Language by Mufaddal Nagree

LANGUAGE

Language: House, Tower, Settlement, Bridge Design Studio Project Reader Unit 2 Tom Coward & Simon Henley Mufaddal Nagree Kingston University M.Arch 4

Acknowledgements Tom Coward Unit Tutor Simon Henley Unit Tutor Catherine Hawley Course Director 3D Materials Workshop FADA, Kingston University Dartington Hall Trust Dartington Estate M.Arch Unit 2 â&#x20AC;&#x2DC;16/â&#x20AC;&#x2122;17 Survey & Master-plan

Contents Brutalism: Ethical Essence A & P Smithsons

Elmhirts & Dartington Rural Regeneration 19 Survey: Three Houses Unit 2 Collective Survey 25 Language Materia & Form Thesis 33 House Prototype 35 Tower Landmark Folly 61 Settlement Craftsmenâ&#x20AC;&#x2122;s Courtyard 77 Bridge Connection 95 Epilogue Masterplan: New Route 103

Brutalism: Ethical Essence In their short statement published in 1957, Peter & Alison Smithson wrote that the essence of Brutalism is not stylistic, but ethical. This essay discusses what this is meant for their architectural philosophy and practice, with reference to mostly their built work. The essay, though not directly addressing the thesis project, begins to generate a conversation about the choices of the language that is pursued in it. This has consequently led to some of the tectonic decisions of the project. The essay is part of this project reader to put the thesis project into a theoretical context of the works of Alison & Peter Smithsons and Team 10â&#x20AC;&#x2122;s work. It is a parallel that is drawn between the Unit 2 agenda of Settling in a Remarkable Landscape within the context of todayâ&#x20AC;&#x2122;s unsettled world and the post-war era of the 1950s.

TheThe Second World WarWar had had just just ended, and and Second World ended, Britain was ready for an overhaul. The immediate Britain was ready for an overhaul. The immediate future of economic stability and and quality of life waswas future of economic stability quality of life uncertain, potatoes and bread were rationed, building uncertain, potatoes and bread were rationed, building materials and and labour werewere at shortage and and there waswas a a materials labour at shortage there 1 lingering legacy of Britain’s industrialisation boom. lingering legacy of Britain’s industrialisation boom. 1 Amidst this this challenging context of the British Amidst challenging context of post-war the post-war British society, the the post-war elected Labour government society, post-war elected Labour government brought ‘the ‘the mostmost far-reaching bodybody of reforms everever brought far-reaching of reforms seenseen in Britain’ through legislation on social housing, in Britain’ through legislation on social housing, urban planning, the the NHS, and and the the nationalisation of of urban planning, NHS, nationalisation 2 2 coal,coal, power and transport industries. Due to labour power and transport industries. Due to labour shortages and and possible reparations of her colonialist shortages possible reparations of her colonialist history and and war war damages, Britain opened doors to to history damages, Britain opened doors thousands of immigrants, marking an instrumental thousands of immigrants, marking an instrumental 3 cultural shiftshift in the history of British society. It 3was cultural in the history of British society. It was towards the end of this disastrous man-made towards the end of this disastrous man-made catastrophe, and and the the beginning of aofchange-thirsty catastrophe, beginning a change-thirsty Britain, when Alison and and Peter Smithson developed as as Britain, when Alison Peter Smithson developed professionals to become one of the most influential professionals to become one of the most influential post-war British architects. post-war British architects. TheThe Smithsons werewere interested in filling these Smithsons interested in filling these gapsgaps between societies and actively seeking between societies and actively seeking responsible change. Their interests in in ‘urban responsible change. Their interests ‘urban reidentification’ werewere parallel to the British Welfare reidentification’ parallel to the British Welfare State’s suggested ethos of aof‘social ideal’ on tackling State’s suggested ethos a ‘social ideal’ on tackling 4 4 well as satisfying the the the post-war housing crisis as post-war housing crisis as well as satisfying the demands of public goods and and civiccivic buildings. TheyThey demands of public goods buildings. werewere interested in an architecture of resistance; interested in an architecture of resistance; avoiding at allatcosts an individualistic expression and and a a avoiding all costs an individualistic expression ‘signature’ built form. They describe this approach as a ‘signature’ built form. They describe this approach as a ‘compact, disciplined, architecture’ that that serves not the ‘compact, disciplined, architecture’ serves not the trend or style, but but the the ‘objectives of society, its urges trend or style, ‘objectives of society, its urges 5 5 and and so on.’ Their active participation in international so on.’ Their active participation in international forums like CIAM and Team 10 especially, forums like CIAM and Team 10 especially, contextualises theirtheir interests in human association in in contextualises interests in human association architecture; and how human problems engage with architecture; and how human problems engage with 6 community and and architecture - a6 concern oftenoften seenseen in in community architecture - a concern the the works of Aldo Van Eyck and Giancarlo De Carlo. works of Aldo Van Eyck and Giancarlo De Carlo. Brutalism as aas result, to the waswas more thanthan Brutalism a result, to Smithsons, the Smithsons, more just just a style, it was an ‘objective’ choice, a kind of moral a style, it was an ‘objective’ choice, a kind of moral allegiance owed to a mass production culture and an an allegiance owed to a mass production culture and attempt to ‘drag a rough poetry out of the confused attempt to ‘drag a rough poetry out of the confused 7 and and powerful forces which are at powerful forces which arework.’ at work.’7

1 Elaine Harwood, Space HopeHope and Brutalism: English Architecture Elaine Harwood, Space and Brutalism: English Architecture 2014,2014, p. ix p. ix 19451945 – 1975, – 1975, 2 2 Harwood, Space HopeHope and Brutalism, p. ix p. ix Harwood, Space and Brutalism, 3 3 Online, ‘Short history of immigration’, BBC In-depth: Race, BBC BBC Online, ‘Short history of immigration’, BBC In-depth: Race, 17 May 20022002 17 May <http://news.bbc.co.uk/hi/english/static/in_depth/uk/2002/race/shor <http://news.bbc.co.uk/hi/english/static/in_depth/uk/2002/race/shor t_history_of_immigration.stm> [accessed 01 January 2017]2017] t_history_of_immigration.stm> [accessed 01 January 4 4 William Curtis, Modern Architecture sincesince 1900,1900, 1996,1996, p.529p.529 William Curtis, M odern Architecture 5 5 Alison and Peter Smithson, ‘The ‘The New New Brutalism’, Architectural Alison and Peter Smithson, Brutalism’, Architectural 19571957 Design 27, April Design 27, April 6 6 Smithson, ‘The ‘The New New Brutalism’ Smithson, Brutalism’ 7 7 Smithson, ‘The New Brutalism’ Smithson, ‘The New Brutalism’ 8

Fig. Fig. 1 1 Food rationing in the Food rationing in 1950s the 1950s

Fig. Fig. 2 2 TheThe arrival of approximately 500 500 West Indians, 19481948 arrival of approximately West Indians,

