Rob Thackeray Portfolio by PDF Uploads

Academic Portfolio Robert Thackeray MArch Overview 2019-2021

Contents An overview of the following modules undertaken over the course of the MArch

1 Introduction

7 Archiving the City: Excavating Edinburgh

40 Testing Ground: Nort

ii 1 3 5

7 9 11 15 17 21 23 25 31 37

40 42 44 46 48 50 52 54 56 58

Criteria Mapping Introduction Tools for Thinking About Architecture Professional Practice

Project Overview Unearthing History Staging an Intervention Remapping Edinburgh South Bridge Masterplan Precedent Studies Archaeology or Construction? Material Archiving Temporal Membrane Project Conclusion

Project Overview Handover of the Brief Communication & Fundin Planning Engineering Evolution Prototype [Padem]etric Design Post Parametric Foundations Assembling the Puzzle

thumberlandia Pavilion

60 Edge Conditions: Reclaiming Playtime

108 Conclusion & Critical Reflection

60 Project Overview 62 Edge Conditions 68 The Dangers of Data 70 Gamespace 80 The Data Fallacy 82 Mapping Gamespace 84 Incremental Urbanism 86 Thick Networks 92 Expansion & Consolidation 106 Project Conclusion

108 Conclusion & Critical Reflection

Criteria Mapping Examples of work that meets the following ARB/RIBA Criteria can be found on the spreads beginning with these page numbers ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

p2 p8-12 p12 p16-38

GC2.2

GC3 GC2.3

GC3.1

GC3.2

p8-10

p12 p16-38 p32

p32

p22-24 p32

GC3.3

p10 p14

p12

p22-38

GC4

p20 p24 p32

GC4.1

p2 p8-20

GC4.2

GC5 GC4.3

p8-20

p8-12 p12

p20 p24 p32

p26-36

p44-46

p50

p42 p50 p54 p72 p78

p62-94

p32

p42 p46-58

p50 p48-56 p62-70 p72-94

p40-59

p78-84

p72 p78

p26 p30 p34-36

p32

p44-46

p62 p68-82

p84-106

p30 p34-36

p46 p52 p56

p54 p62-82

p8-36

p44

p46

p78-84

p84-106

GC5.3

p12 p20-24

p56 p62-70

GC5.2

p2-4

p6-39 p42

GC5.1

p68 p78 p82

p52 p56 p68

p82

p82-84

p86-90 p86-106 p88 p96-104

p92-98

p98-100 p98-100 p100

p102-104 p102-104 p102-104 p108 p60-107

p102-104 p102-104

p104-106 p104-106 p104-106

p96-100 p96-100 p96-98 p102 p104

p106

GC6

GC7

GC6.1

GC6.2

GC6.3

GC7.1

GC7.2

p58

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC11

GC10.1

GC10.2

GC10.3

GC11.1

p2-4

p42-48 p42-48

p20

p42-44

p42-44 p48

p58

p22-30

p22-24 p28-30 p34-36

p22-24

p30-36

p22-24 p28-36

p80

p46-52 p48-52

p48-52

p56-58

p46-56 p48

p46-58 p46-58

p42-48

p42-46

p48

p44-48

p56

p52-54 p54

p82 p82

p84-88 p86-88

p86-88

p86-88 p86-90

p98-100

p108

GC11.3

p22 p26-32

p54-56 p62

p100

GC11.2

p12 p20 p24

p52 p58

GC7.3

p12

p42-48

GC8

p100

p108

p100 p104 p108

p100

p104

p96-98 p96-98 p102 p102 p104

p108

p104

p86 p86 p90 p90 p96-98 p96-98 p102

p86 p90

p80 p82

p82

p100 p108

p92-94 p98

p104

p100

p96 p100-104

p108

Criteria Mapping Overview of the relationship between various modules and the ARB/RIBA criteria

General Criteria

Criteria Mapping

ARC 8050/8052

ARC 8058/8068

ARC 8060

ARC 8084

Tools for Thinking About Architecture

Architectural Design Stage 5 Project

Linked Research Live Build

Architectural Design Stage 6 Thesis

Architectural Practice Presentation & Report

GC1 GC1.1 GC1.2 GC1.3

GC1 11 GC

ARC 8051

11 GC

GC 2

GC2 GC2.1 GC2.2 GC2.3

GC3

GC 10

3 GC

GC 10

GC3.1 GC3.2 GC3.3

GC4 GC4.1 GC4.2 GC4.3

GC5

GC9

GC4

GC9

GC5.1 GC5.2 GC5.3

GC6 GC6.1 GC6.2 GC6.3

GC7 GC7.1 GC7.2 GC7.3

8 GC

GC 5

8 GC

GC8 GC8.1 GC8.2 GC8.3

GC9 GC9.1 GC9.2 GC9.3

GC6

GC7

GC10 GC10.1 GC10.2 GC10.3

ARC 8051

ARC 8050/8052

ARC 8058/8068

ARC 8060

ARC 8084

Tools for Thinking About Architecture

Architectural Design Stage 5 Project

Linked Research Live Build

Architectural Design Stage 6 Thesis

Architectural Practice Presentation & Report

GC11 GC11.1 GC11.2 GC11.3

Introduction Overlapping of ideas

While the work laid out within this portfolio is separated out into distinct projects, each relating to the academic modules it was produced for, my experience of the MArch has felt a lot more holistic. There are no small parts, and the modules that may have required less time or weighting have influenced my learning as much as the large design projects. The first few pages show these smaller projects undertaken at different stages of the MArch, which I feel have had a direct influence on my design work, or my design work has had a direct influence on them. A example is the Tools for Thinking about Architecture essay, in which I chose the topic of Uncomfortable Heritage. I chose the topic so that I could explore the complexities of the World Heritage Status of Edinburgh as my Stage 5 design project was based there. Throughout the early stages of the design process the World Heritage status became significant, but I never felt I had the time to dedicate to exploring this properly as I had to continue with the design process. The Tools for Thinking about Architecture essay - Forgotten Edinburgh - allowed me the space to explore these critical ideas of History and Planning Policy that helped to situate my design in its complex context. This continued into Stage 6, as the studio continued to be based in Edinburgh. While I had moved on from the Stage 5 site in the heart of the Old Town, rightly or wrongly (as I have come to feel) protected by World Heritage, exploring the invisible Edge Conditions of the city as a whole brought me back face to face with the same issues. This time exploring the line itself, arbitrarily drawn on a map but holding real significance in the built environment and the experience of the spaces that encounter it. Allowing space for an essay on Heritage, something I would have hated the idea of before, has helped these design projects to illuminate my own opinion and situate it within the roles of an Architect. Similarly, the role Linked research has played in my learning over the last two years has far outstretched its module limits, and gone on to influence my own thoughts on architecture that have developed through my thesis

and show through in the community based practice described in the Professional Practice projects. Live build was something I was interested in doing for the technical design and hands on approach it had to offer, but its influence on me towards community architecture is something I hadn’t anticipated. The project involved developing a brief with Northumberland Wildlife Trust for a welcome pavilion to one of their sites: Northumberlandia. Having dealt with many clients before in my Part 1 experienced, I was surprised to find the client so positive. Wanting only to make a difference to the community they were in and ecologically minded at every decision. The contrast to what I had experienced before made me really think about what architecture can mean to people, even a small scale small budget project like ours, and so lead on to my Thesis project. Within the Thesis we aimed to find a way to embody those needs of the community into the design process that is ordinarily very top down. This took unconventional means at first, trying to understand the data used by developers and planners in contemporary development, and how it may propagate the same inequalities we have seen throughout history. The use of a boardgame based on the area of study in Edinburgh allowed these complex issues to be discussed through abstraction and symbolism. Ultimately what this process showed us falls back to that of the live build. Discussion is the important aspect to architecture that has been overlooked in general practice. Discussion beyond the brief and the clients requirements, but with the communities that could be effected and the professionals who will make it happen. The disruption due to Covid 19 throughout the majority of the MArch acts as a perfect example of this, preventing us from our usual learning practice of constant discussion within the peer environment of the studios, and has taught me the value I put on that ability to freely discuss ideas.

Absent Heritage

Edinburgh’s Lost Sites

aking Edinburgh as an exemplar city of their past significance there still remains an absent heritage, and a series of sites from within it, presence of those histories. In some cases this can this essay aims to uncover the reasoning behind hold a ‘memorialisation of places and objects the forgetting of heritage, and its importance to whose significance relates to their destruction or

collective memory and identity. ‘Sometimes sites absence’, whereby the ‘heritage conservation is gradually change as memories of the past fade applied to the conservation of voids or absent or are distorted,’1 but why these sites, and not spaces to maintain [this] absent presence. These others, are lost from mankind’s collective memory become spaces for the memorialisation of the

history of Edinburgh, but have only the spectral traces of their pasts evident to its current users. The

city and picturesque leisure site, the Loch quickly became the waste pit of the city.

reasoning for this loss of heritage differs; Princes Street Gardens was radically transformed in a mass

During the 16th Century, Nor’ Loch was used as a site

is unclear. An exploration into the possible reasons destruction of a material symbol that remains why these ‘aspects of the past are being ignored significant to the present.’4 In general, however, ‘it or poorly represented in the interpretation of is usually unlikely that the original use is considered heritage sites,’2 is therefore important. While important enough to be memorialised,’ and so

development of the city, while Leith Links has been changed through an iterative process of reuse over

An Introduction

The reinvention of Heritage through selective memorialisation

▲

Forgotten Edinburgh

Figure 1

Map of Edinburgh Indicating Case Study Sites

Princes Street Gardens

Case Studies

his absent heritage can be seen within Edinburgh through an indicative sample of

hrough a process of flooding, the Waverley seen today as valley within Edinburgh was transformed into Galleries are si

sites within the city. Princes Street Gardens, Leith Links, and South Bridge are all significant to the

the man-made lake of Nor’ Loch in 1460. Despite public gardens its initial dual vision as a defensive attribute to the

for Douching alleged witches. These trials consisted of dunking hundreds of bound men and women

the years, and South Bridge simply hides its heritage beneath the ground.

that were suspected of witchcraft to see whether or not they would rise. The ones who did were seen as guilty and burned at the stake, while the drowned remained as detritus in the Loch.8

‘sometimes whole sites may be missing from public the reuse of these sites tends to act as a process of consciousness, and hence from heritage registers,’3 ‘suppressing or simply ignoring its history of use.’5 heritage cannot truly be missing or destroyed. Despite this loss of memory of place, ‘the spectral There is always something left behind that has traces of removed and defaced monuments’ of heritage attached to it, even if that is simply empty a site continue ‘to maintain an absent presence.’6

space where something once stood. The examples It is through these spectral traces in sites of reuse used in this essay attest to this; as if they had been that their histories and associations can be recompletely erased from the collective memory of discovered, ‘a haunting in which the maintenance mankind then it wouldn’t be possible to find any of the defaced image [holds] a double set of examples at all.

The banks of the Loch hosted numerous other executions, and the waste from slaughter houses

Princes Street Gardens

within the city was drained into the water too. Eventually methane from the decay within the Loch became too dangerous for the inhabitants of the city above, and so it was decided in 1759 for it to be

associations that [involve] both the former regime, and its humiliation by the subsequent one.’7

drained.

Leith Links

When spaces have lost the physical monument to

This took place alongside the massive development of the New Town, and served as a perfect site for the

1 1. 2. 3. 4. 5.

Robert Thackeray 140063781

6. 7.

Logan, W and Reeves, K (2011). Places of Pain and Shame : dealing with “difficult heritage.” New York: Routledge, p.2. Ibid. Ibid. Harrison, R. (2013). Heritage: Critical Approaches. New York: Routledge, pp.169-170. Pendlebury, J., Wang, Y.-W. and Law, A. (2017). Re-using ‘uncomfortable heritage’: the case of the 1933 building, Shanghai. International Journal of Heritage Studies, 24(3), pp.211–229. Harrison, R. (2013). Heritage: Critical Approaches. New York: Routledge, p.170. Ibid.

South Bridge

Dark Heritage Dissonances

St.

across the valley of the Old Town. The bridge has been built on and around, making it more of an extension to the ground than a structure above it.

Niddry Street Bars

Bridge

Marlin’s Wynd: Oldest paved street in Scotland remains beneath South Bridge

that continues the road of the North Bridge south them for macabre stories.11

here heritage has been lost through The extent to which the dark resonance of these purposeful intent, accidentally in the sites is felt may vary, due to different peoples’ everyday transformation of use, or has not opinions on what constitutes as dark, and their been considered at all, it results in a loss in the personal relation to the events that took place collective memory of people using these sites. within them. While Leith Links can be seen as a While ‘a detached, cool and objective approach site of atrocity, as ‘plagues and epidemics may be

Niddry

Tron Kirk

South

Vaults accessed via Niddry St. buildings via a dedicated access ‘alleyway’ consisting of corridors running along the edge of the bridge on the lower floors

Vaults accessed via Blair St. buildings Blair Street Bars

Inhabitation of this site has therefore been unusual

to the presentation and assessment of information interpreted as possessing an element of atrocity,’ and subsequent decision-making is seen as differing levels of empathy can be felt by different highly desirable in our society,’ ‘whenever we are groups or individuals that may be able to relate. presented with choices, we rarely stand by as As this site has seen ‘an epidemic that has affected

Hive - Night Club

from its beginnings, with the buildings above the bridge being occupied primarily by the wealthier classes of the time; and the buildings beneath them

Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Blair St. Blair St.

being occupied by poorer communities.

Marlin’s Wynd Wedding Venue

Hidden further within, in the arches of the bridge itself, a further inhabitation existed. An illegal migration of the very poor members of eighteenth

Cabaret Voltaire - Club

Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Niddry St. During the overpopulation of Old Town poorer communities were driven into the vaults in order to survive, eventually resulting in the wealthier communities creating and moving to New Town

disinterested observers.’12 This brings into question disproportionately specific and identifiable groups the reasoning behind such erasure, as even if of victims,’ where for the lower classes ‘suffering seemingly unintentional decisions are made ‘our [was] perpetuated without cure through the feelings, emotional instincts and reactions play an indifference of society,’14 the site may have a

South Bridge high street shops and restaurants

important role in our decision-making.’13

The Caves - Music Venue

Analysing these case studies within Edinburgh, a the site is further complicated through its layered common thread of historic relevance becomes uses. The Siege of Leith being a battle of historic clear, and may therefore suggest this underlying national importance would ordinarily qualify as

century Edinburgh lead into these vaults, creating a Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Blair St.

from these buildings into the newly developed New Town, leaving the less wealthy classes behind in poor conditions.

Vaults accessed via Blair St. buildings

period, or even of functionality, but a more atrocious to today’s society since ‘as time separates amorphous one of dark connotations. Witch trials, us from past events, our emotional engagement is executions, battles, plague and poverty unite these reduced.’16 sites through human suffering.

Building & Vaults Inhabited Vault access ‘alleyways’ mary

Infir

and bars alongside tours of the spaces that are no longer inhabited. These tours take the idea of past

St.

Br South

r St ambe

Present

12.

1788 - 1830

idge

13. 14.

Pre 1788

Historic UK. (2017). Edinburgh’s South Bridge and Vaults. [online] Available at: https://www.historic-uk.com/HistoryMagazine/DestinationsUK/Edinburgh-Vaults/ [Accessed 2 Jan. 2020].

15. 16.

reasoning that has taken place. The commonality a site of atrocity in today’s boom in Battlefield between the distinct sites is not one of historical tourism15. It may not, however, be valued as

Niddry Street Bars

These vaults still exist today, hidden beneath the street, serving as an underground culture of clubs

11.

ARB/RIBA Criteria

stronger resonance with the same marginalised groups that exist today. The perceived darkness of

Cowgate

third layer of socially determined inhabitation into the underground spaces. This dense population ultimately lead to the mass movement of the elite

GC1 GC1.1

GC1.2

Uzzell, D. and Ballantyne, R. (1998). Contemporary issues in heritage and environmental interpretation : problems and prospects. London: The Stationery Office, p.152. Ibid. Tunbridge, J.E. and Ashworth, G.J. (1997). Dissonant heritage : the management of the past as a resource in conflict. Chichester: J. Wiley, p.97. Logan, W and Reeves, K (2011). Places of Pain and Shame : dealing with “difficult heritage.” New York: Routledge, p.4. Tunbridge, J.E. and Ashworth, G.J. (1997). Dissonant heritage : the management of the past as a resource in conflict. Chichester: J. Wiley, p.113.

GC2.1

McLean, D. (2014). Lost Edinburgh: The Nor’ Loch. [online] Scotsman.com https://www.scotsman.com/lifestyle-2-15039/lost-edinburgh-the-nor-loch Edinburgh Sites (2020). The Nor’ Loch. [online] Royal-mile.com. Available http://www.royal-mile.com/history/nor-loch.html [Accessed 2 Jan. 2020].

GC2.2

Memorial & Forgetting

Edinburgh’s World Heritage

issonance relating to the heritage of dark The universal sites exists between identifiable groups and conservation p

squares of Grassmarket and Lawnmarket, which extension, heritage pertaining to death, causes us were other sites of execution and witch burning to suppress the notion as bad or uncomfortable. within the city, hold on to the heritage of Nor’ Loch. Similarly, Leith Links may have been the main It is only natural then, that the emotional decision-

individuals that have opinions and personal aims to conse

connections to the issues that this heritage diverse range represents. These groups and individuals, however, which are of va are rarely the people making the heritage decisions. in the world.’ ‘

quarantine zone for the plague, but the plague making of humans will purposefully forget histories affected the city in its entirety, and so many sites that make us uncomfortable. These sites that hold nod to this heritage. In these cases heritage ‘may some level of atrocity within their memory present not be locatable to any site or [was] so widespread uncomfortable connotations from the past to as to be difficult to associate with any single site.’18 today’s communities. ‘Often today’s communities

While it may be understood that these decisions are might safegua

made based on the perceived value of such sites - of places and t and the implications of their dissonances - here the future as herita decision-maker themselves comes into question. much as possi rounding up th Within the context of Edinburgh, who selects what on to future ge

are ashamed of these episodes, or fear that Traditional ideas of heritage are ‘almost inevitably probing into them may reopen divisions within the about the good things, events and cultural community’22 that existed during the events of the

is and isn’t to be remembered can be seen as an Western elite c analogous situation to many other sites around applicable.’40 the world through its recognition as a UNESCO more localised World Heritage Site in 1996. Encompassing both the heritage sites t

expressions that lead credence to a sense of cultural past. The natural decision that communities and and communal pride in identity,’19 and so naturally individuals in control of the reuse of such a site will select the perceived good over the perceived bad, make, therefore, is to ignore the uncomfortable an active choice to eliminate darker pasts. Even notions of the past and erase them. It is for this

Old and New Towns of the city, the World Heritage status acts as a controlling entity to the proposed ‘An increase in development and changes to sites that fall within it. with increasing For Edinburgh, therefore, it is not the communities and remembe

in itself a ‘sense of forgetting acknowledges that reason that ‘such places frequently become the there may be some memories or pasts that are subject of calls for demolition in order to erase the not necessarily good, and thus the idea of memory shame and fear associated with them.’23 creates certain tensions within traditional and authorized accounts of heritage.’20 ‘Tensions commonly exist between what is remembered and memorialised and what is not’ as

suffering dissonance associated with heritage, previously disc nor the local governmental authority, that make be for the goo these decisions, but a combination of the UNESCO for the sites World Heritage organisation and the independent dissonances a charity, Edinburgh World Heritage, who determine still slip throug

there are those that value the memory of these sites. 17. 18. 19. 20. 21. 22. 23.

Ibid. Uzzell, D. and Ballantyne, R. (1998). Contemporary issues in heritage and environmental interpretation : problems and prospects. London: The Stationery Office, p.158. Smith, L. (2006). Uses of Heritage. New York: Routledge, p.58.. Ibid. Becker, E. (1973). Denial Of Death. New York: The Free Press, Preface ix. Logan, W and Reeves, K (2011). Places of Pain and Shame : dealing with “difficult heritage.” New York: Routledge, p.5. Ibid.

how these universal principles are applied on a of World Herita local scale.38 38. 39. 40. 41.

GC3 GC2.3

GC3.1

GC3.2

In some cases ‘attempts to interpret the events Death, which underlies the memory of a site of atrocity may be complicated by the nature of that is perceived as dark or bad in this sense, the sites associated with them.’17 For Nor’ Loch has a tendency to be seen as uncomfortable. the heritage was quite literally poured away in its It is through our very nature that humans hold draining. Having a connection to wider historic this uncomfortability with death, as ‘the idea of activity, however, means that the heritage that death, the fear of it, haunts the human animal like was associated with the Loch is not lost. The public nothing else.’21 Our collective fear of death, and by

GC2 GC1.3

Selective Forgetting

Analysis of South Bridge

he South Bridge is an infrastructural project occupants living in squalid conditions, but present completed in the late eighteenth century them as ghost tours, guiding visitors down into

▲

Figure 6

debris of this development to be moved to, a last dump into the former waste pit. This debris can be

South Bridge

GC4 GC3.3

GC4.1

GC4.2

Ewh.org.uk. (2017). Edinburgh World Heritage. [online] Available at: https Harrison, R. (2013). Heritage: Critical Approaches. New York: Routledge, p Smith, L. (2006). Uses of Heritage. New York: Routledge, p.11. Smith, L. (2006). Uses of Heritage. New York: Routledge, p.57.

GC5 GC4.3

GC5.1

GC5.2

GC5.3

▲

Figure 4

Forgotten Edinburgh

▲

Figure 2

Painting of Nor’ Loch

Siege of Leith Map

Leith Links

Tools for Thinking about Architecture

riginally outside the historic city limits of the Its later iteration of reuse became that of an Old Town, the site of Leith Links played a aristocratic playground, claiming itself as the site

The Mound, on which the National ituated, and the valley now acts as 9

role in the political struggle between Scotland and for the invention of the game of Golf in the 1800’s. England that arguably still exists today. When the Leith Link’s was transformed into this early form of

Protestant Lords of the Congregation made a truce Golf Course (5 Hole at the time) where British royalty, with the Catholic Queen Regent, Mary Guise, for her that previously laid siege here, journeyed up to play. to leave the Palace of Holyrood House in 1559, the tenuous political alliance between the two states Leith Links stands today as a public space for broke down into war. In the following year of 1560 leisure comprising of lawned spaces and children’s the site became a battlefield for the Siege of Leith. play areas.10

A series of trenches were dug to protect the city against the invasion from the port at Leith, with man-made mounds of earth acting as artillery view points overlooking the battlefield, the only remaining scars left today in the topography of the park. Less than one hundred years later in the 1645 Plague of Edinburgh, the site was used as a quarantine for the infected members of the city. The space was split into distinct quarters which related to the quarters of the city itself, as a strategic device to stop the spread of disease. It ultimately resulted in failure in the more deprived quarters and became a mass grave.

m. Available at: h-1-3281943 [Accessed 2 Jan. 2020]. e at:

10.

Wikipedia Contributors (2019). Leith Links. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Leith_Links [Accessed 2 Jan. 2020].

