, Archdaily, 2015 <https://www.archdaily.com/625552/ad-classics-national-museum-of-roman-art-rafael-moneo> [Accessed 5 February 2020]

Ballard, J. G, Concrete Island (London: Jonathan Caper, 1974)

Multi-Purpose Hall In Madrid (Detail Inspirations, 2020) <https://inspiration.detail.de/multi-purpose-hall-in-madrid-107014.html?lang=en> [Accessed 11 February 2020]

Ballard, J. G, The Drowned World (New York: Liveright Pub. Corporation, 2013) Ballard, J.G, High Rise (London: Jonathan Cape, 1975) Banham, Reyner, Megastructure (London: Thames and Hudson Ltd, 1976)

Slow House

“Slow House”, Diller Scofidio + Renfro, 2020 <https://dsrny.com/project/slow-house> [Accessed 2 February 2020]

Time Travel

Schuber, Samuel, and Philipp Seitz, “Time Travel - Non Architecture”, Non Architecture, 2017 <https://www.nonarchitecture.eu/portfolio/time-travel/> [Accessed 4 December 2019]

Banham, Reyner, Reyner Banham - Megastructures 1, 1974 <h ps:// www.youtube.com/watch?v=ectOi0KXeus> [Accessed 28 December 2019] Cline, Bevin, and Tina di Carlo, “Cedric Price. Potteries Thinkbelt Project, Staffordshire, England (Perspective Of Madeley Transfer Area). 1964–1966 | Moma”, The Museum Of Modern Art, 2002 <https://www.moma.org/collection/works/849?sov_referrer=artist&artist_id=7986&page=1> [Accessed 19 November 2019]

Newcastle Central Station 2010. Newcastle Central Station. [image] Available at: <https://commons.wikimedia.org/wiki/File:Newcastle_Central_Station_(1).jpg> [Accessed 11 April 2020].

Design Standards For Accessible Railway Stations, 4th edn (London: Department for Transport, 2015) <https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/876528/design-standards-accessible-stations_document.pdf> [Accessed 31 January 2020]

Figure 3 - Excerpt from authours ARC3013 Technology Report

Edwards, Paul, “Infrastructure And Modernity: Force, Time, And Social Organization In The History Of Sociotechnical Systems” (University of Michigan, 2002) Hartley, Laura, “This Is Where Coventry’s Trams Could Travel Across The City”, Coventry Live, 2018 <https://www.coventrytelegraph.net/news/coventry-news/coventrys-trams-could-travelacross-15487183> [Accessed 7 November 2019] Herwig, Christopher, Soviet Bus Stops (London: Fuel Design and Publishing, 2015) Industrial Lofts In Berlin (Detail) <https://inspiration.detail.de/industrial-lofts-in-berlin-114837.html> [Accessed 25 February 2020] Langdon, David, “AD Classics: National Museum Of Roman Art / Rafael Moneo”, Archdaily, 2015 <https://www.archdaily.com/625552/ad-classics-national-museum-of-roman-art-rafael-moneo> [Accessed 5 February 2020] Ltd, PRC, “Rolling Stock Manufacture | The Railway Technical Website | PRC Rail Consulting Ltd”, Railway-Technical.Com, 2019 <http://www.railway-technical.com/trains/rolling-stock-manufacture. html> [Accessed 4 February 2020] Moran, Joe, Reading The Everyday (Oxon: Routledge, 2005) Multi-Purpose Hall In Madrid (Detail Inspirations, 2020) <https://inspiration.detail.de/multi-purpose-hall-in-madrid-107014.html?lang=en> [Accessed 11 February 2020] Schuber, Samuel, and Philipp Seitz, “Time Travel - Non Architecture”, Non Architecture, 2017 <https://www.nonarchitecture.eu/portfolio/time-travel/> [Accessed 4 December 2019] “Slow House”, Diller Scofidio + Renfro, 2020 <https://dsrny.com/project/slow-house> [Accessed 2 February 2020] Tschumi, Bernard, The Manhattan Transcripts (London: Acade- my Editions, 1994), p. 7 <https://issuu.com/cagdaoz/docs/_ber- nard_tschumi__the_manhattan_tra> [Accessed 16 February 2020] YOUR GUIDE TO COVENTRY’S UK CITY OF CULTURE BID, 1st edn (Coventry: Coventry City Council) <https://coventry2021.co.uk/wp-content/uploads/2018/03/Coventry-2021-public-final-BID-document. pdf> [Accessed 15 November 2019]

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APPENDIX A

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