Pre-war Pre-war modernist modernist architecture architecture waswas often often about being of the ‘machine-age’, particularly about being partpart of the ‘machine-age’, particularly recognised Corbusier’s attitude towards recognised in in Le Le Corbusier’s attitude towards architecture when he writes a client: architecture when he writes to atoclient: “We“We havehave got got to compositions which so complicated usedused to compositions which are are so complicated thatthat impression carrying theythey givegive the the impression of of menmen carrying theirtheir intestines outside bodies. claim these intestines outside theirtheir bodies. We We claim thatthat these should remain inside... outside of the should remain inside... andand thatthat the the outside of the 8 8 house should appear in its all limpidity.” its limpidity.” Like house should appear in all Like the the machinery machinery of aof car, a car, the the constantly constantly changing changing andand complex complex building building technology technology of the of the building, building, andand its its labour, labour, should should be invisible be invisible andand enclosed enclosed withwith purepure casing. casing. It was It was predominantly predominantly about about ‘an understanding ‘an understanding 9 of function of function as aasscientifically a scientifically defined defined necessity’. necessity’. On9 On the the contrary, contrary, post-modernist post-modernist architects, architects, including including Le Le Corbusier, Corbusier, displayed displayed a dramatic a dramatic shiftshift of this of this ideology, ideology, andand began began to to express express a careful a careful andand sensuous sensuous appreciation appreciation of materials of materials in their in their raw raw state. state. TheThe mostmost notable notable project project of this of this shiftshift is the is the Maisons Maisons Jaoul, Jaoul, a a residential residential project project in the in the suburbs suburbs of Paris, of Paris, where where Le Le Corbusier Corbusier introduces introduces the the use use of exposed, of exposed, rough rough castcast b b brutbrut ; what ; what seems seems like like the etymology the etymology of of concrete, concrete, éton éton the the termterm Brutalism. Brutalism. According According to Alexander to Alexander Clement Clement though, though, the the seedseed or embryo or embryo of Brutalism of Brutalism maymay havehave come come fromfrom the the office office of Auguste of Auguste Perret, Perret, where where expression of structure in architecture became a core expression of structure in architecture became a core 10 10 theme by the 1920s. Consequently, having learnt theme by the 1920s. Consequently, having learnt fromfrom Perret’s Perret’s work, work, Le Corbusier Le Corbusier maymay havehave given given birthbirth to this to this ideology ideology through through the the projects projects Maisons Maisons Jaoul Jaoul andand Unité Unité d'habitation, d'habitation, andand the the Smithsons Smithsons therefore, therefore, gavegave this this movement movement a name a name andand place place to remain to remain andand nurture nurture – post-war – post-war Britain. Britain. In essence, In essence, post-war post-war modernism, modernism, as evident as evident in the in the works works of Le of Corbusier, Le Corbusier, the the Smithsons, Smithsons, various various members members of Team of Team 10 and 10 and other other notable notable architects, architects, sought sought to respect, to respect, expose expose andand celebrate celebrate this this previously previously unseen unseen physical physical (and(and intellectual) intellectual) labour labour andand technology technology hidden hidden behind behind ‘limpid’ ‘limpid’ walls. walls. TheThe movement movement hadhad already already begun begun before before professionals professionals in the in the industry industry knew knew whatwhat to call to call it – it – Alison Alison Smithson Smithson claimed claimed it as it as ‘the ‘the warehouse warehouse 11 11 aesthetic’ aesthetic’ . The . The Brutalist Brutalist architecture architecture stressed stressed the the importance importance of of exposing exposing structure, structure, exhibiting exhibiting theirtheir materiality materiality andand portraying portraying poetic poetic images images of of an an assemblage assemblage of ideas of ideas of people of people andand communities communities engaged engaged within within an urban an urban context. context. There There is often is often an an inherent inherent question question evident evident in the in the Smithsons’ Smithsons’ work; work; the the question question of how of how architecture architecture should should engage engage withwith

memories, memories, rituals rituals andand social social friction friction thatthat summed summed up up 12 12 the the qualities of modern lifestyle. The Smithsons’ qualities of modern lifestyle. The Smithsons’ interest interest in this in this movement movement waswas about about expressing expressing the the nature nature andand program program of the of the building building through through thorough thorough expression expression of material of material assembly assembly andand construction, construction, as as wellwell as an as aesthetic an aesthetic thatthat expresses expresses wider wider contextual contextual 13 13 issues issues of ‘social of ‘social realism’ realism’ . In . an In alternative an alternative sense, sense, Brutalism Brutalism expresses expresses a poetry a poetry of of intense intense labour labour involved involved in making in making buildings, buildings, expressing expressing exposed exposed materials materials as as ornament, ornament, andand in effect, in effect, labourers labourers as as artists. artists. According According to Clement, to Clement, Brutalism Brutalism waswas partpart of aof a wider wider cultural cultural movement movement in the in arts, the arts, design design andand politics politics 14 amidst amidst a confused a confused andand damaged damaged post-war post-war Britain Britain – 14 it – it 15 15 waswas an ‘aesthetic an ‘aesthetic of change’. of change’. Whilst Whilst Brutalism Brutalism maymay not not havehave been been a term a term usedused by by many many in the in the earlyearly 1950s, 1950s, the the Hunstanton Hunstanton School School by by the the Smithsons Smithsons certainly certainly fallsfalls under under this this category category as one as one of the of the first first of many of many in Britain. in Britain. AfterAfter having having wonwon a competition, a competition, the the Smithsons, Smithsons, veryvery earlyearly on in ontheir in their freshly freshly established established career, career, gavegave life to lifetheir to their emerging emerging ideas ideas in architecture. in architecture. TheThe school school reflects reflects the the amalgamation amalgamation of of theirtheir interests interests in in classicism, classicism, asymmetrical asymmetricalplanning, planning,andandmostmostimportantly importantly celebrating celebrating the the crudeness crudeness of as-found of as-found materials materials andand methods methods of construction. of construction. A landmark A landmark in ainmelancholic a melancholic landscape, landscape, oneone thatthat evokes evokes images images of industrial of industrial buildings, Hunstanton School stood asobject an object buildings, the the Hunstanton School stood as an in in 16 16 the the distance (fig.4). An An object thatthat is made of an distance (fig.4). object is made of an ordered ordered organisation organisation of volumes, of volumes, builtbuilt withwith a network a network of steel of steel frames, frames, locallocal brickwork brickwork infill,infill, panels panels in parts in parts 17 17 andand ample ample glazing. glazing. TheThe carefully carefully accentuated accentuated colour colour scheme scheme withwith red red andand yellow yellow as as primary primary colours colours 18 18 retained retained the the primary primary theme; theme; the the ‘brutal’ ‘brutal’ display display of of labour labour involved involved in crafting in crafting andand assembling assembling space space thatthat embodies embodies emotional emotional capacity capacity andand a texture a texture to to remember. remember. Even Even elements elements like like washbasins washbasins andand the the water water tanktank are are expressed expressed in a in language a language borrowed borrowed fromfrom the industrial the industrial world. world. A notion A notion parallel parallel to this to this crude crude ‘warehouse ‘warehouse 19 aesthetic’ aesthetic’ waswas the the notion notion of economy of economy of means of means ; a19; a notion notion thatthat goesgoes hand hand in hand in hand withwith the Smithsons’ the Smithsons’ ideaidea of Brutalism of Brutalism as aasresponse a response to the to the mass mass production production culture. culture. To achieve To achieve the overall the overall slenderness slenderness of the of steel the steel p p theory theory of structural of structural structure, structure, theythey explored explored the the lastic lastic engineering engineering by pre-welding by pre-welding the steel the steel frames frames to achieve to achieve 20 20 ‘extreme ‘extreme economy’. economy’. Thus, Thus, it further it further goesgoes to show to show thatthat Brutalism Brutalism maymay not not always always havehave been been intended intended to be toabe a heavy heavy raw raw

8 Alan Alan Colquhoun, Colquhoun, Modern Modern Architecture, Architecture, 2002,2002, p.137p.137 9 Christoph Christoph Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday ed. by ed. by Inhabitation’, Inhabitation’, Alison Alison & Peter & Peter Smithson: Smithson: A Critical A Critical Anthology, Anthology, Max Max Risselada, Risselada, 2011,2011, p. 99p. 99 10 10 Alexander Alexander Clement, Clement, Brutalism: Brutalism: Post-War Post-War British British Architecture, Architecture, 2012,2012, p. 14p. 14 11 11 Peter Peter Salter, Salter, ‘Strategy ‘Strategy and Detail’, and Detail’, Alison Alison & Peter & Peter Smithson: Smithson: A A ed. by ed.Max by Max Risselada, Risselada, 2011,2011, p.327p.327 Critical Critical Anthology, Anthology,

13 14 15 16 17 18 19 20

12 Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday Inhabitation’, Inhabitation’, p. 99p. 99 13 Curtis, Curtis, Modern Modern Architecture Architecture sincesince 1900,1900, p.530p.530 14 Clement, Clement, Brutalism: Brutalism: Post-War Post-War British British Architecture, Architecture, p. 33p. 33 15 Curtis, Curtis, Modern Modern Architecture Architecture sincesince 1900,1900, p.530p.530 16 Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday Inhabitation’, Inhabitation’, p. 103 p. 103 17 Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday Inhabitation’, Inhabitation’, p. 103 p. 103 18 Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday Inhabitation’, Inhabitation’, p. 103 p. 103 19 Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday Inhabitation’, Inhabitation’, p. 104 p. 104 20 Grafe, Grafe, ‘Finite ‘Finite Orders Orders and the andArt theofArt Everyday of Everyday Inhabitation’, Inhabitation’, p. 104 p. 104 9