Etching of Douching a Witch

Illustration of 5-Hole Golf Course

▲ Figure 3

▲ Figure 5

▲

Figure 7

▲

World Heritage Site Boundary

Memory for Identity

Remember to Forget

NESCO World Heritage determines whether objective narrative that clearly differentiates the a site is memorialised, strategically forgotten past from the present,’ it ‘is separated from collective or erased entirely through a set of selection criteria. memory and its subjective and unselfconscious

These ‘can value things which are old simply workings.’ While World Heritage concentrates on because they are old,’ or architecturally elegant history, collective memory ‘reflects a committed buildings simply for their elegance. However, ‘when perspective, and belongs to one group and not our perceptions are coloured by thoughts about others.’56 and therefore invokes a sense of identity their origins, their construction, their context and for certain groups. who used them… heritage resonates for us because it not only relates to our past but is an important The belonging that is felt in darker heritage ‘is

process, the distinction between selective forgetting process of cultivating and pruning, not one of and memorialisation becomes less polaric. completely archiving everything that may or may Similarly ‘iconoclasm has a close connection with not be of value in the future.’62 heritage, although it may at first glance be seen

Collective Memory

l approach to the international practice of UNESCO World Heritage

erve ‘a representative sample of the

e of places, objects and practices

alue to individuals and communities

‘It is thought that,’ by doing so, ‘we ard the protection of a cross-section things that may be recognised in the

age.’39 Although on its face saving as

ible seems harmless, ‘the practice of he usual subjects to conserve and pass

disproportionately significant to many heritage users’57 due to the inherent values that these The large catch-all area of World Heritage in users associate with the site. For dark heritage

This may cause the national, or even d dissonances attributed to these

to be overlooked.

critical interest in memory coincides g social interest in commemoration

ering in Western societies’41 but as cussed, this memorialisation tends to od, or the clearly atrocious. Decisions

hrough an understanding that collective but has come to a stop through its status as a memory is not an archived object of World Heritage Site where mass memorialisation categorised heritage, but a natural human is favoured. However, ‘remembering is an active

as its opposite; a form of anti-heritage, it is also a The way in which this modern heritage process tacit acknowledgment of the symbolic power of takes place within Edinburgh means that, although the image being removed - if the image had no things are actively selected to be memorialised symbolic power, it wouldn’t need to be erased.’60 through meeting certain criteria, nothing is When considering dark heritage, the two have a purposefully forgotten. It instead is simply not

Edinburgh fails in this sense to focus on atmospheric especially, therefore, the invoked ‘memory can aspects of heritage that resonate with communities. so dominate the heritage of individuals or… ‘Space is endowed with atmosphere according groups, as to have profound effects upon their

symbiotic relationship, heritage being the decision memorialised and so does not have the indication to preserve, and iconoclasm being the decision to of importance associated to it as it would through remove. It can therefore also be true in terms of iconoclasm, and so is not marked as important memory, where memorialisation can be seen as enough to be remembered in the future. ‘Heritage

to activities and memories of what has occurred self-conscious identity.’58 This sense of identity is there,’54 which invokes the ‘personal values, beliefs, inhibited by World Heritage methodology which

an opposite to selective forgetting, but based on the that has been preserved using values-based approaches,’ or not preserved, by these modern same emotional decision.

interests and memories [that] will excite a degree aims to preserve massive amounts of historic of emotional arousal which needs to be recognised material on an international scale. This ‘excessive and addressed.’55 This emotional connection that memorialisation… ultimately leads to an inability to

heritage practices, therefore ‘requires regular In fact ‘much literature on personal and collective revision and review to see if it continues to meet the memory suggests that the process of forgetting is needs of contemporary society.’63

people make with space and its associated heritage form collective memories.’59

integral to the process of remembering - that one

of selective forgetting, where the

is what separates collective memory from history.

are not as prominent, may therefore gh the net of this catch-all technique

While history is ‘defined as a universalizing and

cannot properly form memories and attach value to A city which acts like a palimpsest of dark pasts and them without selecting some things to also forget.’61 atrocity as Edinburgh does, has ‘a collective duty Edinburgh has gone through an iterative process of to forget,’ and so needs a heritage methodology selectively forgetting and remembering its heritage unlike that of UNESCO World Heritage, and instead

53.

age status.

▲

54. 55. 56. 57.

s://ewh.org.uk/ [Accessed 2 Jan. 2020]. p.197.

58. 59.

GC6 GC6.1

GC6.2

Uzzell, D. and Ballantyne, R. (1998). Contemporary issues in heritage and environmental interpretation : problems and prospects. London: The Stationery Office, p.154. Ibid. p158. Ibid. p152. Smith, L. (2006). Uses of Heritage. New York: Routledge, pp.59-60. Tunbridge, J.E. and Ashworth, G.J. (1997). Dissonant heritage : the management of the past as a resource in conflict. Chichester: J. Wiley, p.94. Ibid. Harrison, R. (2013). Heritage: Critical Approaches. New York: Routledge, p.198.

GC7.1

GC7.2

60. 61. 62. 63.

GC8 GC7.3

This essay explores the ideas of selective forgetting, memorialisation and identity of place through these three case studies to question the blanket implementation of World Heritage status on Edinburgh, and the inherent selection of which histories are deemed relevant to preserve through its creation.

Harrison, R. (2013). Heritage: Critical Approaches. New York: Routledge, p.171. Ibid. p167. Ibid. Ibid . p198.

GC7 GC6.3

The examples used in this essay attest to this; as if they had been completely erased from the collective memory of mankind then it wouldn’t be possible to find any examples at all. Princes Street Gardens, Leith Links, and South Bridge are all significant to the history of Edinburgh, but have only the spectral traces of their pasts evident to its current users. The reasoning for this loss of heritage differs; Princes Street Gardens was radically transformed in a mass development of the city, while Leith Links has been changed through an iterative process of reuse over the years, and South Bridge simply hides its heritage beneath the ground.

A conclusion

part of our present and future.’53

enerations… promotes a certain set of cultural values as being universally

aking Edinburgh as an exemplar city of heritage, and a series of sites from within it, this essay aims to uncover the reasoning behind the forgetting of heritage, and its importance to collective memory and identity. ‘Sometimes sites gradually change as memories of the past fade or are distorted,’ but why these sites, and not others, are lost from mankind’s collective memory is unclear. An exploration into the possible reasons why these ‘aspects of the past are being ignored or poorly represented in the interpretation of heritage sites,’ is therefore important. While ‘sometimes whole sites may be missing from public consciousness, and hence from heritage registers,’ heritage cannot truly be missing or destroyed. There is always something left behind that has heritage attached to it, even if that is simply empty space where something once stood.

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

OUR SERVICES:

MARKETING STRATEGY:

SERVICE BREAKDOWN: 2022

FINANCE:

FINANC

ENGAGEMENT STRATEGY:

2026 Other Work

Daily:

Other Work

• Ad d t o In s t a g r a m S t o r y

2022

• E n g a g e w i t h l o c a l b u s i n e s s ’s p o s t s

Larger Scale Com. Projects

We e k l y : Profit/ Break Even

Profit/ Break Even

Community Work

Community Work Returning Clients

Returning Clients

• Ad d b l o g p o s t t o we b s i t e

Salaries

• Ad d i m a g e s o f l a t e s t p r o j e c t s t o In s t a g r a m

£15900pppa

Equipment

£8500

Marketing

£700

£1

• Re v i e w In s t a g r a m a n d We b s i t e a n a l y t i c s

Mo n t h l y :

• Re v i e w p r e s s e n q i r i e s/o p p o r t u n i t i e s • Ho l d c o m u n i t y e ve n t s

Loss

Quarterly:

• P r a c t i c e s e r v i c e s i n i t i a l l y s p l i t b e t we e n p r o - b o n o w o r k i n t h e c o m m u n i t y a n d p r i v a t e p a i d w o r k • In i t i a l c o m m u n i t y wo r k a t c o s t o r l o s s w i l l l e a d t o l a r g e r, m o r e p r o f i t a b l e w o r k f u r t h e r d o w n t h e line as experience and local trust increases.

NBR HUB

• O t h e r p r i v a t e wo r k w i l l i n i t i a l l y c o n c e n t r a t e o n s m a l l e r e x t e n s i o n w o r k l o o k i n g t o b u i l d q u i c k l y t h r o u g h wo r k i n g r e l a t i o n s h i p s w i t h R A S K L i n t o w o r k i n g w i t h l o c a l b r e w e r i e s .

• Organise project media • Up l o a d n e w p r o j e c t s t o we b s i t e • Print and distribute f lyers

1 YEAR

neighbour hub

community architecture practice

Diagram: Author

• Salaries start low for the f irst few

NBR HUB

• Re v i e w o n l i n e a n d p r i n t a d e ve r t i s i n g

• In i t i a l s t a r t u p c o s t s f o r e q u i p m e n

• M a r ke t i n g c o s t s f l u c t u a t e t h r o u g h

neighbour hub

community architecture practice

Diagram: Author

Example slides from the Professional Practice and Management Presentation

Example pages from the Professional Practice Report 1.0 Project Description

2.1

The client is the Local Authority, Edinburgh Council, aiming to provide local enterprises and community groups space for work, play and communal activities. A combination of integrated programmes including co-working space, a community kitchen and dining space, a preschool, exhibition space and allotments all share spaces within the site, allowing the different programmes to expand and contract into the shared spaces at different times and increase the mixing of different groups in the local community.

Word Count: 1627

A Traditional Contract (JCT-SBC/Q-2016) will be used to accommodate these priorities: • A selective tendering process1 will ensure the money is spent fairly and transparently under Local Government legislation. Requiring written bids to be provided for approval by the department of agency.2 • BIM level 2 is required for centrally procured public projects,3 and will provide a framework of organisation within the design team to minimise complications that may impact on quality or cause unnecessary spending of public money. • Sectional Completion within the contract will allow quality of the overall project to be maintained by allowing an appropriate timescale for works while still providing some completed work within the clients required timescales.

Figure 4 Diagrammatic Plan of Site and Public Circulation

The land and buildings on site are owned by the council and a left over unused asset from the previous tram and bus services run in the past.

22nd March 2021 140063781

Client Priorities & Constraints The project’s client is the local authority council and so is publicly funded. This creates a number of constraints on cost, time and quality of the project, the primary factors being: • The money must be seen to be utilised effectively and produce a high quality facility. • The transparency of the proposal to the public is important which will mean going through public consultations requiring a longer time period than that of a commercial development. • The proposal is based on the priorities of current elected officials, and so the political motives of the client require the project to be operational within their elected term.

The site is that of the former workshops and depot for the Edinburgh Tram Company which has lain abandoned for several years. The only remaining structures are the tram sheds, constructed in 1896, a wall on the north-east boundary of the site and a chimney built with the tram sheds. The site is bordered by terraced housing to the north-west, student flats to the south-east, a disused railway line to the south-west by and a road to the north-west.

2.2 NB: This project is a joint thesis between myself and student 140082519 therefore certain information may be duplicated between the two submissions, however the submissions have been completed independently.

Consultants & Contractors

The project will require a number of contractors, subcontra in Fig.6. The appointment of a Principal Contractor(PC) to ov subcontractors become one of their contractual respon coordination of construction drawings, specifications and Client. This also minimises risk as the PC takes full liab removes the potential for a cascade effect of delays that ca subcontractors. • A CDM coordinator will take on the role of Principal De safety during the construction process. • Most consultants will be employed by the client and it w to liaise accordingly with these parties. This means each work. It also creates impartiality, such as in the case of th of the client and their budget rather than the designer. • The appointment of some specialist sub-consultants th will be our responsibility. This has potential risk throu and remaining impartial as CA for work quality and dela liability.8 However, this will prevent complications that direct input into technical aspects they are not experien

Justification for Issues & Risk Considerations within the Project

The project is located in Edinburgh and deals with adaptive reuse of two existing Category B (Grade II*) listed tram sheds and the construction of a number of new structures upon a brownfield site in the Pilrig area of the city.

ARC8084 Architectural Practice: Professional Practice Report

2.3

2.0 Professional Practice Considerations

Client

(Employer)

Roles & Services

Instruct works & Oversee

The main roles and services that we provide will be through the two different roles of Contract Administrator(CA)4, and Architect. As the former we will act to settle any disputes between the various parties involved in the contract, and as the latter provide the Architectural Services for RIBA PoW5 Stages 1-7 (fig. 6), and additional responsibilities: • Lead Designer(LD). Co-ordinating the various design team consultants, sub-consultants and specialists to produce a single set of pre-construction information. During the construction phases this will involve liaising with the Principal Contractor as well to implement the design. • BIM co-ordinator.6 We will take on these responsibilities throughout the project given the majority of drawings and models will be co-ordinated and produced by us. Given the scale and likelihood of time delays, although the financial risk is primarily taken on by the contractor within this contract, it will undoubtedly have implications within our practice too. This will mainly be in terms of operations and resource management. Weekly briefings and recording hours spent on the project will help to minimise the issues of resourcing and the potential of having to hire more staff. Conforming to ISO 9001 standards will provide a quality management system within the practice to help minimise these risks.7

Architect

Contract Administrator Lead Designer BIM Coordinator

Sub-consultants -Part Wall Surveyor -Ground Surveyor -M&E Consultant

Quantity Surveyor CDM Coordinator Principal Designer

Consultants

-Structural Engineer -Landscape Designer -Heritage Consultant -Interior Designer (FF&E)

Design Team

(Coordinated by the LD) 1 2 3 4

Figure 5 Location Plan, Site Boundary Indicated in Red

Figures 1, 2 & 3. Category B listed tram shed and chimney; disused railway line; existing boundary wall.

5 6 7

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

RIBA Job Book, 10th Edition, 2020, p170 Local Government Act 1972, Section 135, details can be found at https://www.legislation.gov.uk/ukpga/1972/70/section/135 [accessed 12/03/2021] Government Construction Strategy 2016-2020, consistent with Construction 2025 devised by the Construction Leadership Council RIBA Standard Professional Services Contract (Specimen), 2020, Architectural Services, pp31-48, found at https://www.architecture. com//-/media/AD0351C5FFDC420F92428C5F16F608B6.pdf?la=en [accessed 14/03/2021] RIBA Plan of Work 2020 Overview, available at https://www.architecture.com/-/media/GatherContent/Test-resources-page/AdditionalDocuments/2020RIBAPlanofWorkoverviewpdf.pdf?la=en [accessed 16/03/2021] RIBA Job Book, 10th Edition, 2020, p17 ISO 9001:2015

GC3.1

GC3.2

GC4 GC3.3

RIBA Standard Professional Services Contract (Specimen), 2020, Architectural Serv com//-/media/AD0351C5FFDC420F92428C5F16F608B6.pdf?la=en [accessed 14/03/20

GC3 GC2.3

Figure 6 Diagram of Contractual Links

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

CIAL FLOW:

BALANCE SHEET: Projected Balance Sheets

2023

2024

2025

2026

£22500pppa

£28500pppa

£1250

£1000

£850

£600

£1000

£1450

15900pppa

Professional Practice

FINANCE:

£1750

NBR HUB

hout the year and increase as the practice begins to grow

neighbour hub

community architecture practice

2024

2025

8500.0 ‐425.0 8075.0

9600.0 ‐750.0 8850.0

1000.0 1350.0 6318.3 8668.3 15823.3

1750.0 2000.0 5968.7 9718.7 17418.7

2000.0 1550.0 9895.8 13445.8 21520.8

1850.0 2500.0 16877.2 21227.2 30077.2

1500.0 3000.0 4500.0

2250.0 2500.0 4750.0

1250.0 3500.0 4750.0

1550.0 5500.0 7050.0

23514.7 18295.2 12659.3 Sub Total 23514.7 18295.2 12659.3 Total Liabilities 28114.7 22795.2 17409.3 Net Assets ‐14513.2 ‐6971.9 9.4 Represented by Capital 12000.0 12000.0 12000.0 Net Profit ‐26513.2 ‐18971.9 ‐11990.6 Total Equity ‐14513.2 ‐6971.9 9.4

6848.5 6848.5 11598.5 9922.3

0.0 0.0 7050.0 23027.2

12000.0 ‐2077.7 9922.3

12000.0 11027.2 23027.2

Sub Total

2100.0 2500.0 4600.0

2023

2026

7950.0 ‐250.0 7700.0

Long Term Liabilities Bank Loan

nt and software licences

2023

7350.0 ‐195.0 7155.0

Liabilities Current Liabilities Trade Creditors Defferred Revenue

£1750

w y e a r s b e f o r e i n c r e a s i n g t o t h e R I BA s t a n d a r d s

2022

Assets Fixed Assets Equiptment 7350.0 ‐120.0 Less accumulated depreciation Sub Total 7230.0 Current Assets Debtors 1250.0 Work in Progress 1000.0 Cash at Bank 4121.5 Sub Total 6371.5 Total Assets 13601.5

Ban

2024

2025

Practice Management, Ethics, & Risks

2026

oan

sets

Total As

t To

uit

NBR HUB

neighbour hub

community architecture practice

Data: Author

2.4

actors and consultants, as shown

versee construction means the nsibilities and so simplifies the d payment for the Architect and bility for the construction and so an occur with separately employed

Legal Hurdles

0 Strategic Definition

•

1 Brief Development

•

esigner, overseeing the health and

will be the responsibility of the LD h consultant is liable for their own he QS as they must work on behalf

•

hat input on the technical design ugh payment chain complications ays that would be our contractual can arise from the client having nced in.

•

2.5

Listed Building Status. Parts of the site are Category B (Scottish Equivalent to Grade II*)9 so require specialist advice from Heritage Consultants, who will contribute an insight into Historic Environment Scotland’s regulations to the design. It is a criminal offense to instruct or carry out works on listed buildings without planning permissions.10 Using a traditional contract where the architect is LD means a closer scrutiny of materials and processes used in construction can be managed to adhere to planning conditions. Planning Approval. Notice of intent for planning permission must be displayed near the site for a minimum of 21 days,11 however as a council led project, a wider outreach and consultation period will be required and so Pre-App consultations would be a helpful way to start these conversations leading to reduce the risks of rejection later down the line. Building Control. Statutory approval of materials, details and workmanship is required.12 While our preference would be an approved inspector for their increased flexibility, the client is the local authority and so would prefer us to use their building control department to minimise spending on outsourcing services. Health and Safety Executive(HSE). As the project will exceed 500 person working days of construction work HSE will need to be notified. This can be done using an F10 form.13

• •

The presentation allowed the theoretical creation of an architectural practice. Unlike design projects where the imagination of built intervention is explored and represented as if real, this project shifted the focus onto the business of architectural practice rather than the product itself.

Before Appointment

Brief Justification of Proposed Actions Related to Value & Ethics

Public Consultations Pre-App Consultations

3 Spatial Co-ordination

Planning Application

4 Technical Design

Tender Process Bid Approvals

Contractor

H&S

•

Subcontractors

-Basement Specialist -Conservation Mason -Landscapers -Specialist Joiners -Plumber/Electrician

• •

...etc as the PC sees fit

3.1

6 Handover

Sectional Completion will therefore be used as a strategy to allow some programmes to begin while continuing to work on the rest of the project at an appropriate rate to produce high quality,15 This is illustrated in Figs 7&8 on the previous page where high priority programmes such as the office space, together with programmes that are highly desired but require lower levels of work such as the allotments, are completed first to allow the project to begin providing services while other complex facilities such as the workshop are still being constructed.

Section 2 Completion

Phase 1 Occupancy

Phase 2 Occupancy

Section 2 Completion

Phase 3 Occupancy (All Programmes)

7 Post-Occ Evaluation

Figure 7 Breakdown of Key Milestones along the RIBA POW Timeline

Unlike Partial Possession, which tends to be utilised under pressure from the client when completion dates are not met, Sectional Completion is written into the contract from the outset.16 This distinction is important as partial possession may be refused17 if the contractor sees it as reasonable to warrant continuing the project without occupancy. In this case, given the difficulty in access to the site, if the phased completion dates are not considered from the start, it could quite easily be refused for access purposes.

The complications due to listed building status of parts of the site (outlined above) may cause delays to the overall timescale. The scale of the project and the complexities of the different programmes of the design will require a relatively long construction process. Phase 1

Phase 2

The potential site entrances are limited, many involving going through residential areas. A CDM coordinator is therefore vital to ensure the logistics of site access and deliveries, cranes and below ground works are well considered to reduce the disruptions to the residents. Due to past industrial activity on the site a thorough ground survey is required to highlight any potential problems, both structural and from contamination, early in the design process so that they can be factored into the critical path. Due to party walls with neighbouring residential properties in the north corner of the site, a party wall agreement will be required before commencing works and so a party wall surveyor will be appointed.14

Achieving Value & Controlling Risk As the clients priorities are quality of the finished building and beginning occupancy relatively soon, the timeframe of the project is key. An increased timeframe would allow for quality, address the risks of working with unexpected structural problems and consents for a listed industrial site, and the potential of lengthy public consultations. However this will prevent early occupancy.

Section 1 Completion

To mitigate these time concerns, and to conform with the client’s expectations of starting certain programmes earlier than the expected overall completion date, Sectional Completion is written into the contract. This ensures that the design is completed in phases to accommodate these milestones within the critical path.

Principal Contractor

3.0 Value & Ethics

2 Concept Design

5 Construction

Site Constraints

By expressly defining the different completion dates in the initial contract, they can be accounted for in terms of logistics and financial implications before works commence. This will include agreeing on liquidated damages that must be paid to the client in case of a breech, retention to be paid to the contractor on completion of each section, and extension of time provisions to prevent early delays affecting later sections.18

Phase 2

Phase 3

10 11 12 13

vices, pp31-48, found at https://www.architecture. 021]

Historic Environment Scotland, Listed buildings, available at https://www.historicenvironment.scot/advice-and-support/listing-schedulingand-designations/listed-buildings/search-for-a-listed-building/ [accessed 12/03/2021] Planning (Listed Buildings & Conservations Areas) Act 1990, Planning (Listed Buildings & Conservations Areas)(Scotland) Act 1997 Town & Country Planning Order 1995, Article 8 Building Act 1984, Chapter 55, Article 6 Health and Safety Executive, Construction (Design and Management) Regulations 2015, available at https://www.hse.gov.uk/construction/ cdm/2015/buildingcontrol.htm [accessed 16/03/2021] Party Wall Act 1996

GC6.1

15 16

Figure 8 Plan of Phased Occupancy

17 18

GC6 GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8.1

GC8.2

The report shifts the focus back to that of the imagined built intervention. However it outlines the more pragmatic factors of the project rather than those of design. Here considerations of professional practice and the justification for issues and risks are presented. Alongside this the roles and services proposed within the contract between architect and client are outlined, with an emphasis on consultants and contractors and how they fit within the logically systems of CDM.

Construction Contracts: Questions and Answers, David Chappell, Chapter: Sectional Completion, 4th Edition 2020, Routledge. Practical Completion Practicalities, Douglass Wass, RIBAJ, 2016, available at https://www.ribaj.com/intelligence/practical-completionpracticalities [accessed 16/03/2021] Partial Possession of the Site by the Client, Designing Buildings Wiki, available at https://www.designingbuildings.co.uk/wiki/Partial_ possession_of_the_site_by_the_client [accessed 14/03/2021] RIBA Job Book, 10th Edition, 2020, pp255-261

GC8 GC7.3

Topics such as market research, architectural services and resources, organisation and management, and finances are all explored to propose a business plan appropriate for a small start up architecture firm.

The project also tackles the legal obligations and hurdles to a design project and the ethics involved in dealing with them and the risks that result from those decisions.

Phase 1

These two projects bring together a wide range of topics discussed through a series of seminars and lectures about the role of architects in society. Aspects of social, economic, legal and regulatory factors that influence the architect and the wider range of professionals that make up a design team are questioned and their traditional roles within practice explored.

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Archiving the City: Excavating Edinburgh Stage 5 Design Project Overview

his project begins with an investigation into the relationship between Edinburgh and its underlying landscape. Through investigative fieldwork the city was explored in order to understand this relationship. It became apparent, however, that while much of the city is inherently connected to the ground beneath it, Edinburgh has been built upon over time in layers creating a new surface of human created geology. Through sketching and mapping techniques this phenomenon was studied to find the parts of the city that rely upon and inhabit this layer of artificial landscape. This lead to South Bridge as a choice of site, as it exemplifies this characteristic as a high-street built high above the nature ground with a rich history of inhabitation beneath it. An understanding of the contextual relationship of this site to its surroundings, together with the programme and culture that takes place there became the driver for the project. An extrapolation of this culture lead to a programmatic development of the site as an urban intervention strategy and the creation of a masterplan scheme to compliment it. In order to further develop these themes in Edinburgh, an analogous city was used to test ideas through. Athens, being a city of ancient origin has undergone a number of changes throughout its history. It therefore has also accumulated layers of human-made earth. These layers act as a palimpsest of the city’s heritage manifested in physical material. Unlike Edinburgh, however, these histories have been uncovered through destructive acts, presenting the histories to the public through this layered building fabric. Having seen how this accumulation of layers of history have been treated in Athens, the project returns to Edinburgh to implement them. Another process of mapping, with this information in mind, solidified the

initial concepts and paved the way for developing a new strategy for the intervention. These concepts were then tested through a series of modelling techniques, primarily using casting. These models were used to test ideas and technological strategies for the construction processes involved in the intervention. Creating models of precedent buildings to study there effect was also influential to the project. Examining both the scale of the building to understand the concepts employed, and the technological details that made them possible. The final development of the design involved using computer modelling techniques to bring the different aspects together. Getting a three dimensional understanding of the structures and relationships of the vaults and the adjacent buildings helped to further the design and devise practical approaches to the integration of technology. It also enabled the initial sketches to be translated into computerised maps that could overlay and interact with the design of the spaces. Representation of these spaces was critical as they are mainly unseen from the ground due to their underground nature. Developing axonometric drawings to explain these space was a large driver of the project. Similarly with the scale of an urban intervention, managing the organisation of representing these spaces was vital in understanding the relationships between them. An ordered system of drawing labels and numbers that related to their category and sequence was devised. This helps relate drawings to one another, and to the masterplan scheme as a whole. The images in this portfolio are therefore archived in this manner to help with clarity. The categorisation runs as follows: S represents site analysis and mapping studies, A denotes the fieldwork completed in Athens, M pertains to the masterplan as a whole, C refers to construction processes and technology within the design, and D is drawings that explain the design concepts and decisions.

New Town Basements

12 Meadows

Edinburgh Uni. College of Art

Lady’s Wynd

St Cuthbert’s

Princes’ St. Gardens

Princes’ St.

Queen St. Gardens

Royal Circus

Stockbridge

The Colonies

Botanical Gardens Iverleith Park

Edinburgh’s Geology & Topography, and Hidden Spaces Collages using printed paper and digital techniques

VARIOUS

Georgian style housing built for the New Town included raised roads creating Upper and Lower Ground Floors Lower basements accessed by stairs

River

New Town Development 1850’s As New Town developed further with the addition of the Murray Estate Georgian apartments were created further out, resulting in a movement away from Princes Street

Scotland Street Tunnel Began as the beginning of a railway that was never finished Mushroom Cultivation 1887-1929 Used as an air raid shelter during WWI

Movement to New Town 1830’s Due to overpopulation in the Old Town the development of New Town began, eventually resulting in a movement of the Wealthy from Old to New Town

North Bridge 1788/1897 Original bridge built to connect to New Town Second bridge constructed to create more space in the valley below for railway tracks to/from Waverley Station

Man-made earthen bridge across the Nor’ Loch Valley which houses the National Art Galleries Utilised the excavated earth from the construction of New Town

Movement to New Town 1830’s Due to overpopulation in the Old Town the development of New Town began, eventually resulting in a movement of the Wealthy from Old to New Town

St Mary’s Close

Holyroood Park

Scottish Parliament

Holyrood Rd.

Canongate

8 High St.

Cockburn St.

Princes’ St. Gardens

5 Hope St.

Lynedoch Place

Drumsheugh Gardens

Rothersay Crescent

Belford Rd. Bridge

The Mound 1790

Bricked up in 1645 during The Plague to quarantine residents Royal Exchange built on top of it

South Bridge 1788 River

Large bridge built to span between North Bridge and opposite valley ridge Blair & Niddry Streets still follow contours of valley and house buildings that abut the sides of the bridge sealing off the structural vaults Vaults occupied by the homeless 1790-1830

Nor’ Loch Man-made Loch used as the waste deposit for Medieval Old Town Drained between 1759-1820 to create a connection across for the construction of New Town Railway opened in 1846 connecting to Waverley after agreement with Princes Street residents to have it cut into the ground to be hidden

George IV Bridge 1836 Large bridge built to span between Royal Mile ridge and opposite valley ridge Built as second artery between Old and New Town leading down to the Mound

Movement into South Bridge Vaults 1790’s Wealthier families originally occupied the upper floors of the South Bridge buildings, with poorer communities living in the lower floors accessed via Blair and Niddry Streets. As overpopulation continued the very poor and homeless began to move into the hidden vaults of the bridge

Innocent Railway Tunnel Runs from East Parkside to Forlanford Now acts as subterranean walkway

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Unearthing History Niddry

Existing Site Inhabitation

St.

South

Tron Kirk

Niddry Street Bars

e Bridg

Marlin’s Wynd: Oldest paved street in Scotland remains beneath South Bridge

Vaults accessed via Niddry St. Buildings via a dedicated access ‘alleyway’ consisting of corridors running along the edge of the bridge on the lower floors

Vaults accessed via Blair St. buildings Blair Street Bars

Hive - Night Club Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Blair St.

Blair S

South Bridge Throughout History Diagram of inhabitation of South Bridge

1:500

Marlin’s Wynd Wedding Venue Cabaret Voltaire - Club

South Bridge high street shops and restaurants The Caves - Music Venue

Cowgate

Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Blair St.

Niddry Street Bars Vaults accessed via Blair St. buildings

Building & Vaults Inhabited Vault access ‘alleyways’

t is South Bridge that will be used in this project to explore the nature of the hidden heritage that lies beneath the surface in Edinburgh. The increasingly deteriorating conditions of these vaulted spaces towards the end of the 18th Century, particularly during times of flood, caused people to evacuate. With the improvement of drainage in the city through the 19th Century, however, these spaces once again became inhabitable. Their easily accessible underground nature allowed them to be perfectly suited to bars and nightclubs. Residing beneath the street itself the noise is contained and access is from the side streets, avoiding disturbance to the function of the main city. This creates another social divide, however. No connection between what happens below and above is possible through the nature of the structure and so the underground inhabitation is seen as disreputable activity. Although predominantly utilised as bars, clubs and events spaces. Some parts of the infrastructure are open for private tours, describing some history of their inhabitation, although mainly as ghost tours for entertainment purposes. Although this provides the public with a glimpse of the past, it distorts the history being disseminated, as discussed in “Forgotten Edinburgh: The reinvention of Heritage through selective memorialisation” - An essay on tools for thinking in architecture. Once the history and use of these spaces was determined, an understanding of their structure and form was necessary to comprehend their complex relationship to one another. Physical modelling of the site using transparent sections allowed the spaces above, below and the adjacent interconnected buildings to be read as one.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

South Bridge Inhabitation Acrylic & Timber Model

1:500

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

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Staging an Intervention

Excavation into the Existing Sectional Diagram

1:500

Excavatio

own Excavation D

n Down

Excavating an Artefact

Carving Around Existing

he proposal consists of series of interconnected spaces both above and within the South Bridge Vaults. These spaces serve to compliment the current array of Bars and Nightclubs that occupy the vaults, and also provide public space to be used as a multifunctional amenity for the city. This public space can be for the use of Fringe Festival performances and Christmas markets. This will help with alleviating strain on other parts of the city that get overwhelmed during these periods, and require transformation every time they need to be used, such as Princes Street Gardens.

Existing Vaults Inhabitation

As a result the scheme is a public space interspersed with performance spaces, bars and clubs; working as a high street for both the daytime and night-time at multiple levels. A careful analysis of the vaults was achieved through visits compounded with planning application data as shown previously with a physical model. This model was then used as a basis for the design of the new entrances down into the existing.

Proposed Section AA

Hive Nightclub

Marlyns’ Wynd Venue

Cabaret Voltaire Bar

Caves Nightclub/Venue

Viewing South Bridge sectionally helped to make decisions on where to excavate and where not to. Considering the existing nightclubs as artefacts beneath the surface that need to be protected, allowed the form of the design to be carved around them. As a result a slow descent and ascent between the surface level of the street and the vaults below can be achieved. Through this preservation of the existing, transformation of the existing, and intervention of new space, the programmatic layout of the scheme could be determined.

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Programmatic Layout & Alcohol Distribution Network Axonometric Section AA

1:500

Marketplace

Brewery

Bar Outdoor Performance Space Performance & Gig Spaces Distillery

Outdoor Performance Space

grou

r Unde

ARB/RIBA Criteria

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Vectorworks Educational Version

Staging an Intervention

Cyclical Alcohol Network Diagram of Programmatic Functions

DIA

Rain

Cyclical Alcohol Network

E Bars & Clubs

Marketplace

Empty Casks, Barrels &Bottles

Filled Casks, Barrels &Bottles

PUBLIC

Returned to the Brewery/Distillery via the Underground Railroad

Delivered to the Bars & Market via the Underground Railroad

Brewery/Distillery

Recycling Plant

dinburgh traditionally produced whiskeys and beers within the city centre, but now they are made further out beyond the city limits. Reintroducing this industry to the city, a holistic programme of alcohol production and consumption is created. This becomes a cyclical system where alcohol is made on-site, distributed within its own system and sold in new purposeful bars and performance spaces. It also strives to accommodate the existing bars by connecting them into the same system. In the lower levels of the vaults the Brewery and Distillery produce beers and whiskeys to be sold in the bars above them. The alcohol is transported from the production facilities via an underground rail network in order to deliver directly into the Bars, Clubs and Performance Spaces. Here the Alcohol is sold to the public, either through the marketplace or various bars. The waste barrels, casks and bottles are then sent back to the production facilities via the same rail network. Once returned, they are washed and prepared for reuse, minimising waste. The water used in both the washing facility and the alcohol production is contributed to from the series of drainage pools and reservoirs running throughout the site. This water is processed for safe use within the alcohol production facility itself. This grey water minimises the amount of water needed for the industrial processes to take place.

Ground

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Vectorworks Educational Version

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1:5000

Castle Hill

Geological Influence on Edinburgh Mapping of Edinburgh’s Topography & Geology

Carlton Hill

Arthur’s’ Seat Measurement 250m

ARB/RIBA Criteria

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Remapping Edinburgh

Relationship of Natural & Human Geology Concept Model

1:10,000

Influences of the Landscape Built Environment Connected With Human Geology

eturning to Edinburgh having seen the archiving techniques employed in Athens throughout history it was important to re-examine the analysis of the city with these concepts in mind. By continuing to layer multiple sets of information into the topographical and geological mapping of Edinburgh, it was possible to reveal the impact that this topography and geology has had on the layout of the city in general.

Built Environment Connected With Natural Geology

The layout of the streets follows the influence of the three hills that make up Edinburgh’s topography. The five bridges constructed to connect the Old & New Towns (South Bridge included), however, contradict this influence. Being human interventions, they were created to overcome the natural layout of the city. This compounded the theory that the Human Strata of the city is acting against its natural and historic anatomy. While some of the city has a direct relationship to the topography, sites such as South Bridge have become dissociated with it, and so conceal their heritage underground.

09 - Legend Directional lines from three hills Street Layout Influence on streets from landscape Boundary Lines (Old & New Town, Hills) Topographical Contour Lines Valley Bottom Human Infrastructure (Bridges & Mound) Sandstone Mudstone Volcanic Basalt

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Niddry St.

North Bridge South Bridge

Masterplan of South Bridge Plan of Above

1:200

Cockburn St. Blair St.

B 8

Royal Mile

ARB/RIBA Criteria

GC1.2

Hunters Square

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South Bridge Masterplan

Cowgate

Plan of Above Niddry St.

he surface layer of the scheme provides a continuous route that can be either be taken from one end of the bridge to the other, or a route which descends down to the layer below. An intermediary point of ascent/descent in the centre takes the form of a tiered seating staircase.

South Bridge

Blair St.

15 Measurement 15m

Cowgate

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Continuing the street level allows this space to connect to the existing high-street shops and offices. It plays host to number of daytime activities such as music/theatre performances, and a marketplace. This provides both the alcohol produced in the distillery below and food at lunch times for workers in the area. Moments pierce through the surface from below giving a hint of the activity beneath such as the lightwell frustums and chimneys. 08 - Legend 1

Tron Kirk

Ramped descent into the vaults

Protruding lightwells providing views in and out

Void for water drainage to pool below

Stairs incorporating tired seating

Market Stalls

Stairs leading down into the Bar/Club

Planter bollards for soft barrier entrance to site

Outdoor Round theatre space

Drainage channel

Outdoor Stage performance space

Outdoor Auditorium performance space

Water draining from pool above to pool below

Drainage canal through marketplace

Chimney piercing through surface from vaults below

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Masterplan of South Bridge Section AA

1:200 Royal Mile

Above

Elevation BB

Below Lower Vaults

Royal Mile

ARB/RIBA Criteria

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South Bridge Masterplan

Cowgate

Section AA

he finalised masterplan for South Bridge integrates the different programmes of the cyclical alcohol network and public spaces through the single excavated descent down into the vault infrastructure. These spaces can be categorized into three main types: •

Surface daytime activity spaces. These include the integration of the existing high-street, outdoor theatre performance spaces, and the marketplace.

•

Underground night-life spaces. These include the music venue for gigs and the integration and addition to the existing bars and clubs.

•

Alcohol Production Facilities. These include the Brewery, Distillery, Railway distribution network and recycling plant for water and waste alcohol vessels.

07 - Legend

13 Measurement 15m

Cowgate

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Tron Kirk

Ramped descent into the vaults

Existing stone vaults

Stairs incorporating tiered seating

Shuttered concrete wall encapsulating existing vaults

Market Stalls

Chimney piercing through surface from vaults below

Existing nightclubs

Gig performance semi-enclosed space

Distillery

Bar/Nightclub

Brewery

Existing nightclubs

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20 Kolumba Museum Cast Concrete Model

Kolumba Museum Wax & Card model PHOTO PHOTO

Images of the Kolumba Museum, Cologne Photographs

Images of the Pikionis Complex, Athens Photographs

1:200

1:20

ARB/RIBA

Criteria

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Precedent Studies

Following Lines of Influence Plan of Pikionis Complex

1:500

Influences from Precedent Projects

he construction and materiality of these spaces is important in shaping both their atmosphere and the curation of the uncovered vaults. The unearthed artefact of the South Bridge structure presents a unique material challenge. Pikionis designed this park from the debris created during the 1950’s antiparochi law in Athens. The law allowed a mutual exchange between home owners and contractors without the exchange of none. Houses were demolished and replaced by flats. This enabled housing for the huge influx of people into the city, but resulted in the demolition of a vast quantity of the city’s older housing stock. There is no museum dedicated to the antiparochi development of the city, or the buildings that were lost through it. But this complex palimpsest of materiality acts as an archive of it all. In doing so, he utilised vast quantities of what was considered waste, and so proposes a conceptual idea of heritage interventions being able to sustainably source building materials from within themselves. Another precedent of this material strategy is the Kolumba Museum in Cologne, designed by Peter Zumthor. This building is formed around the ruins of a church; grey brick façades splice directly into the existing stone, creating one continuous surface made from different materials from different times. Studying this building at the scales of 1:200 and 1:20 showed how a simple detail can be extrapolated into an overall concept. The plain brick façades act as a backdrop to let the elements of the church stand out. Perforations in this facade continue this monolithic presence without interrupting it with further distractions from the ruins.

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Construction Process Stages 1-6 Axonometric Section BB, Section EE

1:500

Stage 1 - Excavation

Stage 4 - Laying the Land Precast Concrete Chimney Sections

Chimney Sections Fitted Together

Precast Concrete Lightwells

Excavated Sandstone

Precast Concrete Slabs

Slabs Fitted Together

4 5

6 Preserved Remains of the Vaults

Stage 2 - Inserting the Core

Stage 5 - Tectonics 1

Precast Concrete Slabs

Timber Market Stalls

Chimney Cowl

Circulation and Servicing

2 7

Chimney Cowl

Precast Concrete Panels

Timber Stage

3 5

Stage 3 - Forming the Landscape

Stage 6 - Surface Significance 2

Stone Paving Above-Ground

7 Cast Concrete Landscape

Direct

ional Co

ncrete

Marki

ngs

1 Stone Paving Descent

7 1

8 3

4 1

4 5 Shuttered Timber Formwork

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

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Archaeology or Construction?

Stage 6 - Surface Significance Section FF

1:20

Stage 6 - Surface Significance

4 1

he final stage of the construction process is the paving of both the above-ground surface of the precast slabs and the excavated descent ramp. The layout and construction of this paving plays a significant role in the design, and so is not just a surface treatment applied to the structure. The design uses specific lines to: direct people through the scheme, orient the spaces, and address the city as a whole through its relationship to the geological and topographical landscape. These lines therefore determine how the paving is arranged. They appear in the patterning of the surface through markings made by pouring concrete in between the paving stones. These markings can be categorised into two types. One follows the layout of the vaulted spaces below, while the other represent a magnetic attraction or repulsion towards specific views and significant geological features that define the city. The stones used in the paving in themselves hold a significance too. The excavated debris of the vaults from the first stage of the construction process is sorted for appropriate stones to be re-purposed as paving. This act exposes the materiality of the bridge itself to the public, rather than the current tarmac layer obscuring it. 12- Legend

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Wall of soft light created by gap in structure

Excavated stone used as paving in precast surface

Concrete patterning in surface

Excavated stone used as paving in descent path

Concrete supports poured between stones

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Merging Materiality Cast Concrete Model

1:20

ARB/RIBA Criteria

GC1 GC1.1

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Material Archiving

Testing Striations Cast Concrete Model

1:5

Formation

eveloping this material strategy for South Bridge involved a hands on approach. While creating the 1:20 model of the Kolumba Museum facade, concrete was used as a proxy for grey brick at that scale. The way in which concrete flows around adjacent materials to create a single continuous object, however, embodied the concept entirely. A series of cast models were created to better understand this liquid property of concrete. It became clear early on that the formwork itself was key. Only when carefully controlled by its mould does the liquid concrete comply. By first creating sandstone coloured concrete elements to act as a proxy for the ruins of the vaults themselves. Then the concrete facade could be cast around it. As shown in the 1:20 model opposite, the concrete surrounds the sandstone to become one surface, much like that of the Kolumba Museum. Developing this as a strategy to use throughout the project meant dedicating time into the close up detail design of this concrete surface, and therefore the formwork that ultimately creates it. The surface was designed to become a dynamic entity within the stereotomic spaces through the changing of light, By varying its depth shadows are cast across itself and move slowly over time. Using a single width of board in the formwork allows a horizontal striping effect to be created along the facade, like strata of the underlying rocks in the earth. This plays on the overarching concept of the project involving human geological strata, and becomes another layer of humanmade materiality building up on the site.

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Materiality in Action Axonometric Section CC

1:20

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

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Material Archiving Shadow

ncorporating this material strategy into the design came from the very beginning. The exposure of, the vaults was a key move of the project. How this exposed materiality relates to the intervention around it is therefore an important aspect of the spaces. Using the concrete as a backdrop for the sandstone infrastructure of the vaults highlights the existing arches along the descent. This makes the artefact of the bridge evident to the public, and therefore returns the heritage associated with it to the public consciousness. Like the Pikionis Complex and Kolumba Museum, the project becomes an archive of its pasts and present through its materials. The way in which the random variation of the concrete strata-like layers cannot be predicted or replicated across the scheme means each space develops an individuality in its formation. Just as naturally formed stereotomic spaces gain a unique atmosphere from the unpredictable surfaces of rock and sedimentary layers, these spaces too find a uniqueness, but through the unpredictability of humanmade surfaces. The different treatment of light within these spaces furthers this individuality as the shadows cast across the surface provide another unpredictable variable. Creating perforations in this surface, however, forces light though in certain places to create a predictable atmosphere of light. This can be seen represented opposite in the perforated facade alongside the stage of the performance space. By using this single surface treatment throughout the scheme, the multitude of different spaces and programmes can be brought together into a single human geological landscape.

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Material Landmark Axonometric Section EE

1:50

ARB/RIBA Criteria

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Material Archiving

Construction of the Chimneys Axonometric Diagram

1:100

Emergence

ontinuing this materiality throughout the scheme allows the same material to create different effects. While the stereotomic underground spaces gain a unique character from the shadow of the striations of the surface, the above-ground spaces benefit from the perception of solidity in this material. The use of concrete in the drainage channels and between the paving stones creates a sense of solidness beneath the feet of passers by. Although in reality a hollow membrane, this materiality maintains the perception of the surface as the ground itself, and therefore the spaces below it as underground. Elements of the design, such as the chimneys, use this perception to signify their meaning. Although not cast in situ as the below ground elements, the precast sections of the chimney are given the same surface treatment. This ties together the two materials to be perceived as a single formation of the ground. The chimneys therefore appear as protrusions of the ground itself; pushing up from the stereotomy of below into the realm of the above. Treating the chimneys in this way makes it clear where their origins lie: deep beneath the surface of the street. Hinting to the location of the industrial processes going on below, and the extent of the vaults needed to house such a facility.

Continuous Chimney Element

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Scaffolding within for construction and Maintenance

Precast Modular Sections Stacking

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As well as providing evidence to the public of activity beneath the ground, the scale of the chimneys provide a beacon to the site. Traditionally chimneys have a strong association with brewing in the public consciousness, and so indicate to the wider city the activity happening within the bridge.

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Integration of Cores into the Vaults Axonometric Section GG

1:20

ARB/RIBA Criteria

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Material Archiving

Construction of Cores Axonometric Diagram

1:100

Submergence

C Floor Panels

Railway Tracks

Steel Members

Servicing Ducts

Precast Concrete Structure

The lower levels of the vaults are divided along the centreline of the bridge by a structural supporting sandstone wall. When proposing to occupy these spaces, a number of questions emerge in their practicality. First of all the separation of the vaulted spaces by nature make them difficult to use as a large industrial facility. And secondly, the excavation of the structure above, before casting the spaces back together, may compromise the inherent strength of the infrastructure as a whole. This could mean the dividing wall may no longer be an appropriate structure. To tackle this the wall is replaced with a precast modular Core. Each module is comprised of: two structural precast concrete panels made to fit the shape of the vaulted arches with holes for bolting into the stone structure itself; a precast concrete element tying the two together and creating a cap to be built on top of; and steel members providing additional rigidity to the structure and defining the different levels within it. This Core serves as a replacement to the original sandstone wall, and enables circulation of workers between the different vaults. This allows the collection of spaces to function as a single industrial facility. Integrating rail tracks into the steel flooring system of each module allows an ease of transport of products and equipment around the facility, in the same way as the final product is distributed throughout the rail network.

Circulation, Servicing & Distribution

Structural Core Module

oncrete is also used for not just its perception but its real physical properties of strength.

This artery through the centre of the vaults also provides a convenient location for services, connecting to the two chimneys at either end of the facility for exhaust.

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Tectonics of Above & Stereotomy of Below Axonometric Section FF

1:50

ARB/RIBA Criteria

GC1 GC1.1

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Temporal Membrane

Membrane Mediating Between Above & Below Plaster & Concrete Concept Model

1:50

Stereotomy & Tectonics

he very act of digging beneath the surface brings into question the surface itself. While ordinarily the ground beneath out feet is considered a constant, solid entity. Activity happening beneath this, therefore created intrigue and confusion as to its physical relationship to the surface.