Fig. Fig. 33 Hunstanton School; assembly hall Hunstanton School; assembly hall Fig.3 3 Fig. HunstantonSchool; School;assembly assemblyhall hall Hunstanton

Fig. Fig. 44 Hunstanton School; under construction Hunstanton School; under construction Fig.4 4 Fig. HunstantonSchool; School;under underconstruction construction Hunstanton 10

concrete object dominating in context, its context, which concrete object dominating in its which is is often it was/is perceived rather often whatwhat it was/is perceived as, as, but but rather an an appreciation of building materials in their or basic appreciation of building materials in their raw raw or basic state, exploring potential in achieving state, andand exploring theirtheir potential in achieving a a desired atmosphere language. In this case, desired atmosphere andand language. In this case, the the slenderness of the frames aimed to define slenderness of the steelsteel frames are are aimed to define a a certain surface a particular whether it’s brick, certain surface withwith a particular infill,infill, whether it’s brick, reminiscent of the domestic, panels reminiscent of the reminiscent of the domestic, panels reminiscent of the industrial, or glass and views as aspirations of industrial, or glass and views as aspirations of the the modern (figs.3-4). Parts of the building modern (figs.3-4). Parts of the building maymay not not havehave been successful in terms its services, especially been successful in terms of itsofservices, especially the the large openings which resulted overly large openings which resulted overly hot hot andand coldcold 21 21 classrooms in the summer winter respectively. classrooms in the summer andand winter respectively. However, it seems project predominantly However, it seems like like the the project waswas predominantly about amalgamation interrelation of formal about amalgamation andand interrelation of formal andand informal spaces defined particular choices informal spaces defined by by particular choices of of materiality; an alternative modern model for schools materiality; an alternative modern model for schools to to forward in the future; not much attention taketake forward in the future; andand not much attention waswas to question the question of heating cooling. paidpaid to the of heating andand cooling. Perhaps successful realisation Perhaps the the mostmost successful realisation of of ideas in their project executed onJames’s St James’s theirtheir ideas lied lied in their project executed on St street Economist magazine, a more street for for TheThe Economist magazine, a more sophisticated subtle manifestation of Smithsons’ sophisticated andand subtle manifestation of Smithsons’ version of ‘ethical’ Brutalism. Three volumes carefully version of ‘ethical’ Brutalism. Three volumes carefully placed on the a programme its own, placed on the site,site, eacheach withwith a programme of itsofown, a raised courtyard in between, all synchronised, a raised courtyard in between, all synchronised, in in andand proportion in detail, Economist towers proportion andand in detail, TheThe Economist towers fit fit comfortably in it’s noble context. The tallest volume comfortably in it’s noble context. The tallest volume housed Economist’s offices, which is tucked away housed TheThe Economist’s offices, which is tucked away St James’s Street reducing its 14-storey impact. fromfrom St James’s Street reducing its 14-storey impact. volume on James’s St James’s street matches height TheThe volume on St street matches the the height proportions of the neighboring context which andand proportions of the neighboring context which re-housed previously existing Martins Bank re-housed the the previously existing Martins Bank andand businesses (fig.5). volume along retailretail businesses (fig.5). TheThe thirdthird volume along BuryBury Street served residential of the which Street served the the residential partpart of the briefbrief which housed Boodle’s chambers above. housed the the Boodle’s clubclub chambers andand flatsflats above. raised platform between buildings, TheThe raised platform between the the buildings, the the courtyard, ‘plaza’, allowed accommodating courtyard, or or ‘plaza’, allowed for for accommodating beneath it central services, a park car park a restaurant beneath it central services, a car andand a restaurant 22 22 Economist.TheThe chamfered corners for for TheThe Economist. chamfered corners are are a a result of identifying as empirical an empirical priority result of identifying lightlight as an priority for for modern architecture achieved imperative modern architecture andand achieved this this imperative by by opening up more angles for light to penetrate through opening up more angles for light to penetrate through 23 23 buildings. The chamfered corners further express the the buildings. The chamfered corners further express an inviting quality, which in the leads to the an inviting quality, which in the endend leads you you to the raised plaza; a place for solitude contemplation raised plaza; a place for solitude andand contemplation in in the realm of a busy urban setting (fig.6). This pursuit the realm of a busy urban setting (fig.6). This pursuit of of a contemplative atmosphere is supposedly reflected a contemplative atmosphere is supposedly reflected in in

‘monastic’ arrangements inside office building the the ‘monastic’ arrangements inside the the office building 24 24 as well. as well. decision to separate programs TheThe decision to separate the the programs into into three different buildings, slicing off the corner three different buildings, andand slicing off the corner of of an otherwise square of bank the bank building, instead an otherwise square planplan of the building, instead of housing everything in one tower, of housing everything in one big big tower, maymay havehave raised questions about property economics. However, raised questions about property economics. However, it goes to prove client’s disregard absolute it goes to prove the the client’s disregard for for absolute 25 25 commercial considerations. These decisions commercial considerations. These decisions maymay somewhat reflect a particular language of critical somewhat reflect a particular language of critical thinking. ‘brutal’ attitude towards planning thinking. TheThe ‘brutal’ attitude towards planning maymay resonate ‘ethics’ of Brutalism Smithsons resonate the the ‘ethics’ of Brutalism thatthat the the Smithsons speak of; being a social, cultural political speak of; being partpart of aofsocial, cultural andand political movement, rather merely seeking an aesthetic. movement, rather thanthan merely seeking an aesthetic. It It be about ‘brutal’ architectural approach, maymay be about this this ‘brutal’ architectural approach, thatthat certain decisions in the of the Smithsons, certain decisions in the workwork of the Smithsons, andand architects admired or worked particularly architects theythey admired or worked with,with, particularly in in Team movement, about challenging the the Team 10 10 movement, werewere about challenging mainstream modernism, resisting fashionable mainstream modernism, resisting the the fashionable 26 26 megastructures of the 1950s. They sought a method megastructures of the 1950s. They sought a method of planning in which ‘function structure, of planning in which ‘function andand structure, andand building easily be accommodated building andand city,city, can can easily be accommodated withwith 27 27 other’. Whilst engaged themselves eacheach other’. Whilst theythey engaged themselves withwith a certain optimism about modernity, the the past,past, theythey hadhad a certain optimism about modernity, in technology, made speculations about faithfaith in technology, andand made speculations about urban lifecome. to come. ‘If architecture to make a genuine urban life to ‘If architecture is toismake a genuine to the modern it must acknowledge, contribution contribution to the modern city,city, it must acknowledge, in conjunction the forces contribute andand workwork in conjunction with,with, the forces thatthat contribute 28 28 its making.’ to itstomaking.’ primitive awareness of spatial imperatives TheThe primitive awareness of spatial imperatives of the Smithsons commendable. Economist of the Smithsons waswas commendable. TheThe Economist towers display a hierarchy of spaces the activities towers display a hierarchy of spaces andand the activities within, in way the way planned as well within, bothboth in the thatthat theythey are are planned as well as as 29 29 proportions materiality. TheThe spatial theirtheir proportions andand materiality. spatial experiences, within buildings experiences, bothboth fromfrom within the the buildings andand its its urban context, paramount; hence of warm urban context, are are paramount; hence the the use use of warm coloured Portland stone, aluminium window frames, coloured Portland stone, aluminium window frames, gutters neatly extruded folded lining cillscills andand gutters neatly extruded like like folded lining boasting its malleable nature on the facades. The boasting its malleable nature on the facades. The set set towers present themselves a synthesis a ‘sedate towers present themselves as aas synthesis of a of ‘sedate solution’ ‘wilful brashness’ representing a kind solution’ andand ‘wilful brashness’ representing a kind of of 30 30 sophisticated, elegant Brutalism.Their Their sophisticated, elegant formform of of Brutalism. obsession about facing a ‘mass production obsession about facing up up to ato ‘mass production culture’ by maximising the potential of materials in their culture’ by maximising the potential of materials in their function appearance, expressing structural function andand appearance, andand expressing structural rhythm order, reinforces Brutalism as being much rhythm andand order, reinforces Brutalism as being much more than just a trend. Brutalism, for the Smithsons more than just a trend. Brutalism, for the Smithsons at at least, about balancing the future least, waswas about balancing the future

21 Clement, Brutalism: Post-War British Architecture, Clement, Brutalism: Post-War British Architecture, p. 85p. 85 22 Irenée Scalbert, ‘Architecture not made the Brain: Irenée Scalbert, ‘Architecture is notismade with with the Brain: The The Smithsons the Economist Building Plaza’, AA Files 30, 1995, p. p. Smithsons & the&Economist Building Plaza’, AA Files 30, 1995, 18 18 23 23 Scalbert, ‘Architecture not made the Brain’, Scalbert, ‘Architecture is notismade with with the Brain’, p. 18p. 18

25 26 27 28 29 30

24 Curtis, Modern Architecture Curtis, Modern Architecture sincesince 1900,1900, p.531p.531 25 Scalbert, ‘Architecture not made the Brain’, Scalbert, ‘Architecture is notismade with with the Brain’, p. 20p. 20 26 Scalbert, ‘Architecture not made the Brain’, Scalbert, ‘Architecture is notismade with with the Brain’, p. 24p. 24 27 Scalbert, ‘Architecture not made the Brain’, Scalbert, ‘Architecture is notismade with with the Brain’, p. 24p. 24 28 Scalbert, ‘Architecture not made the Brain’, Scalbert, ‘Architecture is notismade with with the Brain’, p. 25p. 25 29 Scalbert, ‘Architecture not made the Brain’, Scalbert, ‘Architecture is notismade with with the Brain’, p. 26p. 26 30 Curtis, Modern Architecture Curtis, Modern Architecture sincesince 1900,1900, p.531p.531

Fig.55 Fig. TheEconomist EconomistPlaza; Plaza;large largeopenings openings&&chamfered chamferedcorners corners The

andand the the past,past, appreciating pre-cast technology as aas a appreciating pre-cast technology contemporary craftcraft at the time,time, andand the the qualities of of contemporary at the qualities assemblage of these products as aascraft, resulting in in assemblage of these products a craft, resulting effectively ‘hand-made’ buildings. effectively ‘hand-made’ buildings.

Fig.Fig. 6 6 TheThe Economist Plaza by the site site planplan Economist Plaza by Smithsons; the Smithsons;

Whilst the the urban planning theories of Team 10 10 Whilst urban planning theories of Team maymay havehave influenced TheThe Economist project by aby great influenced Economist project a great deal,deal, it was not not untiluntil the the beginning of the 1970s when it was beginning of the 1970s when theythey fullyfully engaged theirtheir studies in their Robin Hood engaged studies in their Robin Hood housing scheme in Poplar; andand as Clement describes: housing scheme in Poplar; as Clement describes: ‘This‘This waswas Brutalism par par excellence andand placed its its Brutalism excellence placed architects firmly alongside the the likeslikes of Goldfinger, architects firmly alongside of Goldfinger, Louis Kahn andand Le Corbusier as masters of concrete.’ Louis Kahn Le Corbusier as masters of concrete.’ 31 31 The Team 10 commitment to develop an aesthetic of of The Team 10 commitment to develop an aesthetic ‘appropriate mechanised building’, andand the the studies on on ‘appropriate mechanised building’, studies ‘humanism’ exploring sociocultural andand technological ‘humanism’ exploring sociocultural technological problems of the contemporary postwar consumerist problems of the contemporary postwar consumerist society, allowed the the Smithsons to translate andand society, allowed Smithsons to translate 32 32 incorporate these ideas into into this this particular project. incorporate these ideas particular project. Peter Smithson, in their BBCBBC coverage on housing, Peter Smithson, in their coverage on housing, describes it asit an architectural model of of describes as alternative an alternative architectural model enjoyable living within a context of an industrial enjoyable living within a context of an industrial heritage, which reinforces theirtheir workwork as experimental heritage, which reinforces as experimental andand not not absolute - ‘We regard it asitaas demonstration of of absolute - ‘We regard a demonstration a more enjoyable wayway of living in an partpart a more enjoyable of living inold an industrial old industrial of the city.city. It is Ita ismodel, an exemplar, of aofnew mode of the a model, an exemplar, a new mode of urban organisation, andand we think we have here, a a of urban organisation, we think we have here, site site big big enough, so that when it’s finished, you’ll be enough, so that when it’s finished, you’ll be ableable to smell, feel feel andand experience the the newnew life being life being to smell, experience 33 33 youryour full full range of senses.’ The offered through offered through range of senses.’ The ‘ordinariness’ theythey speak of was not necessarily about ‘ordinariness’ speak of was not necessarily about resistance of expression, but but to seek expression fromfrom resistance of expression, to seek expression whatwhat is available in its state; ‘a provocative is available in honest its honest state; ‘a provocative 34 34 assimilation of the andand the spiritual’. assimilation of material the material the spiritual’. In the pursuit of the embodiment of this ‘ideal In the pursuit of the embodiment of this ‘ideal community’ and the (emerging) realities of urban life in community’ and the (emerging) realities of urban life in a modern solution, theirtheir response to the crisis, a modern solution, response to housing the housing crisis, partly influenced by Nigel Henderson’s photographs partly influenced by Nigel Henderson’s photographs portraying the the everyday street life, life, waswas about pursuing portraying everyday street about pursuing the the recreation of communal activities in high-rise recreation of communal activities in high-rise 35 35 developments. Even today, life in is about developments. Even today, lifesuburbia in suburbia is about social friction through a form of horizontality, where social friction through a form of horizontality, where gardens andand houses are are related to streets, parks, gardens houses related to streets, parks, town-centres, transport linkslinks andand so so on. on. TheThe town-centres, transport Smithsons, at Robin Hood, attempt to translate these Smithsons, at Robin Hood, attempt to translate these qualities of of life life in a through a a qualities in mega-structure a mega-structure through horizontal development rather than a vertical one horizontal development rather than a vertical one (fig.9). Their viewview on modernism, like like other members (fig.9). Their on modernism, other members of Team 10, 10, waswas to maintain community dynamics of Team to maintain community dynamics 36 36 rather thanthan change them. Two longlong blocks, winding rather change them. Two blocks, winding withwith the the footprint of the site site boundary, withwith widewide footprint of the boundary, 31 Clement, Brutalism: Post-War British Architecture, p. 87p. 87 Clement, Brutalism: Post-War British Architecture, 32 Peter Eisenman, ‘From Golden LaneLane to Robin HoodHood Gardens. Or Or Peter Eisenman, ‘From Golden to Robin Gardens. If You Follow the Yellow BrickBrick Road, It May Not Lead to Golders If You Follow the Yellow Road, It May Not Lead to Golders ed. by Green’, Alison & Peter Smithson: A Critical Anthology, ed.Max by Max Green’, Alison & Peter Smithson: A Critical Anthology, Risselada, 2011,2011, p. 207 Risselada, p. 207 33 33 BBC Two Two England, The Smithsons on Housing, prod.prod. By B.S. BBC England, The Smithsons on Housing, By B.S. Johnson, July July 19701970 Johnson, <https://www.youtube.com/watch?v=UH5thwHTYNk> [accessed 1 1 <https://www.youtube.com/watch?v=UH5thwHTYNk> [accessed January 2017]2017] January 34 34 Scalbert, ‘Architecture is notismade with with the Brain’, pp. 15-26 Scalbert, ‘Architecture not made the Brain’, pp. 15-26 35 35 Clement, Brutalism: Post-War British Architecture, p. 228 Clement, Brutalism: Post-War British Architecture, p. 228 36 36 Clement, Brutalism: Post-War British Architecture, p. 228 Clement, Brutalism: Post-War British Architecture, p. 228 13 31 32