Above

Notions of caves and carved spaces, that of the stereotomic world, come into play with these below ground space. While the world above is exposed to the positives and negatives of the natural world, such as the daylight and harsh weather, the below remains a more constant, protected and controlled environment. The solid surface of the ground acts as the separator of the stereotomic world below, breaking the relationship between activities in both spaces and shielding it from the temporal changes experienced above. In order to combat this the ground itself needs to be broken, through the deliberate puncturing of holes in its surface. This allows permeation from one space into the other, thus equalising the drastic differences they experience. Perforating the surface of South Bridge in this way allows it to become a membrane; filtering an exchange of views, light, air, sounds and water between the world above and the world below.

Stereotomic Below

The relationship between the Marketplace and the Bar below it exemplifies this, as the dark nocturnal space below is connect through the lightwells around each market stall. Using the light tectonic nature of the market stalls to pierce the membrane of the stereotomic bar brings the life of the outside world down into the space.

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Daytime Performance Space Axonometric Section AA

1:50

ARB/RIBA Criteria

GC1 GC1.1

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Axonometric Daylight Diagram Axonometric Section AA

1:50 Direct South Daylight

As Day Turns to Night

Indirect North Daylight

he gig performance space uses light and the flow of water in a similar way. Without the tectonic structure of the marketplace piercing and mediating the light coming in from above, however, it does not have a controlled consistent evening atmosphere.

Directed Lightwells

Instead this raw stereotomic space utilises the dynamic change in light for its own purpose. The tapered lightwell to the north, above the stage, provides a consistent soft light for a daytime performance and directs the view of audience members up towards the spire of the Tron Kirk. A large void to the south acts as a lightwell to flood the space with light from the behind the tiered seating. This void also captures and allows the downward flow of drainage water in a similar fashion to that of the marketplace which collects in a pool at the top of the auditorium style seating. The pool of water serves to reflect light up onto the ceiling, creating patterns from its slow flow down in to the reservoir below. Zones of Light

ue to the gig performance space being situated beneath the street itself, a strategy for natural daylighting was important to the design process. A series of different sized and oriented lightwells help not only to provide sufficient lighting, but to create an atmosphere from it. The tapered lightwell to the north, above the stage, provides a consistent soft light for a daytime performance and illuminates the stage. A large void to the south acts as a lightwell to flood the space with light from the behind the tiered seating. This void also captures and allows the downward flow of drainage water which collects in a pool at the top of the auditorium style seating. The pool of water serves to reflect light

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Temporal Membrane

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up onto the ceiling, creating patterns from its slow flow down in to the reservoir below. Carved out angles in the concrete soffit above the seating direct this reflected light from the pool back down into the centre of the space. During the daytime when the sun is high it provides a more even lighting to the space, but as the day passes and the angle from the sun becomes shallower, the light no longer penetrates down into the void. At this point the evening below begins and the light from the smaller light wells becomes more prominent and creates patches of light on the seating.

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GC9.1

GC9.2

Carved out angles in the concrete soffit above the seating direct this reflected light from the pool back down into the centre of the space. During the daytime when the sun is high it provides a more even lighting to the space, but as the day passes and the angle from the sun becomes shallower, the light no longer penetrates down into the void. At this point the evening below begins and the light from the smaller light wells becomes more prominent. During this daytime the above has a larger role in the inhabitation of the space, with performances playing out in the public realm and passers by getting glimpses down into the depths of the space below. The underground space becomes more of a relaxing public space, providing a sheltered alternative to the harsh Scottish weather outside.

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Night-time Gig Venue Axonometric Section AA

1:50

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

1:50

Axonometric Ventilation Diagram Axonometric Section AA

Exhausted Hot Air

Temporal Membrane

Flow of Cool Air

As Day Turns to Night Exhausted Hot Air

s the evening progresses and the light from the large void no longer lights the space fully, the smaller frustum lightwells clustered around the performance space provide light down into the space.

Exhausted Hot Air

Cooling Pool of Water

These create more specific patches of light that move around the space, signalling the transition into night, and provide glimpses out to the sky above. Despite being beneath the ground the space lets its inhabitants know what is going on in the outside world through views of the sky and manageable levels of weather entering in through the voids. At this time the nightlife of the lower street of the descent begins to start, with people starting to enter the bars along the Blair Street side of the network directly opposite. As the night progresses the space becomes a venue for gigs to play out and the sale of alcohol from the network below can commence through the integration of the bar with the railway system. Having both a raised seating and space for a standing audience makes the space versatile and accommodating to a multitude of performance styles.

hese large opening in the roof of the space also allow for passive natural ventilation to take place. When this space is in use at night as a concert gig venue, large crowds of people will produce heat and moisture which needs to be ventilated out of the space. In addition to this concerts like this tend to create additional heat and air pollutants from the equipment and smoke/fog machines used for theatrical effect.

The pool therefore acts as a heat sink during the night-time and draws the night air down through the void above. This accelerates the flow of hot air from the concert up out of the lightwells and provides a cooling breeze to the crowd.

Here the reflection pool comes into effect once more. While the sun shines on this water during the day, throughout the afternoon and evening this water begins to cool due to its location in the shade beneath the ground.

The smoke/fog generated by the concert exhausts along with it and so creates a spectacle on the street above as trails of fog raise, coloured by the refracted lights from below.

GC6 GC6.1

The slow movement of the water as it drains down into the reservoir and is replaced from drainage water above also prevents this water from heating up.

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

Lighting, smoke, and other effects common at gigs create a spectacle through the lightwells for the surface above. Where in the day the membrane of the street filters light and water down, at night it filters light and sound up to the world above. This preforms the important process of allowing ventilation of the hot air from a large audience out. This upwards air flow is fuelled and directed by the cooling nature and high specific heat capacity of the reflection pool at the back. This draws cool night air down to create a flow out of the lightwells opposite.

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Interconnected Spaces of South Bridge Axonometric Cut-Away View

1:50

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Project Conclusion Interconnected Infrastructure

he intervention merges its new materiality with the existing vaulted arches, while allowing them to stand out as a curated object, uncovered from their current underground hiding place. Revealing the mysteries of the vaults in this way, and allowing their spaces to be inhabited from the public realm, serves to reclaim their heritage to the public consciousness. The space becomes a museum of itself simply by being presented as a historical artefact for anyone to see. This act is not of demolition or destruction, but one of excavation, an archaeological process of revealing histories that requires a radical change to the existing to do so. It becomes an archive of information that is disseminated through the materiality itself. Discrete lines, influenced by the geological and topographical generators of the city, determine the excavation cuts used to expose this artefact. In doing so they create a landscape of human strata, becoming another layer in the palimpsest of Edinburgh’s built environment. This landscape brings forward the natural authority of Edinburgh’s unique formation that rejected in the construction of the South Bridge. This existing nightlife activity occurring beneath the ground is prevented and extrapolated through the provision of an industrial cyclical network of production and consumption. The scheme provides a series on interconnected spaces that serve to facilitate the different stages of this cycle, from the creation and distribution, to performance spaces and bars that rely on a culture born in alcohol consumption. Stereotomic and tectonic elements to these spaces define their unique characters based on the activity they accommodate. Creating relationships between the different spaces, however, brings the individual aspects to this network together as a whole inhabited landscape.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

The enclosure braces against the strong prevailing winds behind and reduces adverse weather conditions. The gate encourages cyclists to dismount when approaching but remaining open for walkers. It may also open to accommodate a van for maintenance.

Interpretation incorporated into the pavilion gives an insight into the Wildlife Trust that runs the site, and provides a new way to donate through an integrated card reader.

The pavilion serves as a bench perennially, but through utilising the extra tier can become an outdoor classroom for talks about the wildlife on site.

The Structure is designed to become a part of the habitat and can be disassembled for maintenance and reuse at a later date.

Interpretation boards provide an insight into the wildlife on site through the seasons and enable a sneak peak through to the wildlife trails beyond.

Testing Ground: Northumberlandia Pavilion Linked Research Project Overview

hile I had already followed several projects through from conception to realisation during my year of practical experience, this was always from a single perspective. As a Part 1 I was only involved in the design side of all these processes. Although I did sit in the odd meeting, participate in emails, and attend site visits, I felt that I didn’t have a true understanding of how all the behind-the-scenes factors contributed to the finalised built design. I therefore saw this Linked Research project as an opportunity to gain a better understanding of the holistic process of a built project. I hoped to use this project as a learning experience to develop an appreciation for the ‘other’ factors of design. By participating in communications with clients and consultants, working through the planning procedures, learning (and ultimately doing) manufacturing processes, and working as a team to overcome any unknowns that we encounter; I hoped to improve my architectural skills that go beyond the drawing board. The projects started out with the development of an initial conceptual design handed down from students from the previous year. Immediately we worked together as a team to develop our own design that embodied the needs and concerns of the client in order to progress to a planning application. Working with the client was the first major learning curve for me. While I had worked with clients in practice before, working with a wildlife trust felt very different. They were positive about our designs and always had useful insights into the everyday use of the pavilion that we may have overlooked. Concerns about teenagers climbing onto it were raised for instance, leading to us confirming with structural engineers a solution that would be able to accommodate for that kind of loading. As ecologists themselves, the wildlife trust was able to assist us with aspects of the project that we were

less experienced with. The presence of Great Crested Newts on site, for instance, meant needed to have an approved ecology statement for the project to dismiss planning conditions and work with the trust to plan an appropriate schedule of on-site activities that would work around the hibernation periods of the newts. The other learning curve for me was parametric designing. A combination of a realisation of our own inexperience with traditional construction methods and the constant hurdles of designing the project remotely due to Covid 19, we decided to lean on what we were experienced at. Computer based design models. Being able to generate a complete model that could be easily bolted together meant that we could utilise the CNC capabilities of the university workshop to produce the components for the pavilion. It is not, as it turns out, as simple as pressing print when it comes to CNC manufacturing, however, and we discovered a long series of processes needed, both in producing the cut files and processing the pieces, to create our desired end product. Filleting, sanding and sealing were manual tasks that took a huge amount of time, showing us the value in the construction of projects we work on. And while we may be confident in the performance of the pavilion due to its precise construction process, it required a huge amount of thought on how to integrate bolts and fix it to foundations that were not precisely made, but made by our inexperienced hands. The bureaucratic foundations on which all these labours depended on gave us an insight into the importance of policies, regulations and the non-design roles of an architect. Newts gave us a number of hurdles to cross, but were only one of many obstacles we found. Funding, financing, building regulations and health and safety documents are what this project really centred on, and resulted in the creation of a fantastic sculptural facility for the visitors of Northumberlandia.

Images from Initial Handover Discussions Photographs

PHOTO

Image of Site from Initial Visit Photograph

PHOTO

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Handover of the Brief

Previous Group’s Design Handed to us Concept Sketch

Sketch

Developing our own design

he project was initially taken on by a group of students in the previous year who developed an initial concept design. The hand over of this initial project outline to us took place in three stages: The first stage involved us, as a new team, meeting the previous team for them to present their analysis and design decisions, so that we could gain an understanding of how they have come about. The design was derived from the site conditions, such as the heavy tree cover and strong prevailing winds, and the curving form of the Northumberlandia Land Sculpture itself, whilst meeting the needs of the client to provide a semi-sheltered outdoor welcome area that would house seating and interpretation panels.

Sketch

Initial Design Continuing Previous Themes Concept Sketch

The second stage was meeting the client. For this we selected three members of the team to join the previous team in their client meeting so to not overwhelm the clients with too many new people. Within this meeting we recapped what had been designed so far and discussed our involvement going forward. This proved important for us to gain an understanding of how the relationship between the previous team and the client worked, and how it may work for us moving forward. Up until this meeting we had only had a second-hand recount of the client’s priorities from the previous team so it was interesting to see how those relayed impressions matched up with our own conversations. The third involved a discussion between ourselves as a group without either the previous team or the client to go through everything we had learnt about the project and how we intended to move forwards – taking on certain aspects we felt were important to the design and client, and changing others that we felt weren’t.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Images from Various Client, Community & Council Meetings Photographs

PHOTO

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Newcastle University

Sketch

Initial

Budget

£7,000.00

Documenting Funding & Required Costs Spreadsheets

Northumberland Wildlife Trust

Additional £4,000.00

Council Contributions

£2,000.00

£1,000.00

Total

Northumberland Council Small Scheme Allowance Cramlington Town (Barry Flux) Mayor

NWT President Donation (Karpet Mills) GoFundMe

NWT

£1,940.00

£2,000.00

£1,000.00

£500.00

£620.00

£18,940.00

Costs Materials Duraply (48 Sheets)

£4,291.20

Duraply (48 Sheets)

£291.20

£4,291.20 £4,000.00

£4,291.20

Duraply (15 Sheets)

£500.00

Larch Sections

£1,620.00

Donated from Previous Projects

£0.00

Fence Posts

£180.00

Mild Steel for Brackets (Modules)

£180.00

£50.00

Poplar Ply (Prototype)

£50.00

£441.00

Interpretation Board Mat.

£1,000.00

Weed Control Fabric

£100.00

Wire Mesh

£150.00

Woodchippings

£200.00

Bolts,Nuts,Washers (Prototype)

£68.00

Bolts (final)

£243.44

£303.96

£547.40

Nuts (Final)

£42.33

£636.32

£678.65

Washers (Final)

£14.11

£17.04

Screws

£40.00

£31.15 £40.00

Fence Post Spikes

£625.60

L Brackets (Foundations)

£625.60

£550.00

Gate Furniture

£550.00

£225.00

Manufacturing Galvanising Brackets

£536.40

Sandpaper

£237.43

Edge Grain Sealer

£220.32

Exterior Top Coat Sealer

£219.46

Brushes+Rollers

£31.75

CNC Router Compression Cutters

£31.75

£120.00

Interpretation Screen Printing

£500.00

Orbital Hand Sander Socket Set (x4)

£99.99

£120.00

Misc Planning Application Fee

£487.00

Planning Condition

£116.00

Posters

£57.00

Sealant Samples + P&P

£87.60

GoFundMe commission

£35.00

Transport

£0.00 £1,012.50

£1,012.50

Fuel

£0.00

Total

£6,293.03

£4,000.00

£2,000.00

£981.39

£1,937.13

£2,125.60

£620.00

£17,957.15

£706.97

£0.00

£18.61

£2.87

-£125.60

£380.00

£982.85

Remaining

Month Week Day

TABLE

Schedule of Manufacture &Ordering Gant Diagram

Working with the Realities of a Live Build

Fixings

Van Hire (3 weeks)

16/11/2020 18 19 20

November 21

Large Events Tasks Done Poster Design 1 Print 1 Contact Client 1 Fixings 1 Fix Onsite 1 Sealant 1 Offcuts 1 Test Technos 1 COSH H&S 1 Funding 1 Gift Aid?/Ordering 1 Logistics Book Test Chamber Build indoors? Order Container 1 Transport 1 PPE Sanding/Varnishing Process Logistics QS/Ordering Shopping List 1 Sandpaper Foundations Sealant Duraply Phase 1 Extent PPE Bolts Gate No./Size Interpretation 0.5 Model Washers/Connections Overview Check washers with boltholes Design Found. & Mdle Conn. Design Review Update Rhino Nest Pieces Label Pieces Foundations Fabrication Prepare Files for CNC Assemble 1st Module Assemble Small Modules Assemble Large onsite Cut Pieces Sand Pieces Seal Small Module Foundations Store Onsite Heras Fencing/Signage H&S Volunteers? (Covid) Foundations Setting out (New Phase 1) Dig Spikes Cut Timber Build Interpretation Overall Design (Constr.) Foundation Design Lecturn Fixings Design Content Map Coin Drop Security Box Electrics/Contactless Liase w/ NWT Marketing Gate? Design Gate (Constr.) Gate Furniture/Fixings Handover Maintenance pack Submission Document Create List of Essay Topics Recording Compiling info from people

GC6 GC6.1

Communication & Finance

GC6.2

GC6.3

23/11/2020 25 26 27

Meeting

30/11/2020 2 3 4

Student Travel .

Meeting

7 Meetin

07/12/2020 9 10 11

Window

December 14/12/2020 16 17 18

Xmas Break

Meeting

21/12/2020 23 24 25

Xmas

28/12/2020 30 31 1

04/01/2021 6 7 8

January 9

Xmas Break

11 TO Sub.

11/01/2021 13 14 15

18/01/2021 20 21 22 LR Sub.

Ask Client & Taking out money for Teknos Booking Slot Duration

Book Speak to Sean for Lead Time Ask Graham

Book Transport

Ask WS, see RA Work out WS Logistics ?

Ask WS Lead in Lead in

Quantities/Order

Lead in

Arrive

Quantities/Order

Lead in

Arrive

Arrive Arrive

Get Costs

Ask WS about spacing

The realities of the project also presented us with the complex task of keeping track of the finances and scheduling. The increase in ambition from the original brief, mutually decided between ourselves and the client, meant our initial budget wasn’t sufficient.

Export

Ask PS & NWT

Prep/order

Scrutinising every element of the project, from side and scope to specification, and applying for further funding within the community and from council bodies, allowed us to achieve the desired project without compromising on the fundamental qualities that it represented.

Risk Assessment

Ask Work out

Finalised Design Temporary & Permenant To fix to Main Structure Work out Content Prepare for CNC Test & Finalise Source or Design Incorporate Work out Content

Work out what everyones doing Source info on specific tasks undertaken so far

GC7.1

Frequent design meetings between ourselves allowed us to quickly discuss ideas and decide which members of the team would deal with those decisions. Whilst Covid 19 caused many delays and complications to the project overall, it actually improved our communication skills. Before the lockdown we relied on the assumption that we would all be around in the studio if we needed to speak to one another and relied on the slow reply time of emails to clients, engineer and suppliers. Afterwards we had to be more observant of digital communications between ourselves and so responded to each other quicker. The normalisation of video chats like zoom meant we developed a better mode of communication with the client.

Arrive

Quantities Cost & Integrated

Requirements

hroughout the project communication has been essential. Working with a real-life client and within a time schedule based on the real needs of that client, has meant having to make sure our decisions are approved at each step. While in an ordinary academic design project those decisions are ultimately up to the designer alone, this project has help situate our work in the wider context of the profession, where there will always be multiple people in the design team and a clients that relies on them.

GC7 GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Planning Submission for Planning Application

he planning process was phased over the course of the year. We had two intense periods of work for it: firstly, the full planning application, and secondly, the discharging of the great crested newts’ condition. Overall, we learnt about the differences in planning law between national and local levels, and on the role of ecology in the planning process. For the construction of the Welcome pavilion, we were required to submit a planning application to the local authority: Northumberland County Council. We had to apply for full planning permission because the site is within a greenbelt area and so did not fall within the remit of permitted development. The application consisted of a series of drawings necessary for planning such as a location plan and proposed annotated elevations, and also a brief design and access statement outlining the reasoning behind our decisions. It was submitted to the UK Planning Portal website, then this was sent on our behalf to the local authority. The aspect of planning that was arguably more complicated (due to our lack of knowledge) and could have had a greater impact on our proposed timescales was the application to discharge condition 6, halting development until they had approved a further documentation regarding the treatment of Great Crested Newts. This became a priority as the hibernation period for the newts was approaching and if this wasn’t approved in time we would not have been able to clear the site and so could not start works until the hibernation period was over. Working alongside our client, who were ecologists, we managed to arrange a phased construction plan that allowed for the site clearance before the hibernation period which was approved by the planning authority.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Images of Site Surveys, Trial Digs, & Site Clearance Photographs

PHOTO

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

σx (1D/2D) [MPa]

DIA

Model of Structural Stress Calculations Thermal Diagram

Engineering Evolution Working collaboratively with Engineers

F σx (1D/2D) [MPa]

Utotal [mm]

Model of Wind Stress Calculations Thermal Diagram

Utotal [mm]

DIA

9. 1D internal forces; M_y

ollowing various discussions regarding a change to the design of our intervention, it naturally became necessary to seek professional advice from structural engineers. Our intentions for the initial meeting were to discuss the changes to the project since the handover and provide the opportunity for us to present what we wanted from the build and to inquire about the general factors surrounding our ideas such as the foundational requirements, wind-load, structural stability, waterproofing and the multiple considerations of durability and robustness that come with a choice of materials. Feedback from the meeting was positive and gave us a good indication of the construction method we would use and a basic idea of the foundation type, which was advised as a timber deck of piles to have a minimal impact on the site. They also encouraged us to test the ground conditions on site an so lent us some surveying equipment to dig a trial pit on site and check the ground levels. We spent a large amount of time researching different materials, predominantly timber, that we could use, having the concept of digital fabrication in mind we ideally wanted a sheet material. The Engineers advised LVL, which although turned out inappropriate in the end, allowed us to begin the design process so that they could test our digital model for structural stresses. It was found within acceptable levels and so gave us and the clients the confidence to continue with the project to test the construction method and materiality.

GC6 GC6.1

GC6.2

GC7 GC6.3 Z X

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

https://youtu.be/hbA8HjaKOBs C

K HERE LIC

Constructing the Prototype CNC Routed Poplar Plywood 1:1 Model

1:1

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Prototype

Completed Prototype CNC Routed Poplar Plywood 1:1 Model

1:1

Taking Control of the Engineering

major step in the development of the design came through an exploration into the structure of the pavilion itself. While it was already established that it would consist of a series of pieces cut out from sheet material using a CNC router, exactly what those pieces would look like, or how they would be fixed together was still not decided. A meeting was held with the structural engineers to discuss these issues and a basic structural section was produced to base further design decisions from. It was decided that the pieces could be fixed together using bolts on alternating pieces, similar to a precedent project, Articulated Ground, used in their temporary seating in Melbourne. We took a section from the centre of the overall design to test these structural concepts on as it would be the most extreme example, having the largest spans and canopy overhang. The process we used to produce the prototype was set out to be analogous to the final process to give us an indication as to the timings and buildability of the concept design to determine its viability as a solution. A Rhino model was therefore created using a grasshopper script, although this was unnecessary at this scale, since the prototype was composed of less than 100 pieces, many of which were the same. This gave us a chance to test the process of 3D modelling and nesting pieces into sheets to be cut by the CNC router, and to give us an early understanding of the processes that would require, such as the unexpected requirement to set up sheets using the CNC router software before they could be cut, and the need for sanding of the edges after cutting. Extrapolating the time taken for the prototype gave us an early indication on how long the full design might take to cut and assemble.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Parametric Model of the Pavilion Rhino & Grasshopper Model

1:1

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

[Pandem]etric Designing

Assembling First Module CNC Routed Duraply Pieces Bolted Together

1:1

Utilising Parametric Design through the Lockdowns

arametric design allowed us to develop a complex structure that fit with our conceptual design intentions, whilst accommodating for our groups lack of experience in construction. The original concept design by the previous year was designed using simplistic construction methods to allow them to build it themselves, however this resulted in a relatively simplistic design that did not sit within the scope and ambition we saw for this project. To bridge this knowledge gap we decided to utilise knowledge that we did have; that of computer aided design models and CNC fabrication. While our knowledge of these methodologies is primarily from creating scale models in architectural education, we saw the final intervention simply as a 1:1 model.

Sheet of Nested Pieces on the CNC Router Photograph

1:1

We developed a method for generating a complex curved design derived from our conceptual design process that could be bolted together and assembled using low skilled labour techniques that we had. This also meant that the logical system could be used for other low skilled labourers such as local volunteers to engage the community in the construction process. An unexpected but vital use for this methodology was the ability to continue working and manufacturing the pavilion remotely in the various lockdown periods of the year due to Covid 19. Since the CNC router used digital files to cut out the complex shapes, this could be done by workshop staff unrelated to the project and so continue to produce in times when we were not ourselves permitted in the workshop.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Post CNC Manufacturing Processes Photographs

PHOTO

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Post Parametric

Two Completed Modules CNC Routed, Hand Bevelled, Sanded & Varnished Duraply Pieces Bolted Together

1:1

Required Manual Labour & Health & Safety

he unexpected additional processes that were needed once the CNC manufacturing process was complete meant that we needed to work within the workshop to sand, fillet and varnish the pieces ready for assembly onsite at a later date. This meant creating a health and safety risk assessment document early in the process to cover both the work being done within the workshop, and the site construction works to be done later on. Additionally, the complications of Covid 19 needed to be addressed within this document including wearing appropriate PPE and maintaining distances, which was especially difficult given its unprecedented nature. The ‘Health and Safety (First Aid) Regulations 1981’ require identifiable first aiders on any construction site. These regulations necessitate accessible first aid providers, who are able – and prepared to demonstrate how they satisfy certain criteria set by HSE. On 20/08/2020 I attended a training day at West Denton Fire Station, to complete the Level 3 Award in First Aid. The subsequent qualification provided me with the knowledge to give emergency first aid while on site. Covered on the day were a wide range of emergencies, with additional practical experience to develop confidence as first aiders. The day concluded with an assessment which consisted of five practical assessments, two theory assessments (multiple choice question papers) and a continuous formative assessment conducted throughout the course. In order to ensure the timber structure’s longevity, we sought out sustainable varnishes that would protect against the site’s adverse weather conditions. Upon acquiring the various varnishes, we were required to produce a COSHH statement. This framework document ensured the safe use of the products.

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GC7.1

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GC8 GC7.3

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GC9 GC8.3

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Foundations Design Exploded Axonometric Section

1:20

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

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GC5 GC4.3

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Foundations

Example Page from Assembly Manual Axonometric Diagram

1:50

Precision of Parametricism meets the Messiness of Unqualified Builders

nce the trees on-site had been removed for health and safety reasons by the client, the remaining tree stumps posed a problem for the foundation design. It would require heavy machinery to remove these stumps and their roots and require a large amount of hardcore or concrete to fill it back in to create a slab. This would both be out of the range of our budget and go against the principles of the client. Being ecologists themselves they were opposed to excessive machine use, disruption to habitats and the embodied carbon of concrete. The brief for the foundation design was therefore to find a minimal impact solution, both to overcome the environmental considerations and to allow low skilled workers (such as ourselves and the potential volunteers) to be able to construct – while addressing the immovable tree stumps in the way. For this we decided on a strategy that would meet the ground in as few discrete places as possible and use a timber raft suspended above it that would dodge the tree stumps and a minimal excavation, without the use of concrete. The prototype and basic structural analysis of the design showed three distinct points in its section that would meet the ground and bear the loads. The foundation design is therefore a raft structure that supports these points while using minimal posts to fix into the ground. This was based on the dimensions of each of the design’s modules at 600mm wide and allowed for an amount of tolerance at each of the connection points to accommodate the human error in setting out the foundation raft that would not be matched in the highly accurate CNC cut modules.

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GC8.1

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Assemble Manual Exerts Axonometric Diagrams & Instructions

1:50 Module Construction

Modules 01 to Module 10 Frame 05

164

Step 01 - Frame 01 Parts - B1x | B2x | B3x A1 | A3 | A4 M10 80mm Coach Bolt M10 180mm Coach Bolt

Place the bolts into the holes in the B(x) pieces ensuring the shorter M10 80mm Coach Bolts are in the correct holes as shown below. Secure bolts in place with hammer and offer up A pieces to bolt ends.

Linked Research - Testing Ground

Introduction

Module Construction

Module 10 Frame 05 to Module17*

Step 02 - Frame 01 Parts - B1y | B2y | B3y C1 | C2x W1 Washer M10 80mm Coach Bolt M10 120mm Coach Bolt

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Step 01 - Frame 01 Place the bolts into the holes in the B(x) pieces ensuring the shorter Parts - B1x | B2x | B3x M10 80mm Coach Bolts are in the correct holes as shown below. M10 80mm Coach Bolt Secure bolts in place with hammer. M10 180mm Coach Bolt

Place M10 120mm coach bolt into the hole as shown on A3 securing in place with the hammer. Place an M10 80mm Coach Bolt in the B3y / C1 junction as shown and secure with hammer. Place W1 washer over bolt at the top of B3x before moving B(y) pieces into position ahead of the C pieces.

Step 03 - Frame 01 Parts - M10 Nylock Nuts

Secure all M10 180mm Coach Bolts in place with a spanner or a socket wrench.

Linked Research - Testing Ground

Introduction

Step 02 - Frame 01 Place M10 120mm coach bolt into the hole as shown on A3 securing Parts - A1 | A2 | A3 | A4 in place with the hammer. M10 120mm Coach Bolt Offer up the A pieces to bolt ends of the B(x) pieces to begin building the module.

Step 03 - Frame 01 Parts - B1y | B2y | B3y W1 Washer M10 80mm Coach Bolt

Step 19 - Frame 06 Parts - B1x | B2x | B3x C2y M10 80mm Coach Bolt

Place the M10 80mm Coach Bolts into the holes in the B(x) pieces. Secure bolts in place with hammer and offer up B(x) and C2y pieces to bolt ends adding to the module. C2y fits over bolt at the bottom of C1 as shown.

Introduction

167

Place an M10 80mm Coach Bolt in the B3y / C1 junction as shown and secure with hammer. Place W1 washer over bolt at the top of B3x before offering B(y) and C2x pieces up to bolt ends adding to the module.

Step 06 - Frame 02 [04] Parts - B1x | B2x | B3x M10 80mm Coach Bolts M10 180mm Coach Bolts

Step 21 - Frame 06 Parts - A1 | A3 | A4 M10 80mm Coach Bolt

Place M10 80mm coach bolt into the hole as shown on A3 securing in place with the hammer. Offer up A pieces to bolt ends adding to the module.

Introduction

183

Place the bolts into the holes in the B(x) pieces ensuring the shorter M10 80mm Coach Bolts are in the correct holes as shown below. Secure bolts in place with hammer and offer up B(x) and C2y pieces to bolt ends adding to the module.

185

Step 08 - Frame 02 [04] Place M10 120mm coach bolt into the hole as shown on A3 securing Parts - A1 | A2 | A3 | A4 in place with the hammer. M10 120mm Coach Bolt Offer up the A pieces to bolt ends of the B(x) pieces to begin building the module.

*Module 17 represents the end of Phase 1 of the construction of the welcome pavillion 192

Linked Research - Testing Ground

Introduction

Foundation Construction

Step 01- Primary Substructure Parts - 600mm Fence Spikes 100x100x250mm fence post L-Shaped Angle Brackets 30mm Wood Screws M10 120mm Coach Bolts

193

194

Drive the Fence Spikes into the ground and secure the 100x100x250mm fence posts in them. Fix the lower bespoke timber beams into the fence post grooves and fix in place with the M10 120mm Coach Bolts and M10 Nuts. Secure the secondary timber joists into the grooves on the primary timber beams in the bespoke grooves with Angle Brackets and Wood Screws.

Linked Research - Testing Ground

Step 2 - Secondary Structure Parts - 30mm Wood Screws L-Shaped Angle Brackets Bespoke Timber Planks

Introduction

Secure the Bespoke Timber Planks onto the Secondary Timber Joists with the L-Shaped Angle Brackets and the 300mm Wood Screws.

Step 3 - Securing Modules Parts - 30mm Wood Screws M10 40mm Bolts M10 Bolts Bespoke Angle Brackets Module 01

198

195

200

Linked Research - Testing Ground

Module Removal

Offer up Module 01 to the foundations and align the Bespoke Angle Brackets. Mark the location of the brackets on the timber planks of the foundations before removing Module 01 and securing the bracktes to the foundations using 30mm Wood Screws. Secure Module 01 to the brackets using the M10 40mm Bolts and M10 Nuts. Repeat for all modules.

The pavilion has been designed in way so that if, in the occasion of there being any damage or repairs needed, maintenance can be carried out without the need to dissassemble the majority of the structure. We have created a modular design which as explained is made up of 6 frames. While modules are secured at the foundations at their base, there is only one point where modules are connected to one another, between the B3y and B3x members using a bespoke U-Shaped bracket. This connection has purposefully been placed at a point difficult to access, so to dissuade unauthorised persons from attempting to dissassemble modules. Towards the front of the modules the appearance of seemless connection is achieved by the use of C shaped brackets at either end of even numbered modules. This means to remove modules, if an even number, only the module in question need be removed, but if odd then it will require the moving of even modules surrounding it before the odd module can be accessed.

Sectional detail of welcome pavilion and foundations 222

Module 16 being lifted from the structure

Linked Research - Testing Ground

Introduction

ARB/RIBA Criteria

223

224

Linked Research - Testing Ground

GC1 GC1.1

GC1.2

Introduction

GC2 GC1.3

GC2.1

GC2.2

225

226

Linked Research - Testing Ground

GC3 GC2.3

GC3.1

GC3.2

Introduction

GC4 GC3.3

GC4.1

GC4.2

227

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Assembling the Puzzle Assembly Manual to Aid in Construction with Non-Experts

he complexity of the welcome pavilion means that the construction and maintenance would be complex were it not for the aid of a clear manual. While it is not necessary to spell out to someone building the pavilion design decisions and why there are certain routines to construct it explicitly; there is a necessity to provide clear instruction as to the way things go together. This is in order for people other than the designers to be able to read and understand the method of the design.

Module 17

Module 16

Module 15

Step 15 - Frame 03 [05] Parts - B1y | B2y | B3y C2x W1 Washer M10 80mm Coach Bolt

Module 14

Module 13

Module 12

Secure the two bolts in the recesses with the M10 Nylock Nuts as shown using a spanner or socket wrench.

Module 11

Module 10

Module 09

Module 08

Module 07

Module 06

Module 05

Module 04

Step 14 - Frame 03 [05] Parts - M10 Nylock Nut

Module 03

Module 02

Module 01

Example Page from Assembly Manual Axonometric Diagram

1:50

Through designing the pavilion, the group has acquired knowledge that enables us to understand the way the pavilion works, its component parts and how it fits together. To an individual who has not been part of the design team, this would seem complex and difficult to understand. In the architectural profession, we have become accustomed to drawings in which those who have not been involved in the process of development would require an elevated knowledge in order to understand the principles behind the image. A series of diagrams were developed to help disseminate the required knowledge, and these are set out in the following set of instructions which guide those not involved in the design of the pavilion as to the processes involved to build and maintain the welcome pavilion. As well as allowing non experts such as ourselves and volunteers to keep a track of the process of construction, this manual gives the client the power to understand and maintain what that have been given once we have inevitably moved on. This is important as to not provide a project that becomes a burden to them once damaged though over complication. A maintenance strategy is therefore important for a community project such as this.

178

Linked Research - Testing Ground

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GC6.3

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Introduction

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179

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K HERE LIC

https://youtu.be/wRmA1NR_3BI C

Edge Conditions: Reclaiming Playtime Thesis Project Overview

eclaiming Playtime introduces concepts of play and games into a mixed-use cultural space at the intersection between Edinburgh and Leith, the product of an evolving network of interconnected programmes, facilitated by a method of incremental expansion, consolidation, and shared resources.

Exploring these lines imposed upon the city by a higher power through layered mapping techniques, along with data collected about the demographics in the area used extensively by developers and planners in the determining of viability of development, the project starts to question these top down processes.

Using play as a mode of mapping generates a new dialogue surrounding the complex interrelationships in urban space, uncovering hidden narratives within the Pilrig area. Similarly, introducing play into the production and use of space gives agency to those within the community who have thus far been underrepresented: widening the discourse surrounding future development to provide a counterpoint to that observed historically and at present.

Using the abstractions and mechanisms of play, we developed a boardgame to propagate these complex processes and biases in order to expose them. As a result, the privileges seen in the game reflect those that have historically affected Edinburgh. The shift over time from private estate orchards and botanical gardens to industrial activities show this same holistic transformation of areas based on the power of the privileged. Today is no exception, but the movement now is to what the economic forces deem viable, ultimately for the Pilrig area, this is High-end Residential Flats and Student Accommodation.

Working together from the start as a joint thesis project, we aimed to produce a system of play that could allow us to both interact with the research and information within Edinburgh. As a result the role of play in our work has developed into a methodology that helps us learn from each other, and from the discussions we have together. The project starts with the examining of Edge Conditions within Edinburgh, both those physical and visible within the urban environment, and those invisible which determine aspects of flow within the city and society of Edinburgh without necessarily having a physical boundary. An example of this, and where the project begins, is the World Heritage boundary. This line was created in 1995 and placed upon the map. It determines a great deal about what gets demolished or built within huge portions of the city, the decisions of which can be seen manifested in the city even if the line itself cannot.

The proposal continues the themes of play to provide an alternative for this constant cycle of development through the instigation of a Community Land Trust. This trust oversees the initial development of a series of small scale interventions within a larger framework that facilitate the testing of ideas and needs of the community. Each of these programmes acts as a node within a field of activity which can expand and occupy its surroundings where needed temporarily or consolidate itself as a permanent specialist facility if the community feel it beneficial. As these programmes embed themselves within the community a thick network of individuals, groups and activities begins to develop around these shared resources. The culmination of this project is a video presentation (link opposite) which guides the viewer through the discoveries, games and eventually the narratives of a series of protagonists from the site to showcase the importance of play within our society.

Physical Manifestations of the World Heritage Boundary Photographs taken along the Boundary

PHOTO

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Edge Conditions

Mapping of Edinburgh’s World Heritage Boundary, Listed Buildings & Conservation Areas Layered Tracing Paper Maps using Hand & Digital Techniques

1:10,000

Exploring Edinburgh through the World Heritage Boundary

ur reading of the city begins with an exploration of one of Edinburgh’s many edge conditions. The boundary of the World Heritage Site of the Old and New Towns of Edinburgh represents an imagined edge, yet one which is influenced by and in turn influences the physical spaces of the city. Through a process of walking this edge, we began to explore the physical manifestations of this condition. As we followed this route, we encountered liminal spaces in which the imagined boundary could be read through the juxtaposition of physical characteristics. This dichotomy between what is designated and what is not creates an interesting condition at the periphery of the World Heritage boundary and conservation areas, as the imagined boundary influences the spatial qualities of the opposing sides of the edge. This reality has led us to question to what extent an imagined boundary, in this case drawn to protect heritage, may serve to perpetuate or even accentuate certain disparities. As Arijit Sen acknowledges, ‘if there were any physical patterns to be discovered here, they were material evidences of disinvestment, declension, and demolition’; physical space a manifestation of social, economic and political conditions. As such, the boundary of the World Heritage Site represents a deliberate defining of an imagined condition which in turn influences events both within and outside of this space. It is these liminal spaces on the peripheries of the World Heritage Site that are of particular interest to us, specifically, the spatial, social, economic and political circumstances which arise because of this imagined boundary.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Industrial Sites on the Boundary of Edinburgh & Leith being Abandoned Historic Photographs Compared with Contemporary Photographs PHOTO

64 ARB/RIBA

Criteria

GC1

GC1.1 GC1.2

GC2

GC1.3 GC2.1 GC2.2

GC3

GC2.3 GC3.1 GC3.2

GC4

GC3.3 GC4.1 GC4.2

GC5

GC4.3 GC5.1 GC5.2 GC5.3

Edge Conditions

Mapping a Series of Invisible Edges in Edinburgh & Leith Layered Tracing Paper Maps using Hand & Digital Techniques

1:10,000

Exploring Edinburgh & Leith through their Invisible Edges

he boundary between Edinburgh and Leith is a liminal space upon which Edinburgh has long disposed of ‘its more troublesome problems’. The void between the urban centres of Edinburgh and Leith historically provided a space for the peripheral activities of society. From the 17th until mid-18th century the area(Shrubhill) on the EdinburghLeith border, was the site of executions of those whose ‘execution may cause unrest’. The location was chosen as it was outside of the view of the urban populations. Between 1905 and 1923 the two burghs of Edinburgh and Leith refused to connect their respective tram networks at the head of Leith Walk. As a result, passengers were required to walk between two stations at Pilrig to change trams. This situation became known as the Pilrig Muddle and represents another condition arising in the liminal space on the boundary between Edinburgh and Leith. In the latter-half of the 19th century rapid industrial development was pushed into this liminal space, with the construction of the Edinburgh, Leith and Newhaven railway and Leith Walk East goods depot in 1868, Bridgeside Works in 1897, the Shrubhill tram depot in 1898 and Powershall Mills in 1899, amongst others. Initially built away from the city due to the noise and pollution of industrial activities, these industrial sites became enveloped by residential areas as the urban centres of Edinburgh and Leith expanded rapidly in the late 19th and early 20th centuries. Over the course of the 20th century the industrial functions of the area began to disappear, either relocated to the new boundaries of the city or simply made redundant. As such the void occupied by the marginal activities of the city began to reappear, manifested in the scars of an industrial past. This space is no longer a peripheral space, rather a keenly contested location on the fringes of the city centre.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Industrial Past & Abandonment of Shrubhill Tram Depot Historic & Contemporary Photographs

PHOTO

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Edge Conditions

Mapping the Industrial History of the Edinburgh-Leith Border Diagrammatic Map

1:4000

Exploring Edinburgh & Leith through their Invisible Edges

hese site readings show two processes acting in opposing direction, but which are ultimately intertwined. One is the concept of an invisible line that is imposed onto the real world, the other is its reversal, where the physical edges in the site determine the position of those invisible lines.

t is difficult to ascertain which of these processes precedes the other – did the world heritage boundary influence the buildings either side? Or was it drawn to include and exclude those very buildings. While the railway line dictates other seemingly unrelated boundaries, it was originally formed through the availability of space between the very borders it now determines.

Bringing these different boundaries, both physical and invisible into a map to be read together allows their relationships to be better understood. ‘This involves the superimposition of various independent layers one upon the other to produce a heterogeneous and ‘thickened’ surface.’1 Through this process ‘a stratified amalgam of relationships amongst parts appears. The resulting structure is a complex fabric, without centre, hierarchy or single organizing principle.’2 The map opposite takes a range of edge boundaries - both found in the physical world and those invisibly imposed onto it - and begins to layer them using tracing paper. It ‘‘gathers’ and ‘shows’ things presently… invisible, things which may appear incongruous or untimely but which may also harbour enormous potential for the unfolding of alternative events.’3 Seeing the information stratified in this way provides and understanding of how they work together and ‘the capacity to reformulate what already exists’.4

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

Affluent Professionals

Datasets Mapped Similar to Acorn Datasets Mapped to the Corresponding Area

1:2000

Correlations Found Between Datasets Diagram of Various Mapping Exercises

1:2000

House Prices Above £150,000 Aged Between 16-34 yrs >40%

Young Professionals

EU Migrants >15% House Prices Above £150,000 Aged Between 16-34 yrs >40%

C D

B D

C A

A B

Students / Flat-Sharers

House Prices Above £150,000 Aged Between 16-34 yrs >40%

EU Migrants >15% Non-EU Migrants <15%

Overlayed Datasets for Houseprice & Age Printed Tracing Paper Overlays

Economically Deprived

1:2000

EU Migrants >15% House Prices Above £150,000

International Migrants

Unemployment <4% Aged Between 16-34 yrs >40%

Families

Employment >55% Unemployment <4%

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

The Dangers of Data

Mapping the Invisible Edges & Datasets in the Pilrig Area Layered Map

1:1000

Layering Data Sets within Maps

hrough a process of data collection and mapping, recurring patterns began to emerge between different datasets as they were overlayed upon physical space. Similarly to surveys such as Acorn5, this process transpired from a methodology of objectively analysing data, generating a form of cataloguing and categorisation. As such we found ourselves partaking in a process whereby distinct characteristics associated with areas of physical space began to emerge through the reading and overlaying of data. This methodology has allowed us to develop an understanding of the processes by which large datasets are analysed by institutions such as Acorn and the potential uses and pitfalls of such processes. As such this framework of data analysis allows us to recognise and critique a data centric viewpoint that is pervasive in our technological society. The datasets that we mapped were: Age, Occupation, Income,Number of Children, House Size, House Tenure Type (Owned, Mortgage, Shared Ownership, Private Rental, Social Rental), House Price, Engagement in Cultural Activities (Art, Cinema, Reading, Music, Eating and Drinking Out), Exercise Participation, Charitable Engagement (Donating to Charitable Organisations, Membership of Charitable Groups), Gardening Participation, Transport Usage: (Foot, Bike, Car, Bus, Train/ Tram). Areas of overlap when layering these datasets show up i a variety of different ways. Taking the example to the left we can see areas that show: A. High house prices + Low no. of younger people B. High house prices + High no. of younger people C. Low house prices + High no. of younger people D. Low house prices + Low no. of younger people

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

70 The Boundary of Gamespace Defining the Magic Circle Sports Hall Lines and the Board of Go

Representations of Boardgame Methodologies in Architecture Chora/Raoul Bunschoten’s Gamespace Maps PHOTO PHOTO

ARB/RIBA

Criteria

GC1

GC1.1 GC1.2

GC2

GC1.3 GC2.1 GC2.2

GC3

GC2.3 GC3.1 GC3.2

GC4

GC3.3 GC4.1 GC4.2

GC5

GC4.3 GC5.1 GC5.2 GC5.3

Gamespace

Napoleon’s Campaign in Russia Charles Minard’s Map

1:10,000

The Magic Circle of Games

Huizinga presents this protection afforded to gamespace as ‘the magic circle’19, a space which is ‘forbidden, isolated, hedged round, hallowed, within which special rules obtain’20 , provided to safeguard the player from an external reality. Under these conditions simulative acts may be used to provide the ‘impression of the logic of a world’21, allowing the player to become immersed in an imagined reality. However, this world is ‘never real, because the simulated actions do not carry real consequences’22. Rather, this space may be viewed as ‘artifice for providing the psychological experiences of conflict and danger while excluding their physical realizations’23, allowing players to ‘step outside themselves’24 and to inhabit a new reality.

nalogous to layered mapping exercises, play may be used as a methodology for the uncovering of ‘narrative possibilities’6 of both physical and imagined space. As mappings demonstrate an ability to test and generate hypotheses, similarly, play is manifested via ‘activities through which people test and expand limits’7 providing participants an agency to ‘transgress the limits of their social existence’8. ‘Play actions thus offer a critique of conventional understandings’9 within society and may be compared to the most creative and dynamic forms of mappings insomuch as they provide the means to generate and test narratives ‘without the goal’s being predetermined’10. Conversely, we may look towards play as a reflection of society. When we consider the role of play in the ‘education of the body, character, or mind’11 it is inevitable that the functions and outputs of play are pervasive in wider culture. ‘What is expressed in play is no different from what is expressed in culture’12. Games serve to educate and furthermore, are developed to ‘contribute usefully to the

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

enrichment and the establishment of various patterns of culture’13, providing a framework through which we learn to construct order, conceive economy, and establish equity’14. This reality provides us with an interesting opportunity for the reading of these gamespaces that function as ‘temporary worlds within the ordinary world, dedicated to the performance of an act apart’15. These gamespaces are in fact Metaspaces which exist simultaneously within and are separated from the ‘world’, ‘neither fully part of the self nor explicitly external’16. Through these Metaspaces we can begin to read patterns which exist within wider culture, generating a form of layered temporal mapping which is at once a product of society and ‘an act apart’. When considering the Metaspace of play and games we must pay special consideration to the boundary conditions which separate the space of ‘play from the everyday’17. While patterns of culture may permeate into the gamespace, the act of play must be protected by the ‘absence of instrumental gain and its separation from the roles, rules and expectations of everyday life’18. Johan

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

As such, whilst we may use this Metaspace to generate a layered mapping of the ‘real world’, it is important to acknowledge the boundaries of such readings. To draw from gamespace speculative outputs would be to go against play’s opposition to ‘long-term purposes, productive work, and serious consequences’25 thus breaking the protection afforded by the ‘magic circle’. In this case the process may no longer be considered play, rather it is a generative simulation that is unable to fully compute the complex nature of the urban environment. As such, attempting to draw fully realised conclusions from the process would be reductive and dangerous. Instead, we seek to use this Metaspace as a layer of interactive, temporal mapping to inform a deeper understanding of urban mechanisms that are difficult to map using conventional techniques. Hence, this mapping process may be used as a ‘safe space’ in which we are able to project potential future urban conditions without the ‘danger’26 of ‘real consequences’27.