Fig.Fig. 7 7 TheThe Economist Plaza; axonometric Economist Plaza; axonometric

access galleries stacked on top of each other to form access galleries stacked on top of each other to form terraces panoramic views ,attempts to encourage terraces withwith panoramic views ,attempts to encourage interaction between tenants as observed in Victorian interaction between tenants as observed in Victorian 37 37 streets of suburbia (fig.10). central open space streets of suburbia (fig.10). TheThe central open space a result, is protected road, accentuated as aasresult, is protected fromfrom the the road, accentuated artificial landscaping to prevent children withwith artificial landscaping to prevent children fromfrom 38 38 playing football deflect noise (fig.11). playing football andand deflect theirtheir noise (fig.11). facades appear important TheThe facades appear to to be be an an important feature of the overall design ambition feature of the overall design ambition andand iconography. Composed of concrete define iconography. Composed of concrete fins fins thatthat define spaces within, facades present themselves the the spaces within, the the facades present themselves as as a membrane-like element, and to Peter Eisenman, a membrane-like element, and to Peter Eisenman, an an analogy a wine where individual units analogy of aofwine rackrack where individual units cancan be be 39 39 (fig.8). The dropped in and bottles dropped in and out out like like winewine bottles (fig.8). The material language rhythmic order aimed to revert material language andand rhythmic order aimed to revert traffic noise as claimed by the architects traffic noise as claimed by the architects andand alsoalso display an obsessive aesthetic, as previously display an obsessive aesthetic, as previously mentioned, of physical intellectual labour involved mentioned, of physical andand intellectual labour involved in making buildings. A genuine attempt to revitalise in making buildings. A genuine attempt to revitalise a a derelict part of London, a built form of ‘ethical’ derelict part of London, a built form of ‘ethical’ Brutalism, Robin Hood brings together themes Brutalism, Robin Hood brings together the the themes of of emotional capacities of space, construction emotional capacities of space, construction as as an an anatomy space communal interaction anatomy of of space andand communal interaction at at different scales of living. different scales of living. contrary, according to some critics, On On the the contrary, according to some critics, the the Smithsons have failed recognize Smithsons maymay have failed to to recognize the the differences in the realities of the working class differences thatthat lied lied in the realities of the working class urban population versus the heavy consumerism urban population versus the heavy consumerism thatthat followed thereafter. Their shortcomings became followed thereafter. Their shortcomings became apparent when generosity of communal spaces, apparent when the the generosity of communal spaces, imagined to be full of life and friction, resulted imagined to be full of life and friction, resulted in in nothing vandalism, petty crime useless nothing but but vandalism, petty crime andand useless 40 40 Whilst the success at the ‘beyond ornamental’. ‘beyond the the ornamental’. Whilst the success at the urban level, a landmark in industrial an industrial landscape, urban level, as aaslandmark in an landscape, wasn’t questionable, private units, according wasn’t questionable, the the private units, according to to Eisenman, ‘hardly more adequate, Eisenman, are are ‘hardly more thanthan adequate, andand 41 41 In the pursuit of an emblem perhaps below standard.’ perhaps below standard.’ In the pursuit of an emblem of housing, a desire setting an example, of housing, a desire for for setting an example, did did the the smithsons really achieve what they preached? In the smithsons really achieve what they preached? In the midst of expressionism assemblage of form, midst of expressionism andand assemblage of form, imagery materials, actual spatial planning imagery andand materials, did did the the actual spatial planning do any justice? Because its ‘finished’ design do any justice? Because of itsof‘finished’ design withwith no no room for growth for the populations future needs, room for growth for the populations future needs, maymay be contradictory to the ‘ethical essence’ of Brutalism be contradictory to the ‘ethical essence’ of Brutalism speak as Eisenman it, ‘may theythey speak of, of, andand as Eisenman putsputs it, ‘may be be morally as untenable as providing no housing at 42 all.’42 morally as untenable as providing no housing at all.’ is important to see Brutalism a movement It is Itimportant to see Brutalism as aas movement rather an aesthetic or taste. ethical rather thanthan an aesthetic or taste. TheThe ethical voidvoid in in architecture remains same in contemporary architecture still still remains the the same in contemporary architecture: of engaging materials, human architecture: the the lacklack of engaging materials, human 37 38 39 40 41 42

37 Clement, Brutalism: Post-War British Architecture, p. 228 Clement, Brutalism: Post-War British Architecture, p. 228 38 England, he Smithsons on Housing BBCBBC Two Two England, The T Smithsons on Housing 39 Eisenman, ‘From Golden to Robin Gardens’, p. 217 Eisenman, ‘From Golden LaneLane to Robin HoodHood Gardens’, p. 217 40 Clement, Brutalism: Post-War British Architecture, p. 231 Clement, Brutalism: Post-War British Architecture, p. 231 41 Eisenman, ‘From Golden to Robin Gardens’, p. 217 Eisenman, ‘From Golden LaneLane to Robin HoodHood Gardens’, p. 217 42 Eisenman, ‘From Golden to Robin Gardens’, p. 222 Eisenman, ‘From Golden LaneLane to Robin HoodHood Gardens’, p. 222 14

interaction technology architecture interaction andand technology in in architecture in in a a responsible manner. It appears perhaps responsible manner. It appears that,that, perhaps the the attitude of regeneration of the post-war society attitude of regeneration of the post-war society no no longer blossoms today in many parts of the longer blossoms today in many parts of the city city andand country, perhaps definition of social housing country, andand perhaps the the definition of social housing appreciating social ideals in architecture have andand appreciating social ideals in architecture maymay have changed within authorities time. a result, changed within the the authorities overover time. As aAsresult, architectureis isblamed blamedfor forthe thevarious various the thearchitecture shortcomings, failing to be perceived as a list-worthy shortcomings, failing to be perceived as a list-worthy building by Historic England being victimised building by Historic England andand being victimised by by council a failure. a reassessment of the the the council as aasfailure. Yet,Yet, a reassessment of the distribution of flats of the building by the distribution of flats andand useuse of the building by the council, an extensive refurbishment could have council, andand an extensive refurbishment could have served more justice to what is now being replaced served more justice to what is now being replaced withwith what is driven by economics, ethics. what is driven by economics, not not ethics.

Fig.Fig. 8 8 Robin Hood Gardens; rhythm order Robin Hood Gardens; rhythm andand order

Fig.Fig. 9 9 Robin Hood Gardens; a landmark a landscape Robin Hood Gardens; a landmark in ainlandscape

Fig. 10 Robin Hood Gardens; wide access galleries & uninterrupted views

Fig. 11 Robin Hood Gardens; artificial landscaping & sunken childrenâ&#x20AC;&#x2122;s play area 15

Bibliography Alexander Clement, Brutalism: Post-War British Architecture, 2012 Alan Colquhoun, Modern Architecture, 2002 William Curtis, M odern Architecture since 1900, 1996 Elaine Harwood, S pace Hope and Brutalism: English Architecture 1945 – 1975, 2014 Irenée Scalbert, ‘Architecture is not made with the Brain; The Smithsons & the Economist Building Plaza’, A A Files 30, 1995 Alison and Peter Smithson, ‘The New Brutalism’, Architectural Design 27, April 1957 Various, Alison & Peter Smithson: A Critical Anthology, ed. by Max Risselada, 2011

In-depth: Race, 17 BBC Online, ‘Short history of immigration’, BBC <http://news.bbc.co.uk/hi/english/static/in_depth/uk/2002/race/short_history_of_immigration.stm> [accessed 01 January 2017]

May

2002

BBC Two England, T he Smithsons on Housing, prod. By B.S. Johnson, July 1970 <YouTube 5 January 2013: https://www.youtube.com/watch?v=UH5thwHTYNk> [accessed 01 January 2017]

Illustration Credits Fig. 1 - Food rationing in the 1950s Ministry of Food, Imperial War Museum, <http://www.mylearning.org/food-in-the-1950s/images/1-1676/> [accessed 03 January 2017] Fig. 2 - The arrival of approximately 500 West Indians, 1948 Unknown, Watford African Caribbean Association, <http://www.wacas.org.uk/wp-content/uploads/2013/02/SS_Empire_Windrush.jpg> [accessed 03 January 2017] Fig. 3 - Hunstanton School; assembly hall Unknown, RIBA Archives, Architects Journal, <https://www.architectsjournal.co.uk/culture/from-the-archive-100-years-of-steel-in-architecture/10004902.article> [accessed 03 January 2017] Fig. 4 - Hunstanton School; under construction Nigel Henderson, Tate, <http://images.tate.org.uk/sites/default/files/images/upfront08_0.jpg> [accessed 03 January 2017] Fig. 5 - The Economist Plaza; large openings & chamfered corners Unknown, Architects Journal, <https://www.architectsjournal.co.uk/pictures/2000x2000fit/2/6/7/1445267_Smithsons_Economist_building_London1.j pg> [accessed 03 January 2017] Fig. 6 - The Economist Plaza by the Smithsons; site plan Unknown, BD Online, <http://www.bdonline.co.uk/Pictures/web/e/f/z/economist-web-pla_519.jpg> [accessed 03 January 2017] Fig. 7 - The Economist Plaza; axonometric Unknown, Pinterest, <https://s-media-cache-ak0.pinimg.com/564x/1b/ac/44/1bac44f4f5175523bdf93aa5cef136de.jpg> [accessed 03 January 2017] 16