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

’Jorge Luis Borges’s tale of a fully detailed and life-sized map that eventually tore and weathered to shreds across the actual territory it covered,’32 works as an excellent metaphor to summarise this need for an abstraction or allegory. The standard Ordinance Survey map is an abstracted and symbolical representation of a real space to become useful for navigation, ‘the more detailed and life-like the map strives to be, the more redundant or unnecessary it becomes.’33 ‘Spaces in…games are allegories of physical space,’34 just as the Ordinance Survey map serves as an allegory of the landscape. ‘Play form emerges from the contents of ordinary or serious life situations, but ultimately is not bound in these contents.’35 As such ‘what is expressed in play is no different from what is expressed in culture. The results coincide.’36 The difference being the container, one being enacted on the real physical world that we live our lives, and the other within the boundaries of the field of play, the Metaspace in which these ideas are being tested. This separation is key as games ‘rely on their deviation from reality in order to make the illusion playable.’37 It is through this illusion that testing of ideas within the safety of the game is possible; ‘without repercussions upon the actual functioning of society.’38

ARB/RIBA Criteria

An example of this is the arguably most destructive of human activity and decision making – War – upon which many games are based. The fields, rules and mechanisms of these games vary in their level of abstraction, and as such permit different levels of interactions, skills and understanding of its relationship to the real world. At one end of the scale is the tournament, a sport that takes specific aspects of a battle such as brawl of combat or spearing from horseback and gives them specific rules and boundaries to create the melee and joust – representations of the acts in real war. ’Tournaments are games, wars are not. In various ages few or many are killed in wars. To be sure, one can be killed in a tournament, but only accidentally… because the tournament is more regulated, more separated from real life, and more circumscribed than war.’39 While ‘the principles ruling various types of games… are reflected to the same extent outside the closed universe of play,’40 such as that of the tournament and war, the Metaspace of play ‘is ruled absolutely, without resistance, and like an imaginary world without matter or substance.’41 In this way the actions within the Metaspace of a game have no consequence to the real world, whereas within the ‘universe of real, human relationships, on the other hand, the action of given principles is never isolated, sovereign, or limited in advance. It entails inevitable consequences and possesses a natural propensity for good or evil.’42 At the opposing end of the spectrum of abstractness, war can too be represented through the game of Chess. Players do not physically enact the aspects or vestiges of war that are being represented like in the Tournament. Instead, pieces are moved within a defined field, a board with specific rules and boundaries that relate these aspects of real-life war. ‘The movement in chess is symbolic and, in being symbolic, virtual: the chess pieces symbolize a real king, a real queen, a real battlefield, etc.’43 In both of these examples, although they represent different aspects of war abstracted to different degrees - a simulated battle in a tournament, or the overriding tactical positioning of soldiers and defences in chess - there is no specificity to a particular space or war. The imaginary world that is created in the game could be of any war, taking place

GC1 GC1.1

GC1.2

PHOTO

Very Abstracted Games Representing War Images of War Games: Chess, Risk

‘T

he board game is the play-ground that abstracts all other physical spaces but is still a physical space in itself. The board, then, is the pan-allegorical play-ground.’28 The board becomes the field of the Metaspace through its sanctity in the clear boundaries and rules of the safe space of play. How abstracted from the real, physical world this field is, is important to understanding its usefulness as a Metaspace. ‘A gamespace is but a reductive operation that leads to a representation of space that is not spatial in and of itself, but symbolic and rule-bound.’29 It is the interaction with this representation of space - through its rules and mechanisms – that transform it into a representational space, which ‘it overlays physical space, making symbolic use of its objects.’30 ‘Such abstraction, the bane of untrained map-readers, is not at all a failing of maps but rather their virtue,’31 and so the board game as a map can become a Metaspace to test imaginary realities within through this abstraction.

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Gamespace

Less Abstracted Games Representing War Images of War Games: Kriegsspiel, & a War Room from WWII

PHOTO

Abstraction as a Representation

anywhere, since the symbolism of the board and pieces are of the actions of war rather than the characteristics and objects of a particular location of a battle. In these cases, the level of abstraction of the field itself is severe. The empty field of the tournament theoretically relates to the battlefield, but with no relation to the topographical features or complexities of an actual battlefield in real-life. Similarly, the chess board represents the battlefield generally, but the generic grid of squares bares no relation to the physical characteristics of a reallife one. Here it is the mechanisms of interaction are where the representation appears, whether it be the very literal take in the tournament, or the more abstracted form in chess. One can understand the general tactics of war through these games, but not relate that understanding spatially to any given battlefield. ‘Between 1780 and 1820, a number of games were invented in Prussia that transformed and redefined chess into a tactical game based on chess, called War Chess, which eventually became the Kriegsspiel, or War Game.’44 This development worked towards creating a less abstracted representation of the battlefield on which a game of chess could be played and therefore the game could become a closer analogy to a real battle. The first iterations of this ‘used a sandbox within which a Terrain was modelled based on the “irrational” scale of 1:2373.’45 As the Prussians ‘continued to iterate the rules and make-up of the game’ they continued to make changes to the level of abstraction, ‘for example, adjusting the scale to a more reasonable 1:8000 and table-topping the game using topographical, modular terrain pieces instead of baking sand to puzzle war landscapes and lightweight metal figurines to represent troops,’46 Through these decisions the board reached a

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level of abstraction that was useful to the players, neither so abstract that it bared no resemblance to the battlefields they had in mind, nor too life-like for the mechanisms of interaction to work effectively. Through this development they created a game that could act as a Metaspace for their purposes. For them ‘Wargaming [was] a mechanism for training people for warfare by simulating it.’47 It is important to remember, however, that ‘game worlds are totally constructed environments’48 and so through playing them no realworld consequences occur, only an understanding of how these processes could relate to the real world is gained by the players. ‘Wargames are allegorical play-grounds for an abstracted contest that will never actually take place precisely the way is has been played. Kriegsspiel is the only way to wage war peacefully.’49 Winning or Losing in the game doesn’t mean they will win or lose in reality, nor does it mean that anything that happened within the game should be replicated at all. The objective is only that something can be learned from this interaction that takes place in the safety of the Metaspace.

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To Better understand the types of games that exist, and to narrow down the forms of play that will be employed in this mapping, the categorisation and definition of the types play developed by Roger Caillois in his book, Man, Play and Games, will be used. Play here is defined as an activity which is essentially: 1.

Free: in which playing is not obligatory; if it were, it would at once lose its attractive and joyous quality as diversion;

Separate: circumscribed within limits of space and time, defined and fixed in advance;

Uncertain: the course of which cannot be determined, nor the result attained beforehand, and some latitude for innovations being left to the player’s initiative;

Unproductive: creating neither goods, nor wealth, nor new elements of any kind; and, except for the exchange of property among the players, ending in a situation identical to that prevailing at the beginning of the game;

Governed by rules: under conventions that suspend ordinary laws, and for the moment establish new legislation, which alone counts;

Make-believe: accompanied by a special awareness of a second reality or of a free unreality, as against real life.52

Within this definition games are placed on a scale from Paidia – ‘a primary power of improvisation and joy’54 which is most recognisable in games where ‘carefree gaiety is dominant’55 – to Ludus – ‘the taste for gratuitous difficulty’56 or ‘the pleasure experienced in solving a problem arbitrarily designed’57. At the extreme ends of this continuum lie games which can only be categorised by their position on the scale itself, such as a baby with a rattle, a game with no name, order, or symbolism, which are defined as having a strong sense of Paidia. Games of pure Ludus are those of solitary puzzle solving, such as the crossword. These games have much more refinement that those of paidia, but the challenge is between only the player and the puzzle itself, not others. Most games that lie on this continuum, however, fall into the 4 categories of game typology ‘borrowed, from one language or another,’58 as follows:

Agon: A whole group of games would seem to be competitive, that is to say, like a combat in which equality of chances is artificially created.59 Alea: This is the Latin name for the game of dice. I have borrowed it to designate… all games that are based on a decision independent of the player, an outcome over which he has no control, and in which winning is the result of fate rather than triumphing over an adversary.60 Mimicry: All play presupposes the temporary acceptance, if not of an illusion… then at least of a closed, conventional, and, in certain respects, imaginary universe.61 Ilinx: The last kind of game includes those which are based on the pursuit of vertigo and which consist of an attempt to momentarily destroy the stability of perception and inflict a kind of voluptuous panic upon an otherwise lucid mind.62

GRAPH

The Distribution of Different Games Across Callois’ Categorisations & Scales 3 Axis Graph of Game Distribution

he terms play and game of course encompass a huge variety of fields, activities, rules and imaginaries. It is clear that the function of play – ’a parallel, independent activity, opposed to the acts and decisions of ordinary life’50 – makes it a suitable and useful Metaspace. Which types of games are most useful for this purpose, however, remains unanswered. For the use within architecture, this Metaspace is to be seen as a continuation of the layered mapping exercises that preceded it, and so it is necessary to find a typology of game that can encompass this type of graphical information. ‘Competition and simulation, the two more ludic forms of play, clearly have an analogic role in inculcating and reproducing social habitus, both for children and for adults,’51 and so finding a type of game that embodies this kind of play is important. Without these aspects the Metaspace cannot become a representation of the real world and the habitus it contains, nor can it properly utilise symbols and objects that form a part of that world.

Red Axis: Scale of Paidia-Ludus Blue Axis: Scale of Agon-Alea Green Axis: Level of Mimicry

Where it is understood that the last two characteristics tend to exclude one another.53

ARB/RIBA Criteria

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Agon

Alea

Mimicry

Tumult Agitation

‘Whirling’ Child’s make-beleive

Racing Head/Tail

Illusion Tig Arms Masks

Swings

Volador

Wrestling Athletics Boxing Billiards Fencing Checkers Football

Betting Roulette

Horse Riding

Chess

Skiing Snowboarding

Lotteries

Ludus

Rock Climbing

Competitive Sports

Theatre

Kite-flying Solitaire Crossword

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Gamespace

Ilinx

Categorisation of Games

Paidia

The Distribution of Different Games Across Callois’ Categorisations & Scales Table Showing Basic Games & Their Place within the Various Categories

TABLE

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In the search for game typologies that can develop the mappings into a useful Metaspace, the first of these categories to be addressed must be Ilinx. It is hard to conceive of a mapping process that would operate on the basis of vertigo, and harder still to see its usefulness in this context. For this reason Ilinx will not be considered. ‘Agon and alea imply opposite and somewhat complementary attitudes, but they both obey the same law—the creation for the players of conditions of pure equality denied them in real life.’63 Although they present two different categories of game, ‘It would thus appear justified to contrast games of chance with competitive games.’64 Mimicry runs within all games to some extent and gives name to the level of abstraction from the real-life situation that a game represents. ‘The basic intention is not that of deceiving the spectators. The child who is playing train may well refuse to kiss his father while saying to him that one does not embrace locomotives, but he is not trying to persuade his father that he is a real locomotive.’65 It is the use of the symbolism, and the imagination that a player projects onto the field of play to entrance themselves within it, to commit to the rules and boundaries and therefore make it a safe space – a Metaspace.

GC8.1

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Perhaps unsurprisingly, given their physical similarity to the traditional mapping field, board games fit the criteria of games that contain the features best suited to the proposal of a Metaspace.

In the search of a suitable game typology then, it must lean towards ludus on one continuum: to accommodate the complexities of the graphic mapping layers. It must lean towards agon on the other, to create competition and desire to improve upon the necessary skills to play, rather than random chance being the sole dictator of actions. Finally, it must have a delicate balance of mimicry, enough to represent its analogous space in the real world, while allowing the freedom of mechanisms of interaction.

GC8 GC7.3

The graph opposite utilises these three scales when categorising games through the use of three axis. The first, shown in red, is the continuum between Paidia and Ludus. The second, shown in blue, is the continuum between Agon and Alea. While the final, shown in green, is the level of mimicry imposed. Through evaluating different games, combined with those already evaluated by Caillois, a distribution is obtained that more clearly defines a cloud, or cluster, that meets the needs of a suitable game to use. These games are shown with red crosses.

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Firstly, ‘challenge space’ represents the game environment directly challenging the player. When imagined in relation to the urban environment challenge space can be viewed as an abstraction of the physical conditions of the city; the paths, edges, districts and nodes outlined by Lynch in Image of the City67. This space may be used to restrict or direct movement, for example. Alongside challenge space, ‘contested space’ provides an environment whereby contests are played out between players. This space may be used to facilitate trades or disputed within the gamespace and may form part of the physical gamespace or be constructed as an imagined space. When considered in relation to the urban environment contested space is analogous to the constant rhythms that drive the economics, politics and social exchanges of the city. When we consider gamespaces as ‘allegories of physical space’68, both challenge and contested space serve the purpose of remapping the city into an abstracted Metaspace. However, alone, these spaces remain devoid of a contextual element that facilitates the readability of the gamespace. The introduction of ‘nodal space’ introduces ‘social patterns of spatial usage’69 into the gamespace, providing a legibility to the space, allowing players to inhabit the Metaspace more fully. Acting as a mediator for the other forms of gamespace particularly contested space - ‘codified space’ represents the non-spatial components of the game such as currency or points. This space flows through the gamespace, connecting the other forms of space, moderating movements, exchanges and contests. Alongside the other, omnipresent forms of gamespace lies ‘creation space’. This space facilitates the construction, editing and destruction of other forms of gamespace.

ARB/RIBA Criteria

Within this space, players are provided an opportunity to shape the gamespace, altering the functions and direction of play. This space is particularly important within roleplaying games, whereby it provides players the ability to shape the game ‘world’ to help them achieve their own goals. Games in which the creation space has prominence can be said to have ‘soft rails’70 which allow players to ‘explore solutions using many different paths’71. The complexity of urban life cannot be fully mapped onto gamespace, as to do so would be to simply reconstruct reality, bringing to mind Borges’ fable of a ‘fully detailed and life-sized map’72. Instead, we must find mechanisms that help us to understand and map the urban environment with a level of abstraction that allows for computation amongst players. The board, therefore, represents a physical abstraction of ‘real world’, a ‘play-ground that abstracts all other physical spaces but is still a physical space in itself’73. As such when considering the board as an allegory of the urban environment ‘real world’ space is remapped and abstracted into a emergent Metaspace that is simultaneously physical and imagined. The use of ‘grid taxonomies’74, such as square triangle and hex grids, to map the urban environment allows for the ‘rapid computation of rules for the creation-board spaces’75, abstracting the urban condition to a level that is navigable and readable for players. A hex grid, in particular, facilitates ‘easier approximate distance measuring’76 and simple movement rules. This form of grid system is used in games such as The Settlers of Catan77, allowing for full modularity of the board.

GC1.2

Propose Development

Contested?

Yes

No No

Made Permanent?

Yes

Counter Proposal?

Yes

Made Permanent?

Yes

Made Permanent?

Yes

A process of mapping the physical condition of the city onto the hexagonal grid led us to the development of a number of different cell types: spaces optimised for travelling (representing roads and paths), occupied spaces (representing built structures) and unoccupied spaces (representing undeveloped spaces in the city). Together these cells generate ‘challenge space’; the environment of the board directly challenging the player, influencing their movement and decision making. These cells, meanwhile, have a combined functionality,

GC1 GC1.1

DIA

Mechanisms Allowing for Creation Space to Take Place Flow Diagram of Use of Designed Game Pieces & Precedent Boards

hen designing gamespace the deployment of different forms of space may be used to guide and influence play. As McGregor outlines, these spaces can be categorised to reflect their function upon the playing experience and their role in the outlining of physical and imagined space66.

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Gamespace Game Mechanics

whereby they serve ‘not only as shapes or volumes used for layout and/or geometrical purposes, but also as fundamental vehicles of value’78. Beyond the physical space of the board, ‘codified space’79 represents the non-physical game elements such as currency and points. This codified space is generated through the mapping of data into the gamespace in the form of character and utility cards. Codified space acts as a mediator for the mechanisms through which players can propose and contest the development of cells strategically to gain an advantage in the game. This process projects value upon the cells of the board, generating new forms of gamespace. As players compete to develop cells in a way which benefits themselves, the cells become ‘contested space’80 in which the environment provides the setting for contests between players.

£53,000

AVERAGE NO. CHILDREN: METHOD OF TRAVEL:

0.5 CAR

Cost =

ENVIRONMENT

Cost =

Values Factor

TYPICAL OCCUPATION:

STUDENT

AVERAGE INCOME:

£28,000

AVERAGE NO. CHILDREN:

0.3

Aribus eaquatia aut explam numenim ilibus accatem et repre prate dolorec erspici eturibus, quis sume natatem earum reperferovid molent. Tur, offictatem ressunt iumquae velessunt, aliqui qui quuntiamet repudant ipit, sum voloribus. Hent faccum andi blandam volorerum fuga. Nem ipiende a plaborat. Puda cumquam nonsequ odisciet aces aut as aut lignitios ma quaerferum dellam facea id modios atecto estiati cusamendae perum re rem excest enistrum, solorer estiunt. Um quame vellupt atiaere mporporisci quibus seque si ut estia sinvendis dolorrum explit isEm qui destium etur audandia parupta spedisqui ape nihiliquam net, quae rest alictem quo test hit officiat. Tate volorit quatia cuptatia aut exerias rehent

Cost =

ENVIRONMENT

Cost =

LEISURE

GC7.1

0 0

Indepentant gallery space for local artists to exhibit work and run workshops.

Values

3 6

10 0

10 16 26 10 10 10

‘Nodal Space’ in which ‘social patterns of spatial usage’82 are projected upon the gamespace adds a ‘structure and readability’83 to the game. Nodal space is generated through the use of mechanisms analogous to the urban experience such as transport methods and trading. The inclusion of utility cards familiar to the players, such as bars and restaurants, also develops the nodal space within the game, providing a sense of familiarity which aids the process of simulation.

40 0

30 20

1 2

3 6

4 6 12 18

40 20 30

Cost =

3 6

4 10

12 22 4 4 4

Cheap pub aimed at students and other young people.

Values 20 0 0 0

Permanent Agent 3 Adjacent Spaces Cost =

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6 9 9 10 10 10 10

Values

4 10

Bike Lane

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Student Pub

MONEY COMMUNITY

Cost =

Permanent Agent 2 Adjacent Spaces

HOUSING

Art Gallery Space

Pieces

EDUCATION CULTURE

Permanent Agent 1 Space

IDENTITY

Bus Stop

Temporary Agent

Upmarket coffee shop serving light meals, cakes, pastries and artisan coffee.

12 22 6 4 4 4

Permanent Agent 3 Adjacent Spaces

COMMUNITY

MONEY

STUDENTS AND FLAT-SHARERS AVERAGE AGE:

Cost =

LEISURE

4 1

Cost =

Permanent Agent 2 Adjacent Spaces

HOUSING

Boutique Coffee Shop

Bike Lane

EDUCATION CULTURE

GC6.2

Permanent Agent 1 Space

IDENTITY

GC6 GC6.1

Cost

PROFESSIONAL

AVERAGE INCOME:

Simultaneously, the process of development produces another form of space within the game. ‘Creation space’81 allows players to construct, edit or deconstruct elements of the gamespace, reflecting the everchanging and malleable nature of the urban environment.

Pieces

Temporary Agent

Income

Cost

TYPICAL OCCUPATION:

Values Factor 53

Income

AVERAGE AGE:

Cost

AFFLUENT PROFESSIONALS

Bus Stop Cost =

Income

Creation Space Providing the Opportunity for Discussion on Complex Topics through Abstraction Image of the Boardgame During Play, alongside Example Character & Action Cards

1:1

1 2

2 4

0 40

6 12

30 30

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ue3 4 al V

om In c

10 240

Cost

140

Incom

Cost

Movement Pieces These pieces either restrict or enhance movement through the board, acting as creation and nodal spaces.

4Va 4

6 4 10 ues 9 20 Val 9 10 10 10 10 2 2 10 0 4 2 2 2 2 3 2 3 5 2 2 2 0 0 5 0 5 2 3 6 12 22 2 22 12 044 0 4 0 16 4 10 22 6 4 26 4 10 4 12 10 4 0 6 010 0 4 40 040 30 1 32 3 21 6 30 3 2 13 40 3 130 2 2 4 3 1 3 2 2 30 6 2 9 46 6 1 30 12 4 2 6 2 8 4 12 62 8 4 6 4 20 4 6 4 12 2 18

Cost

e Incom Income

at ed ed at aim tele, pub aim her n Bou pub tiqu Chea d ot e pCoan nd nt clie ffe Art G Upmarket coffee shop e h-e d udents ople.e Hig afflubod anShop st alle pe serv ingS re ry u light young ls, mnot P g fo pamea ceand cakes, past ries Stude servinktails. Indep en artisan coffee. space tant gallery coc fo C C to exhib r local artis ts worksh it work and 4 3 es3 C run ops. C s 3 lu

t Ba

e ark

st Co

The Boardgame: The Pilrig Muddle. Along with a Series of Mechanisms & Spaces Used Card Mounted Printed Board With Painted wooden Pieces and Set of Action Cards

1:1

Value s 10 0 20

Edge Barrier

These prevent movement through based off physical boundaries in the real world

40 20 30

Action Cards

These cards represent something familiar to real life situations (nodal space) while containing values that can be placed onto the board (codified space) in order to enact a change (creation space) the challenge spaces.

Pedestrian Barrier These limit the movement of players to walking pace to pass through

Unoccupied Spaces These spaces, like the occupied spaces, are used either for movement, or creation and represent different spaces in the real world.

Cycle Path These increase the movement of a player along a given path

Green Space Industrial/Abandoned Space

Bus Stop These too allow for faster and further movement of a player

Public Buildings

Major Road

Minor Road

Occupied Spaces These spaces serve as all the different types of game space: Challenge Space - restricting the movement of players and enabling transformation to the board

Creation Pieces These pieces propose changes to the board by a player, and can be made a permanent change within the game (as shown in the flow diagram on the previous page) either individually or collaboratively with another player.