Fig. 8 - Robin Hood Gardens; rhythm and order Luke Hayes, Dezeen, <http://static.dezeen.com/uploads/2015/03/Robin-Hood-Gardens-photography-by-Luke-Hayes_dezeen_468_5.jpg> [accessed 03 January 2017] Fig. 9 - Robin Hood Gardens; a landmark in a landscape Unknown, Dezeen, <https://www.dezeen.com/2015/06/18/richard-rogers-calls-for-architects-help-save-brutalist-robin-hood-gardens-brutali sm-poplar-london-england/> [accessed 03 January 2017] Fig. 10 - Robin Hood Gardens; wide access galleries & uninterrupted views Sandra Lousada, The Smithson Family Collection, 1972, <https://municipaldreams.wordpress.com/2014/02/11/robin-hood-gardens-poplar-presence-dignity-and-a-bit-grim/> [accessed 03 January 2017] Fig. 11 - Robin Hood Gardens; artificial landscaping & sunken childrenâ&#x20AC;&#x2122;s play area Sandra Lousada, The Smithson Family Collection, 1972, <https://municipaldreams.wordpress.com/2014/02/11/robin-hood-gardens-poplar-presence-dignity-and-a-bit-grim/> [accessed 03 January 2017]

5 4

1. Dartington Village 2. Foxhole

3. Schumacher College 5. Dartington Hall 1. Dartington6. Village 4. High Cross House Staverton Village

7. Totnes Station

2. Foxhole (former Dartington Hall School) 3. Schumacher College 4. High Cross House 5. Dartington Hall

Dartington Estate, Devon, UK Satellite Location 1:20000

6. Staverton Village

7. Totnes Station GSPublisherEngine 0.0.100.100

18 N

GSPublisherEngine 0.0.100.100

Dartington Satellite Map Portfolio 1:12500

Elmhirsts & Dartington Dartington was a 14th C neglected estate bought in the 1930s by Dorothy and Leonard Elmhirst to begin a ‘rural regeneration’ project called the ‘Dartington Experiement’. The estate has since been transformed into a place for innovation and richness in many sides of life including farming and crafts. The rich medieval history of the medieval Dartington Hall coupled with the project by the Elmhirsts makes the estate a complex whole. Dartington became a hub of creatives and pioneers from around the world; artists, architects, writers, philosophers, musicians and more. One of the many stories that substantiates the legacy and success of the Elmhirst’s’ vision is the establishment of Staverton, a furniture design and manufacturing company, whose heritage comes from the craftsmen brought from across the country to restore the then ruined Dartington Hall. The Hall then became an important civic space housing various uses over the course of this movement. Some of the current projects by the estate include the introduction of a silvoarable and silvopastoral agroforestry field, believed to be the first of its kind in the UK, and provision of housing within the context of a new land-use review, to sustain a healthy financial future and continue the Elmhirst’s’ legacy.

Dartington Estate Northwood plantation 20

Dartington Estate Land-use Review Map From Dartington.Org 21

Ca Romanino Light, Shadow, Texture Refer to SURVEY booklet 24

Survey: Three Houses Part of Unit 2’s agenda this year was to survey, explore and study three particular houses from three different times and languages; Bayleaf Hall House, Ca Romanino and High Cross House. Bayleaf Hall House, originating from Kent and re-built in the Weald & Downland Open Air Museum is a typical medieval barn house dating 15th-16th C. The building appears to be divided in two wings, sleeping and services, with a central double-height congregational hall. High Cross House is a modernist house designed by William Lescaze and built for the first headmaster of Dartington Hall School in the ‘30s. This ‘machine’ for living appears to have subtle hierarchy of spaces articulated by room heights and circulation. Ca Romanino, probably the most interesting out of the three, was designed by Giancarlo de Carlo and built for a philosopher friend in the ‘60s. The house is situated on a hilltop in the Marche region in Italy in close proximity to Urbino. The aim of this survey was to enrich our understanding of domestic spaces through the different ages and architectural approaches. The surveys were translated into sets of measured drawings and a collection of photographs for each building. The following pages, show a selection of relevant images from the survey.

Section S5 Scale 1:200 Bayleaf Hall House, Weald (Kent)

Unit 2: 1956... and all that

Section S5 Scale 1:200 Bayleaf Hall House, Weald (Kent)

Unit 2: 1956... and all that

Section S5 Scale 1:200 Unit 2: 1956... and all that

Bayleaf Hall House, Weald (Kent)

84 Section 6 Scale 1:200

High Cross House, Dartington Estate

Unit 2: 1956... and all that

Section 6 Scale 1:200 High Cross House, Dartington Estate

Unit 2: 1956... and all that

Section 6 Scale 1:200 High Cross House, Dartington Estate

Three Houses Hierarchy of Spaces 1:200 26

Ca Romanino, Urbino

Drawings from A Collective Survey Unit 2

Three Houses Congregation 27

High Cross House Cast Volumes 28

1. Sloping landscape 2. Load bearing brick wall, flemish bond 3. Concrete lintel/cill (desk/seat) 4. Concrete raft foundation 5. Concrete retaining wall 6. Fireplace 7. Non-load bearing brick wall, flemish bond 8. Timber sliding partition wall/door 9. Staircase; timber treads, steel balustrade & brackets 10. Concrete floor slab 11. Concrete parapet 12. Skylight 13. Concrete pathway 14. Concrete roof slab

0.0.100.100 GSPublisherEngine 0.36.100.98

Ca Romanino Isometric 06/12/2016 Portfolio 1:125 1:1

Ca Romanino Isometric Diagram 1:200 29

Ca Romanino Brick & board-marked concrete 30

Ca Romanino Face applied glazing 31

rEngine 0.36.100.98

House

House House

Tower

Tower Tower

Tower

Settlement

Settlement Settlement

Settlement

Bridge Bridge

Language Portfolio 1:250

Bridge

Language Portfolio 1:250

Language The project picks up on the legacy of craft in Dartington and pursues a distinct tectonic character of spaces defined by a language of form, material and colour. The pursuit of this language is characterised by the practice of sand-blasting form-work to accentuate timber grain, the red pigmentation of concrete and lime render to evoke the colour of Dartingtonâ&#x20AC;&#x2122;s red mud and the use of vaulted celing structure to express the contrast of the interior and exterior experiences. Consequently, the thesis manifests itself as a progression of this language, through a series of interventions in a remarkable landscape in varying scales and typologies. A house is built as a prototype, a tower as a landmark folly, a settlement of live-work flats reorganising an existing clutter into a craftsmenâ&#x20AC;&#x2122;s courtyard and a bridge connecting the estate to the village. Together establish a new gradient-free pedestrian route from the notional centre of the village, The Cott Inn Pub, to Staverton Village via Dartington Hall. Each of these interventions are situated in their unique contexts and respond to their respective site qualities, aiming to reflect a common character. Together they form a narrative of a lifetimeâ&#x20AC;&#x2122;s work of an aspiring builder through increasing scale and complexity.

Characteristics: 'Courtyard' formed by trees Views to Staverton Village Undulating landscape Extension of Lescaze's Houses

House Satellite Location 1:20000

Walkable proximity to Dartington Hall

GSPublisherEngine 0.0.100.100

34 N

GSPublisherEngine 0.0.100.100

House Location Portfolio 1:12500

House Situated at the northern edge of the estate adjacent to the River Dart, the site selected is an undulating landscape enveloped by trees forming a ‘courtyard’ in the landscape. It’s close proximity to the medieval Hall and its views downhill to Staverton Village, makes it a pivotal location for a stand-alone object. The house is essentially the prototype and experiment in this narrative. It acts as a catalyst of the desired language of a particular architecture characterised by a distinct form and material presence in an undulating landscape. Spatially, it is an amalgamation of rooms into two separated volumes to distinguish the sleeping spaces from the living, dining and cooking spaces. This separation is open to the weather, providing glimpses of the landscape, and is articulated by a hot water feature for therapeutic and hygienic purposes. Albeit the couryard being open to the weather, the separation is ‘tied’ back with the circulation areas being roofed. The hierarchy of the rooms is characterised by the changing levels of height following the slope in the site. Large south-west facing windows allow maximum evening light and views out to a remarkable landscape.