Codified Space - These space hold different values to different player Nodal Space - these spaces are abstracted representations of buildings in the real world

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Gamespace Game Mechanics

s Caillois notes, ‘what is expressed in play is no different from what is expressed in culture’84. Certain functions within society may therefore be viewed as analogous to the mechanisms of games. In particular, ‘the evolution of administration also favors [sic] the extension of agon’85, defined by rules, mechanisms and protocols. Furthermore ‘bureaucracy is thus a factor in a type of competition’86, through which actors partake in a form of agon, seeking to exhibit the superiority of their intellectual, social and moral capacities. Whilst Caillois considers the ‘struggle between political parties as a kind of sports rivalry’87, a similar relationship may be found between parties partaking in the development of the urban environment - the planning system analogous to a game of agon whereby competing actors seek to demonstrate the superiority of their vision for the city. Central to both games of agon and alea is that ‘they are contrasting but complementary solutions to a unique problem—that all start out equal’88. This truth is sacred to the integrity of games; to such an extent that in many games ‘equality of chances is artificially created’89, through handicaps or tier systems. However, even under the ‘boundary conditions and rules which separate play from the everyday’90, ‘absolute equality does not seem to be realizable’91. Even in checkers, one of the simplest games of agon, ‘the fact of moving first is an advantage, for this priority permits the favored [sic] player to occupy key positions or to impose a special strategy’92. If this is to be the case within the control of the ‘magic-circle’ of gamespace, then under the conditions of the ‘confused, inextricable universe of real, human relationships’93 where principles are ‘never isolated, sovereign, or limited in advance’94 the realisation of ‘absolute equality’ is even more fraught. As James Corner notes, ‘The bureaucratic regime of city and

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GC9.2

landscape planning, has failed to embrace the complexity and fluidity of urbanism, and of culture generally’95. Rather, through its assumption of equity within the urban environment, the planning system seeks progress ‘through fair competition and equality of law and opportunity, which is sometimes more nominal than real’96. When considering the process by which development occurs within the urban environment it is obvious that ‘competitors are not equal in opportunity to make a good start’97. ‘Wealth, education, training, family background’98, as well as factors such as gender, race and sexuality are conditions which ‘in practice may negate legal equality’99. These inequalities are bourn out through a planning system which, assumes an equity and ‘common experience’100 that simply does not exist in society. It assumes a level playingfield amongst citizens in which each has equal agency to affect or oppose change. In reality there are disparities between the time people can afford to take to attend meetings, the levels of literacy that can be drawn upon to articulate ideas and concerns, or who has the confidence to speak ‘more often (or more loudly) in a meeting’101, amongst many other factors. As a result, the planning process is not an equitable system for all citizens and as a result is likely to produce results which favour groups and individuals who have certain pre-existing privileges. These inherent privileges and inequalities are highlighted through our interactive mappings, as certain groups are able to exploit their privilege to promote a certain vision for the development of the city. Conversely, other groups are disadvantaged by a system which assumes parity, leading to marginalisation by these groups due to their inability to promote their needs and desires as effectively.

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

80 Map Carried Out by Predominantly White Male Administration Reflects Pre-existing Racial Biases Residential Security Map 1939, Indicating ‘High-Risk’ Neighbourhoods for Bank Loans in Detroit

Feedback Following a Community Engagement Meeting for the Powershall Planning Application Rose Diagram & Table Showing Data Relating to Members of the Public that Attended DIA PHOTO

ARB/RIBA

Criteria

GC1

GC1.1 GC1.2

GC2

GC1.3 GC2.1 GC2.2

GC3

GC2.3 GC3.1 GC3.2

GC4

GC3.3 GC4.1 GC4.2

GC5

GC4.3 GC5.1 GC5.2 GC5.3

The Data Fallacy Inequality in Perpetuity

‘B

efore there are data, there are people—people who offer up their experience to be counted and analyzed [sic], people who perform that counting and analysis, people who visualize the data and promote the findings of any particular project, and people who use the product in the end.’102

Central to the emergence of agon within the political, social, economic and administrative functions of modern society is the use of data. Data is pervasive in both the public and private sector as ‘governments are starting to collect data on everything from traffic movement to facial expressions’103 and online ‘the words and phrases we search for on Google, the times of day we are most active on Facebook, and the number of items we add to our Amazon carts are all tracked and stored as data’104. Such is the pervasion of data within modern society that we have reached a point where nothing is ‘outside of datafication’105 and furthermore, as private interests have been quick to exploit, nothing cannot subsequently be ‘converted into corporate financial gain’106. Data - both ‘big data’ such as those datasets collected by Google, Amazon and Facebook, as well as those collected by governments in the form of censuses and ‘small data’ in the form of localised questionnaires and surveys - is used within the planning process to both promote and dispute claims, to justify and to contest proposals and to sway public opinion on certain issues. A local example of this is the data used as part of the Powershall planning application in Edinburgh, on the periphery of the area of scope for our mappings. As part of the application the owners and prospective developers of the site commissioned a series of community engagement workshops to collect local opinions about the future of the site. These findings have

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then been presented in the form of charts and tables to corroborate the developers claims that their development is fulfilling the wants of the community. In presenting the findings in the form of charts and tables the developers have sought to present the data as a ‘neutral input’107. This supposed ‘neutrality’ is achieved by presenting them in ways that ‘do not appear to have an editorial hand’108. These forms of data visualisation can be viewed as the ‘most perniciously persuasive’109 format for exhibiting data as they present the authors as wholly objective and neutral. This is, as Donna Haraway describes, ‘the god trick of seeing everything from nowhere’110, the author is desituated from context, an impartial overseer. This, however, is an illusion. ‘What appears to be everything, and what appears to be neutral, is always…a partial perspective’111, for in reality, the presentation of data as neutral is itself a fallacy. As Virginia Eubanks states, ‘data are never neutral; they are always the biased output of unequal social, historical, and economic conditions’112. In the context of the Powershall scheme this condition of biased output is manifested through the unequal representation of society presented by the surveys. This output represents a sample of individuals who have the time to attend ‘community engagement’ events and fails to accommodate the views of those marginalised groups who are unable or unwilling to attend such events due to various social and economic reasons. Hence, pre-existing privileges and disadvantages present in an unequal society are reflected within the data presented yet remain unacknowledged.

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s D’Ignazio and Klein acknowledge, ‘injustices are often the result of historical and contemporary differentials of power’113. These differentials are present in the data collected for projects such as Powershall and in turn ‘serve to reinforce these existing inequalities’114. This process is often unintentional; the result of the ‘ignorance of being on top’ or ‘privilege hazard’115 whereby individuals or groups are unaware of their privilege because of a lack of understanding of the everyday experience of others within society. There is also however the prevalence of intentional bias whereby certain groups use their privilege to ‘exclude other groups while giving its own group unfair advantages (or simply maintaining the status quo)’116. When deployed in such a way data collection may be used as a method of ‘consolidating power’117. Whether used in such a way intentionally or not, inherently biased data can create a ‘pernicious feedback loop’118 which reinforces existing power structures and amplifies structural inequalities within society. This feedback loop performs a role in the construction of an ‘imagined’ urban condition which informs the ‘decisions and practices of banks, building societies, the city council and the social control agencies’119. This generates a process of actualisation of imagined conditions and in turn the ‘real condition of the built environment then confirms the imagined condition’120 as urban space develops to both ‘reflect and contribute to the overall social hierarchy’121.

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Student Accommodation in the Same Sites Now Contemporary Photographs Leith Walk Goodsyard & Shrubhill Depot Historic Photographs PHOTO

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Criteria

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Mapping Gamespace

Influence of the Privilege Experienced throughout Edinburgh’s History Shown through Shrubhill Historic Map of Estate Orchards & Botanic Gardens with Images of the Industrial Transformation

PHOTO

Propagation of Historic Tendencies through the Boardgame

atabases such as the Acorn categorise individuals into groups which may be monetised for commercial gain. As is stated on Acorn’s own website the database may be used to ‘analyse customers, identify profitable prospects, evaluate local markets and focus on the specific needs of each catchment and neighbourhood’122. This process of simplification is used to exploit potential monetisation of the datasets, providing opportunity for the sale of data analysis to a wider range of clients. However, this process can lead to a dangerous form of reductivism whereby individuals ‘right to difference’123 is removed. As Lefebvre states, ‘ambiguity is a category of everyday life’124, hence the full scope of different social needs cannot be ‘adequately catered for or even categorized’125. When used in the planning of urban space this form of reductive data analysis classifies individuals into ‘preestablished categories’126, eschewing the concept of intersectionality, whereby individuals experience an amalgam of privileges, prejudices and biases, in favour of ‘simplified mappings’127. As a result, the ‘everyday experience’128 of individuals in the world is ignored in favour of sweeping categorisations that fail to acknowledge the needs of the individual. Most worrying is the potential for data fuelled categorisation of individuals and communities to be exploited by those who understand the power that such data may hold. As Sibley notes in The Racialisation of Space in British Cities, ‘people who are anxious and fearful about racialised difference, and concerned about a loss of power, need simplified mappings; they need to locate imagined threats in particular places’129. When used in this way data may lead to the perpetuation and even reinforcing of certain prejudices and inequalities present in society.

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This process has been mapped within the Metaspace of the game, offering a projection of an imagined future, reflective of pre-existing conditions. Conversely, through a reading of the recent history of the area we have observed a similar direction of development, disproportionately serving those with privilege. As such, the pervasion of highend residential developments, student flats and associated amenities in the area can be read through the context of the Metaspace, the game offering an accelerated temporal mapping of the process.

Through the process of developing, playing and mapping gamespace, a number of privileges, biases and inequalities

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were uncovered. Disparities between the ‘characters’ allowed for some players to exert greater influence upon the outcome of the game. As such, certain patterns began to emerge through a reading of the gamespace. Particularly, a trend towards the development of utilities that benefited the Student/Flat-sharer and Young Professional characters was observed within the gamespace, reflecting a privilege experienced by these groups. Conversely, the Affluent Professional character appeared best equipped to preserve their interests, maintaining a status quo in their area, protected by the conservation area and their financial privilege. These privileges echo ‘real world’ inequalities experienced by individuals in the area, yet also reflect the imagined characteristics projected upon individuals by organisations such as Acorn, serving to perpetuate inequalities reflected in the data collected.

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Incremental Establishment of the Site over Time Mixed Media Model of Shrubhill Site with Proposal

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ARB/RIBA Criteria

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development, development, simultaneous development, simultaneous simultaneous as a mediator trust acts Land between astrust a mediator acts as between a mediator Trust between identifies Trust site and identifies brings Trust site identifies and brings site and brings to community to growth community toand community growth the and growth the andLand the trust acts Land local enterprise/social local enterprise/social agents local and enterprise/social agents and agents together and a ‘cluster’ together of agents a ‘cluster’ together in need ofaof agents ‘cluster’ inof need agents of in need of authorities/property authorities/property owners authorities/property owners owners a space to occupy a space to occupy a space to occupy encouragingencouraging of ‘thick’encouraging networks of ‘thick’ of networks ‘thick’ networks

ch to ous nd the etworks

Incremental Urbanism & the Network of Interconnected Programmes Conceptual Phases & Adjacency Diagram

DIA Enable

Enable

Initiate

Claim Initiate

Claim

Support Support

Formalise Formalise Formalise

Incremental Urbanism A Tapestry of Fields of Activities

Agents space Agents aquired claim Agents by space the claim land aquired space by the aquired landUsers by theare land givenUsers support areto given Users achieve support are given to achieve support to Once achieve the collective Oncereaches the collective Once a critical thereaches collective a critical reaches a critical Land trust acts Land as atrust mediator acts as between a mediator between Trust identifies Trust siteidentifies andclaim brings site and brings trustof toagents forin trust enterprise usetrust or for enterprise to use enterprise social or their social goals in-turn their developing goals in-turn their a goals developing in-turn developing a mass a it begins to mass solidify it begins itsmass position to it solidify begins in its toposition solidify its in position in local enterprise/social local enterprise/social agents and agents and together a ‘cluster’ together ause ‘cluster’ need of to agents of insocial need of foror activities activities support network support between network themselves support between network themselves between themselves the city to protect the against city to protect the exploitation cityagainst to protect exploitation against exploitation authorities/property authorities/property owners owners a space to occupy a activities space to occupy

Support

Co_Lab

Meeting Rooms

Office Space Private Public

Recreation Space

Cinema Active Classes Equipment/Prop Store Backstage Box Office

Children’s Recreational Space

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Dining Seating Informal Workspace

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The follies sit within a built framework of ‘enabling fields’ of related, yet indeterminate space. This allows for the expansion and consolidation of the initial programmes as well as the proliferation of new, unforeseen activities resulting from the nature of the initial programme.

The site is treated as a tapestry of fields of activity, punctuated by nodes of intensified use, and defined by the existing site grid and the historic orchard grid of the Pilrig area, reflected in the contemporary street plan. The relationship between fields is defined by shared space and resources, encouraging diversification of use and interconnectivity between programmes.

Sanitary Station Cleaning Station Storage

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These issues are addressed by an initial programme of activities, facilitated by a number of ‘follies’ placed around the site, acting as nodes of intensified use or city ‘magnets’ which attract activity.

Our method of incremental development draws parallels between the experimental and didactic nature of much temporary urbanist practice and that of play.

Public Green Space

Indoor Play Activity Areas Welcome Area

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Delivery Fridge/ Freezer Food Store

Circulation

Nursery

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Food Prep Cooking Equipment Washing Pass

Discussion Forum Gallery

Exhibition Space Theatre

Allotments

Kitchen

Exhibition & Strategy Performance Live Model/Plan

Temporal Framework

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Allotments

Once the collective Once the reaches collective a critical reaches a critical mass it beginsmass to solidify it begins its position to solidify inits position in the city to protect the city against to protect exploitation against exploitation

Maker Spaces

Fab Lab

Central to the proposal is the concept of ‘specific indeterminate space’, designed as a ‘stage’ to accommodate ‘unknown future uses’. The specificity of space comes from the place - ‘a heightened awareness of a situation needs to be created, enabled by our thorough research of the area in which we ‘value what’s there, nurture the possible and define what’s missing’.

Discussion Rooms

Incubator Co-Work Space Studio Spaces Material Store Print Room

hile speculative commercial developments imprint static, definite entities upon the urban landscape, our proposal offers an incremental approach to development which seeks to act as a ‘continuing resource able to be fertilised by the introduction of built structuring’.

Formalise Formalise

ded by the land Users are given Users support are given to achieve support to achieve se or social their goals in-turn their developing goals in-turn a developing a support network support between network themselves between themselves

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Support

Claim

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Initial Nodes such as the Community Kitchen within Fields of Activity Allow for Testing of Ideas Perspective Section CC 1:50

86 ARB/RIBA

Criteria

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Thick Networks

Precedents for Small Scale Community Kitchen Interventions Images of Mosque Kitchen Edinburgh, Longtable Stroud

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Developing the Natural Cultural District

s the site develops the nodes expand in different ways to accommodate evolving use, and additional nodes appear reflecting the new activities generated. These temporary interventions, often act as prototypes for permanent commercial development, we propose a method of incremental expansion and consolidation of the initial programmes, encouraging novel interactions which in turn generate new activities and the forming of thick networks of community co-production. Pilrig represents what Stern and Seifert describe as a ‘natural cultural district’ - a culturally diverse neighbourhood with a higher-than-average percentage of the population with degrees, and a higher-than-average percentage with no qualifications at all. One of the challenges of temporary or incremental urbanist movements is to include low-income communities in the process. We have drawn upon the research of the Open Works project, funded by Lambeth council, regarding inclusivity in participatory culture to outline initial activities on the site that don’t exclude certain groups. Our project therefore seeks to encourage a diverse a range of people to use the site for ‘low-threshold, lowcommitment activities’ that are accessible to all groups within the community. These interconnected initial activities are intended to evolve to ‘develop a dense participatory culture that becomes attractive and relevant to everyone, rather than mostly to socially active people with time on their hands’.

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Initial Nodes such as the Community Allotments within Fields of Activity Allow for Testing of Ideas Perspective Section DD 1:50

88 ARB/RIBA

Criteria

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Thick Networks

Precedents for Small Scale Community Allotment Interventions Images of Incredible Edible Todmorden, Hoxton Micro-Allotments

PHOTO

Developing the Natural Cultural District

ur proposal introduces the concept of the magic circle of gamespace into the city, through the creation of a protected environment for community groups, local enterprises and creatives, separated from the economic forces of current commercial development. As Madanipour states, a departure from the current mode of development could became a ‘place of promise for new beginnings; a point from which a number of possible futures may be pursued’ Presently, public space is ‘highly regulated, and its neatness and emptiness may be a witness to this regulation’, limiting the possibility for experimentation. This phenomenon is exacerbated in the Pilrig area by a shortage of easily available, low-price and therefore low-risk space. Drawing upon Campbell’s ideas on ‘autonomous’ or ‘free idea zones’ we seek to develop ‘spaces of possibility, in which different temporal fluxes can coincide and interact’, encouraging ‘experimentation outside the confines of conventional practice’. This goal is achieved through the creation of a community land trust (CLT) by residents in the Pilrig area to purchase the Shrubhill site. For local residents a CLT ‘separates the cost of development from inflated land values’, projecting the magic circle of games around the site to create a ‘lowrisk space’ in which play, learning and social activities may be promoted, independent from economic gains. This allows for new, experimental activities to unfold, protected from the economic forces of speculative developers, and ensures that the financial, cultural and social value of the land is returned to the community.

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Performance Space & Reading Room at Night Perspective Section DD

Performance Space & Reading Room at Day Perspective Section DD 1:50

1:50

90 ARB/RIBA

Criteria

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Thick Networks Temporality of Use

ach of these initial activities exists within its own space and serves its own programme. While some programmes function primarily in the day and others in the evening, the decision was made to keep them separated in anticipation of the changes they will go through during the incremental approach to the site. While the reading room may serve initially as a daytime space of study or tranquil reading, as it develops and embeds itself into the community it may serve other purposes such as a book club in the evening. Some of these anticipated changes are designed into the public space, such as the sunken small scale auditorium to be used in the day for children’s storytelling, or in the evening for small performances. Or the Performance space which can be used day or night, but functions simply as an open public space when not in use, providing some much needed green space. While we can anticipate some of these changes, there will inevitably be others we cannot predict. This is the purpose of the temporal framework in which these nodes exist, the needs of the community will only be understood through testing and discussion, what is important is there is space to utilise when needed.

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Unoccupied Framework Axonometric View

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Expansion & Consolidation Occupying the Framework over Time

his necessary space for expansion is what makes up the structure of the project. It acts as one large continuous public space shared between the various programmes, in itself providing the opportunity for unexpected interactions between them. Using the layout of the historic orchard grid as an indicator of spaces the fields of activities are defined within the continuous grid of the public space. The framework that houses these fields of activity starts off unoccupied to accommodate for the expected and unexpected developments that will take place as the different programmes start to test out their ideas. This initial expansion can be informal and undefined, as simple as a person sitting in a field to eat food from another. However, as the activities generated from the nodes begin to develop, they expand into the space around them more formally. Still temporary or adhoc, but using fabric coverings and non-permanent furniture to populate areas of the space to define the new uses. This allows space for adaptation of facilitates in the initial programmes to test ideas, to create new or improved programmatic moves when they are desired.

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Framework Occupied with Temporary & Permanent Additions to the Initial Programmes Axonometric View

1:100

ARB/RIBA Criteria

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Expansion & Consolidation Occupying the Framework over Time

nce it is decided within the community that these developed programmes are what is needed, they may be consolidated through permanent interventions These can utilise the structure of the framework to begin defining the space around the node to allow for the new activities it will provide. Fixed furniture and new follies, together with more substantial roof coverings allow these fields to be reorganised as needed. This creates a dynamic public space between the different nodes for the thick network of activities and users to inhabit. Once embedded the network of programmes begin to benefit each other, using each other as shared resources beyond that of the collective facilities. Businesses that start out within the trust may move on when they find success in their endeavours through the economic free experimentation they have been able to take advantage of. The connections, however, are not lost, and the shared resources can continue to benefit them. An example of this is the allotments, which start to provide much needed green space and facilitate the creative act of gardening for leisure. As a collective however, they provide a meaningful food source for community meals and events.

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Shared Resources within the Creative Studio Spaces Perspective Section EE

1:50

ARB/RIBA Criteria

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Expansion & Consolidation

Initial Node Facilitates the Programme until its Need is Understood Perspective Elevation

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Occupying the Framework over Time

he initial Studio Space provides low cost workspace for young professionals, but as demand increases, the creative work spaces are developed to provide facilities to more people. A series of Studios that share a larger communal space that can be used for classes occupies the ground floor. While the upper floors provide office space for start-ups, again sharing a common space between them. The building sits within the ruined remains of the Wee Shed, and utilises its open archways as a colonnade for artist’s shop-fronts. While the back propagates the graffiti found over the Wee Shed by creating a purposeful graffiti wall, with a series of panels that reveal framed views of the work along the back wall.

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Flexible Floor & Wall Mechanisms Allow for Multiple Uses of the Space Perspective Section DD

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Expansion & Consolidation

Basement in use by Different Activities Perspective Section DD

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Shared Resource Network

eatures of the existing site, such as the disused tram network cable tunnels, are utilised for circulation and servicing to the framework. A conveyor system transports shared resources across the site promoting interconnections between the different programmes. Similarly, the existing basement of the tram depot, acts as a series of flexible spaces that hosts the many different activities the different programmes require. These multi use spaces become a shared resource at all times of day, providing the space for unexpected interactions, further developing the thick network throughout the site. The public spaces above reflects this concept of shared resource, through markets and a dining hall to share their creations and discuss the various facilities on offer.

Basement & Existing Tunnels Axonometric Basement Plan

1:100

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The Existing Big Shed Hosts Community Discussions & Feedback Perspective Section DD

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Expansion & Consolidation

Discussion Rooms & Pilrig Model Axonometric Ground Floor Plan

1:50

A Space for Discussion

s the site develops and different programmes expand and consolidate, the overseeing community land trust uses the Community Games Room to discuss and plan out the future for the site and beyond. A large scale model of the surrounding area allows people to gather and discuss ideas viscerally. The map is divided into sections that can be moved into the adjoining discussion rooms for smaller discussions on a certain programme or event. The upper floor contains a series of permanent office spaces for those running the trust, and researchers that can use the site to test theories of community cohesion and temporary urbanism.

Community Dining Hall Axonometric Ground Floor Plan

1:50

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101

Cast Facade of the Demolished Sheds Punctured with the New Use Elevation AA

1:20

102

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Expansion & Consolidation

Cast Facade of the Demolished Sheds Becomes a Permanent Addition to the Framework Cast Pigmented Terrazzo & Card Model

1:50

Playing with Form

ur treatment of the site explores the role of memory and misremembering in our experience of place, abstracting forms found within the site and placing them in unfamiliar contexts. This abstraction continues the theme of play, using a language that distorts the forms within the site to varying extents, and presents them with a new use. It generates an unexpected familiarity akin to the themes of Nodal Space explored within the games study. It allows for a wider appreciation of the everyday and encourages undirected play by removing the conventions held by objects to accommodate for new imaginations. This takes different forms across the site moving from the sympathetic to the existing around the tram sheds, to more abstract within the framework towards the student blocks. The project offers a critique on the nature of memory and its role in our experiencing of the city. In particular the ‘misremembering’ of the industrial past of the site is explored in a number of ways throughout the site, challenging users to question their own memory of the industrial heritage and to begin to imagine new futures for the site. The concept of misremembering is dealt with through both the use of space and the fabric which defines it. In the existing big and wee sheds, the architectural fabric is inhabited by parasitic structures which offer new proximities to the existing, re-framing them as monuments, not only to the site’s industrial heritage, but also to the decades of decline which followed, captured in a frozen moment of semi-decay.

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Moving through the site towards Leith Walk, the architectural interventions present new relationships with the historical biography of the site, presenting varying levels of abstraction of the features of the existing and demolished tram sheds. The dining room mirrors the roof line of the demolished and features simplified openings that reference those of the demolished. Conversely the maker-space ‘exist as the representation of an imprint’ of the façade of the demolished sheds, rendered in a single material. From this monolithic form, new openings are punctured to match the new use of the space, with no regard for the original openings, critiquing the relationship between use and form in our memory of space. Beyond the maker-space, the framework becomes occupied by translucent polycarbonate panels, a ghostly outline of the demolished roof line which becomes reanimated by new structures and use. As we move towards Leith Walk, the follies further abstract the forms of the existing, situating them in new relationships and uses; a chimney becomes a seat, an arch a drain etc. These architectural objects are familiar forms, abstracted and placed in ‘unfamiliar contexts’. A method often deployed in contemporary art, ‘displacement becomes an act of critique’, questioning conventional ways of seeing.