Site: House South-East View 36

Photo by Khuong Vo

Site: House North-West View 37

Thesis Initial Cast Model 38

House Cast Model Collage 39

House Floor Plan 1:200 40

GSPublisherEngine 0.0.100.100

Characteristics: 'Courtyard' formed by trees Views to Staverton Village Undulating landscape Extension of Lescaze's Houses Walkable proximity to Dartington Hall

GSPublisherEngine 0.0.100.100

House Roof Plan 1:200

House Location Portfolio 1:12500

South Section: Living

South Section: Courtyard

House Sections Portfolio 1:100

GSPublisherEngine 0.35.100.98

South Section: Courtyard

House Sections Portfolio 1:100

GSPublisherEngine 0.35.100.98

House Sections 1:200 42

South Elevation

North Elevation

House Elevations Portfolio 1:100

GSPublisherEngine 0.35.100.98

North Elevation

House Elevations Portfolio 1:100

GSPublisherEngine 0.35.100.98

House Elevations 1:200 43

House Section 1:200 44

House Elevation 1:200 45

House Exterior View 46

House Interior View 47

top-bottom Steam-bent sand-blasted timber formwork Plaster & cement sample casts Refer to FRAGMENT booklet 48

Material language Sand-blasting, as a method of applying a ‘force’ to a material to change its surface properties, was identified as a contemporary craft. The as-found landscape with moments of dark red/brown soil in an other wise green landscape was a provocation of what the colour of the surface might be like. The idea of a ‘double’ form, where the exterior presents itself as a contrast to the interior, cultivated the decision of introducing a vaulted interior. The culmination of these ideas resulted in a house that is built on a raft foundation with load-bearing composite walls and pre-cast vaulted roof ‘units’. The vaulted ‘units’ covering each ‘volume’ in one level aim to achieve an economy of means to reduce the need for reinforcement as well as articulate the interior spaces reflecting upon the undulating landscape of Dartington. The interior walls are pre-cast exposed pigmented concrete, as are the vaults, using natural red ochres. The formwork for the concrete is sand-blasted timber to accentuate the timber grain relief, giving the surfaces a tactile quality. The outer walls are lime-rendered block work to achieve the contrast of the smooth banal exterior and rich interior. The window and door frames, skirting and floor are all locally sourced hardwood.

House Isometric Diagrams 1:200 50

House Isometric Diagrams 1:200 52 GSPublisherEngine 0.0.100.100

Structure & MEP 1. Concrete retaining walls 2. Cast in-situ concrete steps 3. Raft foundation 4. Pre-cast concrete steps 5. Courtyard water feature 6. Load-bearing composite walls 7. Concrete parapet 8. Pre-cast concrete vaults 9. Hardwood framed windows & doors

GSPublisherEngine 0.0.100.100

The structure is a composition of load bearing cavity walls supported by a raft foundation and pre-cast concrete vaulted ‘units’ of roof structure. The roof ‘deck’ is comprised of timber joists, counter battens and plywood. The interior walls are pre-cast concrete and the exterior skin is concrete blockwork. All exterior steps are cast in-situ with the rafts and all interior steps are pre-cast. All parapets and retaining walls are cast in-situ. All openings are supported by lintels and sills. The courtyard and roof have semi-permeable materials and are sloped appropriately for drainage at a slope of 2%. Roof overflow is consolidated with bronze spouts matching to parapet coping. All down pipes are hidden in wall cavities, all rain water drainage leads to a soakaway pit on site with the help of french drains and all foul drainage leads to a septic tank. Generous window sizes allow for sufficient daylight and natural ventilation. Underfloor heating/cooling pipes are integrated in the floor build up. 53

Vaults looking down 03/03/2017 1:50

GSPublisherEngine 0.44.100.98

House Precast Vaults Diagram 1:100 54

House Vaulted Ceiling 1:100 55

17 20 25 24 01 02 03

04 05 06

08 09

10 11 12

23 22 21 20 19

12 11 13 05 04 14 15 16 17 16

Section/elevation

House Detail Interior Section 1:25 56

Int

01. Bronze coping 02. Lime render, red ochre pigment 03. Concrete parapet 04. Concrete block-work 05. Rigid insulation 06. Mineral wool insulation 07. Concrete vaulted roof structure, red ochre pigment 08. Internal concrete wall, red ochre pigment 09. Standard wall tie 10. Concrete lintel 11. Locally sourced hardwood frame & lining 12 Double glazing, Low E, internal laminated, external toughened 13. Concrete sill 14. Drip bead 15. Lean mix cavity fill 16. Damp proof membrane (DPM) 17. Gravel 18. French drain to soak-away pit 19. Concrete raft foundation 20. DPM & rigid insulation 21. Levelling screed 22. Hardwood floor 23. Hardwood skirting 24. Timber joists & counter battens 25. Marine grade plywood 26. Semi-permeable concrete paving, exposed aggregate

House Detail Cast Ceiling Model 57

Interior elevation

House Detail Interior Elevation 1:25 58

Exterior elevation

Section/elevation

House Detail Exterior Elevation 1:25 59

Characteristics: Centre of new agroforestry field Adjacent to existing track Walkable proximity to Dartington Hall Walkable proximity to existing businesses

Tower Satellite Location 1:20000

GSPublisherEngine 0.0.100.100

60 N

GSPublisherEngine 0.0.100.100

Tower Location Portfolio 1:12500

Tower Responding to Dartington’s recent endeavour of possibly the UK’s first model of silvoarable and silvopastoral agroforestry in an existing field just south of the listed gardens of Dartington Hall, the site selected is the centre of this field adjacent to an existing maintenance track. Yet another pivotal point, the landscape forms a subtle bowling undulation and at the same time is at higher ground than the existing businesses and farming community south-west of the field. The tower is a landmark folly in this new regimented orchard growing from a walled garden. The orientation attempts to guide the pedestrian towards Dartington Hall. It is the vertical arrangement of the ‘language’ of red concrete and vaulted interiors to accommodate the management of the field and research. Spatially, it is a vertical amalgamation of rooms serviced by a staircase and a small lift. The first floor is suggested to be a working space for the management of the field. The following upper floors accommodate local and visiting researchers. The fifth level is suggested to be a winter lounge and the top most level is the summer terrace and observatory. The ground floor consists of an entrance articulated by a drinking water trough and a walled garden.

Site: Tower North View 62

Site: Tower North View 2 63

Site: Tower South East View Maintenance Track

GSPublisherEngine 0.0.100.100

Tower Floor Plan G 1:200 Characteristics:

Walkable proximity to Dartington Hall

Extension of Lescaze's Houses

Undulating landscape

Views to Staverton Village

'Courtyard' formed by trees

House Location Portfolio 1:12500

GSPublisherEngine 0.0.100.100

Tower Floor Plan G+1 1:200

Extension of Lescaze's Houses Walkable proximity to Dartington Hall

House Location Portfolio 1:12500

.36.100.98

North Elevation

West Elevation

Tower North Elevation 1:200 68

TOPOGRAPHY

North Elevation

TOPOGRAPHY Tower West Elevation 1:200 69

Tower Section 1:200 70

Tower Elevation 1:200 71

Tower Approach 72

Tower Landmark 73

8 6

3 2

Tower Isometric Diagrams 1:200 74 GSPublisherEngine 0.0.100.100

Structure & MEP 1. Concrete pre-cast ‘blade’ columns 2. Concrete cast in-situ wall 3. Load-bearing pre-cast concrete cavity walls 4. Concrete stair-case & service voids 5. Lift shaft, 450kg capacity, Ref: Schindler 3100 6. Concrete parapet cast in-situ 7. Pre-cast concrete vaults 8. Hardwood framed windows & doors

The structure is a composition of load bearing pre-cast concrete cavity walls supported by pile foundations and pre-cast concrete vaulted ‘units’ of floor structure. The floor ‘deck’ is similar to the house roof; comprised of timber joists, counter battens and a hardwood floor. The staircase and lift shafts are concrete cast in-situ. The lift is a small passenger lift for a maximum of six passengers and its control is integrated within the doors. The walled garden and roof have semi-permeable materials and are sloped appropriately for drainage at a slope of 2%. Roof overflow is consolidated with bronze spouts matching to parapet coping. All down pipes are hidden in wall cavities, all rain water drainage leads to a soak-away pit on site with the help of french drains and all foul drainage leads to a septic tank. Generous window sizes allow for sufficient daylight and natural ventilation. Underfloor heating/cooling pipes are integrated in the floor build up. 75

Characteristics: 'Innovative' businesses Sheds in deterioration Cluttered & dispersed 'energy' Adjacent to new agroforestry field

Settlement Satellite Location 1:20000

Adjacent to various farming activities

GSPublisherEngine 0.0.100.100

76 N

GSPublisherEngine 0.0.100.100

Settlement Location Portfolio 1:12500

Settlement Situated at the west end and lowest point of the new agroforestry field, the site is characterised by an existing clutter of deteriorating sheds that house workshops and offices for innovative businesses which often offer training as well. These include leather tanning, carpentry, growing fungi, green funeral services and farms for horticultural education and community farming for children. The settlement attempts to reorganise this dispersed energy into a ‘charged void’ by removing all existing sheds but one and replacing them with two red ‘objects’ that fit into the regimented orchard creating a new outdoor civic space. These live-work buildings are a further iteration of the language of the overall narrative. Their proportions and constriction of spaces give them a surreal urban quality in an otherwise rural landscape. The one concrete framed shed is proposed to be revitalised and remoulded into an indoor civic space for the craftsmen and farmers. Clad in timber externally and plastered internally with a vaulted form, it serves as a multifunctional congregational space with modern IT facilities. The outdoor civic space, the courtyard, serves as a congregational space for temporal activities such as summer craft exhibitions or market stalls.

Site: Settlement Childrenâ&#x20AC;&#x2122;s Farm 78

Site: Settlement Existing Businesses 79

Tower & Settlement Site Plan 1:1250 80

GSPublisherEngine 0.0.100.100

Settlement Floor Plan G 1:1000

GSPublisherEngine 0.0.100.100

Settlement Courtyard G Portfolio 1:500

GSPublisherEngine 0.35.100.98

Characteristics:

Walkable proximity to Dartington Hall

Extension of Lescaze's Houses

Undulating landscape

Views to Staverton Village

'Courtyard' formed by trees

House Location Portfolio 1:12500

GSPublisherEngine 0.0.100.100

Settlement Courtyard G+1 Portfolio 1:500

GSPublisherEngine 0.35.100.98

Settlement Floor Plan G+1 1:1000

Extension of Lescaze's Houses Walkable proximity to Dartington Hall

House Location Portfolio 1:12500

Live/Work Floor Plan G 1:350

GSPublisherEngine 0.35.100.98

GSPublisherEngine 0.0.100.100

Settlement Live/Work G Portfolio 1:200

Characteristics:

Walkable proximity to Dartington Hall

Extension of Lescaze's Houses

Undulating landscape

Views to Staverton Village

'Courtyard' formed by trees

House Location Portfolio 1:12500

GSPublisherEngine 0.35.100.98

GSPublisherEngine 0.0.100.100

Settlement Live/Work G+1 Portfolio 1:200

Live/Work Floor Plan G+1 1:350

Extension of Lescaze's Houses Walkable proximity to Dartington Hall

House Location Portfolio 1:12500

North Section: Courtyard & Learning Hub North Section: Courtyard & Learning Hub North Section: Courtyard & Learning Hub

North Elevation North Elevation North Elevation

West Elevation/Section West Elevation/Section West Elevation/Section

Live/Work Elevations & Sections 1:350 GSPublisherEngine 0.35.100.98

GSPublisherEngine 0.35.100.98

Settlement Sections & Elevations Portfolio Settlement Sections & Elevations 1:200 Portfolio Settlement Sections & Elevations 1:200 Portfolio 1:200

GSPublisherEngine 0.0.100.100

Settlement House Typ. Portfolio 1:100

GSPublisherEngine 0.35.100.98

Live/Work Floor Plan G 1:200

Extension of Lescaze's Houses Walkable proximity to Dartington Hall

House Location Portfolio 1:12500

Settlement S Elevation Portfolio xx 1:100 GSPublisherEngine 0.37.100.98

Live/work South Elevation 1:350 88

Settlement W Elevation Portfolio xx 1:100 GSPublisherEngine 0.37.100.98

Live/work West Elevation 1:350 89

Settlement Rear View 90

Settlement Courtyard View 91

8 5

7 6 9

Settlement Isometric Diagram 1:500 92

Structure & MEP 1. Existing water tank 2. Concrete framed, timber clad civic building 3. Community farm for children 4. Craftmen’s courtyard; semi-permeable paving 5. Concrete staircase cast in-situ 6. Pre-cast load-bearing concrete cavity walls 7. Concrete parapet 8. Pre-cast concrete vaults, same as House & Tower 9. Hardwood framed windows & doors

The structure is a composition of load bearing concrete cavity walls supported by raft foundations and pre-cast concrete vaulted ‘units’ of roof and floor structure similar to the House and Tower. The staircases and parapets are concrete cast in-situ. The courtyard and roofs have semi-permeable materials and are sloped appropriately for drainage at a slope of 2%. Roof overflow is consolidated with bronze spouts matching to parapet coping. All down pipes are hidden in wall cavities, all rain water is collected in an existing water tank with the help of french drains and all foul drainage leads to a septic tank. Tank overflow leads to a soak away pit on site. Generous window sizes allow for sufficient daylight and natural ventilation. Underfloor heating/cooling pipes are integrated in the floor build up. Plant rooms are suggested to be under the staircases. 93

Characteristics: Connecting existing Estate path network Valley 'segregating' Dartington Estate & Village Connecting route to centre of Dartington Village

Bridge Satellite Location 1:20000

GSPublisherEngine 0.0.100.100

94 N

GSPublisherEngine 0.0.100.100

Bridge Location Portfolio 1:12500

Bridge Towards the south-west of the estate, a valley is carved out by the A385 road that currently segregates the village from the estate. This results in a long-winded walking or cycyling route and consequently more cars being driven up the estate. The site connects to an existing network of paths that leads up to the notional centre of the village, The Cott’s Inn Pub. The bridge is a radical transformation of the place serving pedestrians and cyclists. It is the culmination of an infrastructural scale in this narrative of a ‘language. The linguistic expression of the vaults appear both in the undercroft as large units of structure and in the insides of the parapet walls as smaller elements of relief. The concrete post-tensioned girders are deliberately column-free and supported by pedestal pier foundations on either sides of the length. This reinforces the poetry of a red line in a green landscape The secondary concrete beams span the width of the bridge and support the vaulted deck. The total depth of the bridge is 4.8 metres and the access width is 4 metres. The total length is just under 170 metres. There are no ramps or stairs up the bridge. This reinforces the idea of a seamless connection between the estate and the village; as the structure ‘grows’ from the landscape itself.

GSPublisherEngine 0.36.100.98

Bridge Section Bridge Section 1:500Portfolio 97

xx 1:350

GSPublisherEngine 0.36.100.98

Bridge Elevation Bridge Elevation 1:500Portfolio 99

xx 1:350

100

Bridge Enroute View 101

Key: N

GSPublisherEngine 0.0.100.100

Key:

The Cott Inn Pub, Dartington Village

Proposed new route

Existing access; part of new route

Proposed new buildings

The Cott Inn Pub, Dartington Village

Proposed new route

Existing access; part of new route

Proposed new buildings

Masterplan: New Ro Portf 1:50

GSPublisherEngine 0.0.100.100

Epilogue Masterplan: New Route 1:10000 102

GSPublisherEngine 0.0.100.100

Epilogue The linear progression of the house, tower, settlement and bridge results in an epilogue of a masterplan establishing a new gradient-free route from the Cottâ&#x20AC;&#x2122;s Inn Pub in Dartington Village, cutting accross the valley with the help of the bridge, through the new agroforestry field, Dartington Hall, the house and eventually leading to Staverton Village. The new route reinforces this idea of inclusiveness by connecting the existing villages and the estate together in an attempt to reinvigorate the Elmhirstsâ&#x20AC;&#x2122; vision. This is the most gradient-free path to Dartington Hall and will result in less cars being driven all the way up to the Hall; encouraging both locals and visitors to walk and/or cycling to and from the estate. Consequently this new route affects the parking provision strategy for the estate; aiming to reduce the amount of car parking required for events.

103