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GC11.1

GC11.2

GC11.3

103

104 Precedents of Undirected Play using Re-imagined Forms Images of Assemble’s Brutalist Playground; Chisendale Pop-up Playground; & MUF’s Play Street

Industrial Chimney Re-imagined as a Climbing Frame Perspective Section FF 1:50 PHOTO

ARB/RIBA

Criteria

GC1

GC1.1 GC1.2

GC2

GC1.3 GC2.1 GC2.2

GC3

GC2.3 GC3.1 GC3.2

GC4

GC3.3 GC4.1 GC4.2

GC5

GC4.3 GC5.1 GC5.2 GC5.3

Expansion & Consolidation

Playground Created from a Series of Site Forms Abstracted for a Imagined Use Axonometric View

1:100

Play Spaces

hile throughout the site these abstractions of form based on the memory and mismemory of the site encourage undirected play though distorting the conventional use of objects, it is most evident in the nursery. Here the same abstracted forms found throughout the site are re-imagined as explicit vehicles for play. This collection of objects, both above in the playground, and below in the soft play area bring a visible connection between the rest of the treatment of the site and its more obvious active use as play spaces. It allows an adult to see explicit play in the objects to question their conventional use in a way that is implicit to a child. Similar to how Assemble and MUF use purposeless form in Brutalist Playground and Kings Crescent Playstreet respectively, the objects only have meaning once it is given to them. The icon sight of the chimney on-site instantly gives the impression of industrial activity, yet once that has gone and a new purpose given to it no longer presents its use to the public. The same form re-imagined within the playground as a climbing frame distorts that notion of industrial activity, and is given a new use by children who implicitly know what a climbing frame is for. In doing so, it opens up the discussion for the adaptive reuse of buildings in the future through removing their public perception. This is not erasing their history, since they still remain as a testament to that history, but allows the new uses that may be needed to occur without having to respect the old use.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

105

A Series of Fields of Activities Facilitating a Thick Network of Programmes Axonometric View

1:100

106

ARB/RIBA Criteria

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Project Conclusion

First Play of the Boardgame within the Space of the Table Photograph

PHOTO

Play & Working Collaboratively

hemes of play run throughout the project. Play’s separation from every day, instrumental goals, situates people in new, unconventional relationships, formed through participation in engaged leisure activities such as cooking, gardening and performance. These activities, facilitated by shared resources such as collective childcare, encourage connections which are not about instrumentality or power, but of mutual benefit for all groups within the community. For us, this imaginary project has allowed us to explore our own practice. Much like the protected magic circle within games and the thick network of programmes explored, the project itself has been the magic circle of our development and learning. The very table we built to draw, talk, play and exhibit from has been the physical space in which this work has taken place, situating our thoughts and imagination in order to learn and develop from each other. Along the journey we have made adaptations to our workspace to facilitate our collaborative practice. While in ordinary circumstances the studios provide a perfect setting for working alongside others, Covid-19 meant that we had to work separately in our bedrooms at our respective desks for the year working at home. Since this was less that ideal we quickly started to find ways to work in the same space, which ultimately lead to our joint thesis. Starting with large scale maps on the floor we progressed to building a table shared between the two of us, where we could draw, discuss, play, and exhibit. Play has shown us the value in discussion and having an open mind when starting a design project.

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

107

eturning to education felt an inevitable step, but not one that I was eager for. I completed the undergraduate degree after a year of suffering from workrelated anxiety, and so the thought of returning to the scene of the crime once more didn’t really appeal to me. I believe this dread has ultimately changed my approach to Architectural education for the better this second time round however. From the outset I decided to focus on what I can learn, and how I can develop with each given project, rather than the physical output or the marks. I’m not going to claim that stoic vow remained unbroken once the pressure of the assessments kicked back in, but on the most part I feel it has successfully helped me reflect on the work I have been doing. The brief reflections that follow outline the moments I feel have changed my perception of learning and working throughout the MArch. The first moment was in the very first week of the course during the studio choices. In my undergraduate degree I had worked in a highly technology-based studio : exploring biological interactions on the microscopic scale to develop sustainable building methodologies. Then during my Part 1 placement, a lot of the work focused on detailed design and construction. As a result my interests were clearly focused at this point on technology-based sustainable design and aligned perfectly with a few of the studios that were presented to us for the MArch. The voting system didn’t go my way, however, and I instead got an unwanted choice. Immediately I messaged the head of year to change studio if I could. I desperately wanted the ecology studio. A chance encounter in the print room with my new would-be tutor, however, has defined my experience ever since. They didn’t try to convince me that their studio was better, or the right choice to make, but pointed out the idea that doing something I had done before may not present me with alternate modes of thinking. They acknowledged what I had already learned and suggested a different path to improvement. Ultimately, I chose to stay in the studio I had been given, not because I liked the studio themes, but because I could see how I could learn more from experiencing something different from what I was comfortable with.

108

ARB/RIBA Criteria

Shortly after this we began working in the studios. At the time, of course, there was nothing unusual about that, but since Covid-19 sent the whole world online, I have spent some time reflecting on how and why I saw the process of working within the studios as preferable to what we have experienced since. Looking back, I didn’t really do much actual work in the studios at all. Whether sat at my desk or on frequent ‘coffee breaks’ used as an excuse to wander around, I spent most of my days chatting with friends. On the face of it I was reasonably unproductive as I didn’t do as much on a dayto-day basis. The Zoom era forced me to produce more work in preparation for presenting it online each week, but in the studios, I felt I had a better understanding of what I was doing. Constantly explaining the project to others and hearing them express their own back made me more fluent in my reasoning and more open to varied precedents and ideas. This was especially useful in sharing initial research within the studio group, presenting it all together to gain a richer understanding of the context, history and sociocultural aspects of the site of inquiry. The loss of the studio was most evident in my Linked Research project. Within the studios we worked as a group of 9 to develop a design based on our interactions with a client. Following the lockdown this became more difficult, having to finish the planning application remotely. Communication with the Engineers and Client wasn’t as fluid as it was in person and the detailed design and specification became a more solitary task shared between a few of us in the same ‘bubble’. At the outset, this project felt the closest to Architectural practice to me as it was a real project that a practice could feasibly do: the design and realisation of an actual structure for a real client. Now, however, I feel it isn’t these objectives that made it akin to practice, but the nature of working as a team that I valued. Just as the studios made me feel more confident in my work through conversations with peers, the collaborative nature of the Linked Research project was, for me, what helped to develop my own thoughts on practice. The pandemic presented many impacts to my learning and well-being over the two years from illness, loss, solitude, or the facilities I had to put up with, but I feel

GC1 GC1.1

GC1.2

GC2 GC1.3

GC2.1

GC2.2

GC3 GC2.3

GC3.1

GC3.2

GC4 GC3.3

GC4.1

GC4.2

GC5 GC4.3

GC5.1

GC5.2

GC5.3

Conclusion Reflecting on the MArch

without it I wouldn’t have discovered my personal learning approach. It was the radical change from normality that has forced me to question what it is that aids my development. Ultimately, that thing is chatting. It doesn’t matter if it is casual of formalised, it’s the discussion in the studio or workplace with peers, colleagues, tutors, clients, engineers, ecologists, and the long list of other people that contribute to the design processes that I was craving once it was taken away. As a result of this discovery, when the optimistic start of Stage 6 rapidly descended into another lockdown, I sought someone to work with. I was fortunate enough to live with a member of my studio and so we began working towards a joint Thesis. This allowed me to return to the non-productive productiveness of conversation that I feel is fundamental to my design development. Our work has centred on this process; developing mapping techniques to allow for interaction between parties for discussion, bringing in theories relating to games as a vehicle. The resulting boardgame maps allowed us to bring together the wide range of information we had researched on the area and begin to play with it collaboratively to develop our Thesis. This collaboration has distilled itself into the programme too, developing a series of spaces that rely on shared resources to facilitate community interaction and intensification of use. Working in this way has allowed me to reflect on my own past experiences as an important part of my Architectural development, even if they do not seem at first to relate. The shared social resources we began studying reminded me of moments in my own life I had never previously questioned. As simple as a group of single parents from school looking after each other’s children for

GC6 GC6.1

GC6.2

GC7 GC6.3

GC7.1

GC7.2

one night a week, allowed my mother enough free time to complete her degree is a poignant example of this. I therefore couldn’t be here today without a series of these social relationships, that I never anticipated analysing as a part of my studies within Architecture, but now feel are paramount to the success of any project. Collaborative working has been greatly beneficial to me, but relies on having the right tools to do so. In the seemingly never-ending educational experience I find these tools hard to identify as they are continuously developing, and so trying to pinpoint where I picked one up or how far it’s progressed in the last few years is hard to say. Many of these tools lie in the representation skills picked up in previous projects, such as drawing techniques, understanding of scale, modelling or CAD software. Whereas the language, communication and knowledge-base, come through engaging with reading and writing about history, theory and precedents; as was necessary for the Tools for Thinking About Architecture essay (I probably should have spotted that one in hindsight). My biggest struggle has been learning how to trust these tools and the knowledge and experience from half a decade of university. For this there is one moment that I feel was instrumental to my understanding and faith in my own ability - when my tutor told me I had a big ego. While initially offended given the word’s colloquial meaning as ‘selfish’, once they explained how I was trying to visualise the entire completed project in my head, without letting it come together naturally, I suddenly understood why I had been struggling. It was like an epiphany but not as poetic or spiritual since it was spoon fed to me. It taught me to have faith in using these tools I had gathered over all the years of study to visualise, represent and discuss ideas,

GC8 GC7.3

GC8.1

GC8.2

GC9 GC8.3

GC9.1

GC9.2

without which I don’t believe I would have been prepared to work collaboratively in this final year. The decision to go with a studio that was more theoretical and historically based than what I had done previously has expanded my knowledge and resulted in a series of projects that I feel are rich and critical. While each of these projects - an individual design, a group-work live-build, and a joint thesis - have taught me the tools needed to make a competent Architect, the distinction of whether these tools are skills, the ARB/RIBA Criteria or a general understanding of an architectural process, doesn’t matter so much to me. What I set out to gain from the MArch is an understanding of how I learn and develop, and the underlying processes that will help me continue my education beyond. It is not the outputs of these projects, or the criteria I have met, therefore, that I am concerned with, but the realisation of the importance of collaborative discussion to my own practice that I will take forward into my professional life beyond the course. This may take the form of finding practices that work in an interdisciplinary way, embed themselves within communities, or stay in conversation with academia. At this point, I don’t know. What I do know is the direction I want to take. I am thankful for the MArch, despite my initial dread, for revealing this to me: the importance of chatting.

GC10 GC9.3

GC10.1

GC10.2

GC11 GC10.3

GC11.1

GC11.2

GC11.3

109

Architectural Design ARC8060

Academic Year 2020-21

Student Contract Form

STUDENT NAME Robert Thackeray

STAFF EVALUATORS Ivan Marquez Munoz, Zeynep Kezer, John Kingsley

The Student Contract Form is designed to be read alongside your Academic Portfolio, a key component of ARC8060 Architectural Design. The Academic Portfolio is worth 10% of your overall ARC8060 Architectural Design mark, and this mark will partly be based on the clarity and completeness of this document. You are required to develop the form over the course of the academic year in tandem with your Academic Portfolio. The form will act as a key for assessors to understand where in your work you have addressed the ARB/RIBA General Criteria for Part 2, as mapped by our own nine criteria: Thesis, Design Development, Context, Criticality, Representation, Technological Strategies, Climate and Environment, Non-design Thinking and Personal Practice. The first five of these criteria are used in the assessment of your design work in reviews, and should be familiar from Stage 5. The final four extend and clarify criteria you are engaged with in your broader M.Arch education. The form asks you to indicate where in your Academic Portfolio you have addressed these criteria, with space to demonstrate this with evidence from your portfolios. There is also space against each criteria to include a brief written commentary allowing you to indicate how you believe the evidence cited addresses the specific attributes and criteria in question. You are able to update this commentary as the year progresses, along with the other fields. There is also space for evaluators to do the same. You are required to meet (remotely) with your tutors and a central group of evaluators three times over the course of the academic year - in October 2020, January 2021, and April 2021. Before these meetings, you will need to carefully go through your developing Academic Portfolio in order to complete the following form. You should indicate areas where you think you have covered the criteria, and areas where you haven’t. The evaluators will then talk you through their impressions of what you have covered and indicate criteria that you should focus on in Stage 6. For Meeting 1, you should evaluate the criteria based on your Stage 5 portfolio (including all non-design elements such as Tools for Thinking or other modules). For Meeting 2, you should have a draft Academic Portfolio that incorporates Stage 5 work alongside developing Stage 6 design work and completed modules (Dissertation, Linked Research, Thesis Outline, etc.). For Meeting 3 you should have a full draft Academic Portfolio summarising your MArch work. Further guidance will be given on the completion and formatting of your Academic Portfolios over the course of the year. It is intended that although fulfilling a crucial administrative role, these forms can also be enlightening for your own sense of personal development and a helpful indicator of where to concentrate your efforts in Stage 6. On the penultimate page is a Criteria Map for easy reference throughout the academic year. The final page lists the ARB/RIBA Criteria for Part 2.

1. THESIS How logically do project briefs follow on from research and studio briefs? How coherent are responses to this, from analysis to intervention, from urban strategy to programme and from site to building and detail? THESIS covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 4.1, 4.2, 4.3, 6.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

St 5 & St 6 Design & Tools for Thinking about Architecture Essay

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Strong

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Using the Studio brief topics of Stereotomy and Tectonics in both the Urban Intervention and Detailed Design -A material Strategy derived from fieldwork and analysis of Edinburgh -Using precedents of similar urban conditions in Athens from the studio field trip to further my design -Research into the implications of heritage, and the concepts of memory and forgetting based on Edinburgh, allowing me to integrate this learning into the design project. -Developing a programme based on the current and historic inhabitation of the site. Underground spaces continuing the club scene and adding alcohol production, while above ground spaces becoming a new public space Stage 6 -Using the studio brief of Edge Conditions to explore the many edges within the site and city, such as historic borders, world heritage, physical borders such as railway lines and catchment areas. -Developing an experimental mapping technique using board games as the structure to explore these edge conditions and reflect on the current conditions of the site -Creating a programme that opposes the current conditions and brings together the different unique aspects of the site.

Staff Commentary:

Prioritise developing this in Stage 6:

2. DESIGN DEVELOPMENT How rigorously have urban strategies and building designs been tested, analysed, and refined? How resolved is the design across all scales, and in terms of technological strategies? DESIGN DEVELOPMENT covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.3, 3.3, 5.1, 5.2, 5.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

St 5 & Linked Research

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Using mapping techniques to present fieldwork and researched information allowed an analysis of their interconnections and disconnections. Through adding and comparing layers at a series of scales directed the design of the project through these aspects of the city. -Iterative design through tracing paper layers compared to this mapping information tested the design concepts and indicated where needed to be refined. -A series of exploratory cast concrete models allowed an understanding of the nature of the spaces and atmospheres. -Starting the project as an Urban Intervention allowed the design to be tested at a large scale to understand its impacts. Continuing with this design at the human scale meant the design was refined and rethought using ideas from further reading and precedents. Linked Research -Using parametric modeling to test the design throughout the process and to generate a series of 1:1 prototypes that tested the details such as bolted connections and curve of seating elements

Staff Commentary:

Prioritise developing this in Stage 6:

3. CONTEXT How thoroughly are various contexts (e.g. material, historical, cultural, social, political, environmental, professional, technological, etc.) investigated? How critically and creatively have design approaches responded to these contexts? CONTEXT covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.1, 2.2, 2.3, 3.1, 3.2, 4.1, 4.2, 4.3, 5.1, 5.2, 5.3, 6.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

St 5 & St 6 Design, Linked Research, & Tools for Thinking About Architecture Essay

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Strong

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Using Mapping techniques to interpret information about Topographical/Geological information, combined with historical layouts of streets, sites of particular historical interest that have been largely removed from the physical fabric of the city, a rich understanding of Edinburgh's heritage was formed. -Reflecting on Edinburgh's current implementation of World Heritage status based on this information. -Developing a programme based on the current and historic inhabitation of the site. Including research into distillation and brewing processes, and the modern use of the site as a series of club venues, to gain a good understanding of the culture of the site. Stage 6 -Exploring the context of edinburgh/leith at differnet scales to understand its history as an industrial area being taken over by residential development -Using data to gain an understanding of the different cultural and social groups that exist while not being able to access the site -Researching the planning applications made in the area to see why certain developments are being created Linked Research -Understanding the environmental aspects of the site, including allowing for great crested newts that hibernate there

Staff Commentary:

Prioritise developing this in Stage 6:

4. CRITICALITY How thorough is the research, and precedent analysis? How successfully and originally has this been responded to and embodied in architectural forms, in order to question existing conditions and propose alternatives? How reflective is the work? CRITICALITY covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 5.1, 5.2, 5.3, 6.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

St 5 & St 6 Design

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Deriving a material strategy that was influenced by fieldwork and reading of Edinburgh, and reflected upon with the different strategies used in Athens for similar heritage sites. Focusing on the way in which both cities archive their own pasts to present an alternative vision of archived heritage in Edinburgh. - Using precedent studies at different scales, including conceptual and detailed model making to interpret them, helped to inform the stereotomic spaces and atmospheres. -Mapping and analysing research from both Edinburgh and Athens to form an appropriate response. -Developing the initial Urban Intervention into a more detailed human scale project meant reviewing the positives and negatives before continuing with its further development at different scales. Stage 6 -Developing a thesis that critiques planning processes and policies that rely on the bias of data. -Creating a mapping experiment using a board game as the stucture to integrate the bias data and propagate the conditions of the planning system to reveal its issues was a reflective process of using data but questioning its results.

Staff Commentary:

Prioritise developing this in Stage 6:

5. REPRESENTATION How clearly and appropriately is the range of exploratory drawing/modelling techniques used to investigate and communicate the driving ideas and design proposals across scales? REPRESENTATION covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 1.1, 3.3] Key work that addresses criteria:

St 5 & St 6 Design, & Linked Research

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Strong

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Using a series of sketches, CAD software and 3D modeling techniques to produce a series of maps, diagrams, plans, sections, and visuals that showcase the design ideas clearly and interpret the complex relationships between spaces and topography. -A series of exploratory cast concrete models allowed an understanding of the nature of the spaces and atmospheres. -Presentation models to demonstrate every aspect of the scheme Architectural Practice -Creating a formal presentation for a business loan meant using diagrams to convey information succinctly in a different context than design and intended for a different audience Linked Research -Creating clear construction drawings for both manufacture and ease of assembly by lay people and volunteers Stage 6 -Exploring mapping techniques to represent data and experimenting with board games as a tool for mapping

Staff Commentary:

Prioritise developing this in Stage 6:

6. TECHNOLOGICAL STRATEGIES How thoroughly are technological stratagies implemented and considered in design processes? How clearly have technical specialisms informed design moves? TECHNOLOGICAL STRATEGIES covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3, 10.3] Key work that addresses criteria:

St 5 Design & Technology Report, Linked Research

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Research into demolition and excavation to develop a phased construction plan involving the reuse of demolished material. -Use of precedents to analyze construction methods and details to create certain atmospheres . -Iterative cast models at a series of scales including 1:5 and 1:2 to gain an understanding of the process and characteristics of the material choices. Linked Research -Gaining an understanding of CNC processes to develop a design that is constructed remotely during covid-19 -Working with engineers to create an appropriate structural strategy -Building prototypes of the final design to test connection details -designing the pavilion in modules to allow for easy assembly, disassembly and maintenance

Staff Commentary:

Prioritise developing this in Stage 6:

7. CLIMATE AND ENVIRONMENT How has the ongoing climate crisis been addressed in the work? How have sustainable strategies been considered and implemented critically and materially? ENVIRONMENT covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 1.2, 4.3, 5.2, 8.3, 9.1, 9.2] Key work that addresses criteria:

St 5 Design & Technology Report, & Linked Research

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Creating a programme of a cyclical network of alcohol production and consumption including a reuse/recycling facility to allow for a sustainable local economy. Directly integrating bars, clubs and markets with the brewing, distilling and bottling processes reduces transportation emissions and waste. -Utilising the inherent properties of the chosen materials of stone/concrete along with a drainage strategy to control daylight and natural ventilation into spaces. -Proposing the reuse of material excavated on site in the construction of the scheme aims to minimise the carbon cost and transport of materials to and from site. Linked Research -Working with a wildlife trust as a client, leading to planning around newt hibernation cycles and designing the pavilion using a cradle to cradle life cycle technique.

Staff Commentary:

Prioritise developing this in Stage 6:

8. NON-DESIGN THINKING How has knowledge about the histories and theories of, or relevant to, architecture been demonstrated? In what ways has an understanding of cultural, social, political, intellectual, and theoretical elements been demonstrated in non-design modules, or else around design work? NON-DESIGN THINKING covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.1, 2.2, 3.1, 3.2, 4.1, 4.2, 4.3, 5.1, 5.2, 5.3, 6.1, 6.2, 6.3] Key work that addresses criteria:

St 5 & St 6 Design, Tools Essay, Linked Research, Architectural Practice

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Weak

January

Strong

Staff Assessment

April Student Commentary: Stage 5 -Understanding the Brewing and Distilling Process in order to incorporate it into the design appropriately. -Exploration into the history of Edinburgh in order to better understand its relevance to it's current World Heritage Status and the wider question of heritage. Linked Research -A series of meetings with members of different council bodies, wildlife groups and charities including searching for funding. This has exposed me to the political realities of even a small scale project. Architectural Practice - involved a series of discussions about ethics and economics. The assessment also gave an insight into the complexities of running a practice and the issues involved beyond the design process itself. Stage 6 -Themes of data bias have been explored and critiqued in the development of the thesis. Other less conventional theories such as the social benefits of play in society have also been explored to allow the design to tackle issues beyond the conventional. -History of the site was explored through a series of mapping studies.

Staff Commentary:

Prioritise developing this in Stage 6:

9. PERSONAL PRACTICE In what ways has a personal architectural practice been demonstrated, integrating knowledge of the profession with a reflective understanding of the architect’s role in society? PERSONAL PRACTICE covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 6.1, 6.2, 10.1, 10.2, 11.1, 11.2, 11.3] Key work that addresses criteria:

Linked Research , Architectural Practice

See Academic Portfolio pages:

Please use Criteria Contents Page in the Portfolio (piv)

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Strong

Staff Assessment

January April

Student Commentary: Linked Research -The project consists of a design from first principles through to a self build for the client, Northumberland Wildlife Trust, at Northumberlandia wildlife park and land sculpture. The project is undertaken as a team with an understanding and full participation of the following roles: Client liaison, Site analysis, Design , Planning application, Consultation with Engineers and Ecologists, Costing and Budget control, Material Testing and fabrication, Construction -Through this project I have been co-running a full design and build project and so experience a large number of real life complexities to an architectural project. Architectural Practice -Developing a business plan to understand the roles and responsibilities of architects beyond the design itself.

Staff Commentary:

Prioritise developing this in Stage 6:

CRITERIA MAP

Criteria 1. Thesis

2. Design Dev. 3. Context

4. Criticality

5. Repres.

6. Tech. Strategies 7. Climate and Environ. 8. Nondesign Thinking 9. Personal Practice

Meeting 1 October 2020 Student Staff

Meeting 2 January 2021 Student Staff

Strong

Fair

Strong

Fair

Strong

Fair

Strong

Fair

Strong

Weak

Strong

Meeting 3 April 2021 Student Staff

Prioritise in Stage 6?

Yes

ARB/RIBA CRITERIA GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. The graduate will have the ability to:

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of:

.1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; .2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

.1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. The graduate will have knowledge of: .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC3 Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of: .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, interms of their conceptualisation and representation. GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. The graduate will have knowledge of: .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of: .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project. GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to:

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of:

.1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

.1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit in to their local context.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of:

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The graduate will have an understanding of:

.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

.1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities.