Academic Portfolio: M.Arch

ACADEMIC PORTFOLIO Murdo mcdermid

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s0812638

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m.arch

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ESALA /

2013-14

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

m.arch i

m.arch ii

1

41 Architectural DESIGN studio: c

Architectural DESIGN studio: a

SaltCity 2: Building in the city of unsure ground II - Lisbon

SaltCity 2: Architecture and the city of unsure ground - Edinburgh

13 Architectural Technology Research

67 Architectural management, practice and law

Generic Study: Timbrel vaulting Contextual Study: Building within a dense urban fabric

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Contract Game Examination

74 Architectural DESIGN studio: d

Architectural DESIGN studio: h

SaltCity 2: Building in the city of unsure ground I - Lisbon

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SaltCity 2: Architecture in the city of unsure ground - Lisbon

107 Studies in Contemporary Architectural Theory

Theory Diary: t-p-k / r-s-t / pm-pf-pi / c-n-f / u-t-p / a-s-n / w-v-r / h-m-q Essay: A semiotic reading of the Scottish parliament

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Design report

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Architectural Design Studio c SaltCity 2: Architecture and the city of unsure ground - Edinburgh

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh In collaboration with Duncan Chalmers | Jamie Henry | Douglas Walker

Brief Synopses

Course Aims

course Structure

The first semester of site and studio work in Edinburgh establishes the studio’s theme and means of inquiry. The focal area is the south side of the basalt islands which underpin the Old Town, the sedimentary area between the lines and remnants of the fifteenth and sixteenth century city walls. Methodologies of collection, field/ work, drawing and de-picting of sure and unsure ground, inform practices of design and situated design projects, culminating in an end of semester installed articulation of defined field, sites and speculative projects: a Metropolitan Excursus. This took the form of a modelled proposition carefully sited in the studio, which is supported by a critically reflective Book of Drawing and a Folio of Working Drawings. Tactics, projects and refined inquiries were then taken to Lisbon on a fieldtrip in the second week of the second semester. Working in Semester 1 in groups of 3-4, we presented our Metropolitan Excursus at the end of the semester, which articulates:

1. Develop an awareness of the full complexity of the contemporary environment and the possibilities and problematics of architecture’s interaction with it.

The semester was broken down into three main areas or stages of process towards the creation of a design: Investigation, which focused on the exploraion of Edinburgh in its wider context, as the general field of enquirery; Invention, which saw the beggins and formation of a select number of specific, potential sites for the housing of an architectural proposition and an indepth investigation into the perticular characteristics of these sites; the final stage saw the excurses, the propostion of an architecture within the Edinburgh context.

_ the city as a field of unsure ground between landform and land value (field, geological scale- drawings, models, film) _ sites invented in relation to fault lines, site (sight) lines, city walls, and building lines (1:500/ 1:50 sectional drawings, models) _ projects configured as a revisited Metropolitan Excursus which begins to articulate a new city interdependent with its ground (1:500/ 1:50)

2. Pursue architectural design as a critical process of research and inquiry (in relation to the specific issues raised by the unit briefs) and to follow the consequences of this across the full range of architectural scales.

3. Achieve conceptually rich and formally refined projects that respond to relevant contemporary discourses.

The process areas can be broken down as follows: 4. Develop and refine representational skills (drawing, modelling, photography, use of the computer and workshop) and the strategic use of different representational modes in the design process and in presentation.

+ Learning Outcomes LO1: The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. [How rigorously and critically has a ‘field” been identified and presented]

Investigation_ Field

The City of Contested Ground Strangeness & Estrangement Pinhole Edinburgh

Invention_ Site

Constructing Ground Grassmarket Figure Ground Extrapolating Contours An Imagined Grassmarket

Proposal_ Excuses Archive for the City and the City as an Archive

Figure ground model: Grassmarket, Edinburgh

LO2: The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns.

[How investigation of ground as unsure, built line and wall as a negotiation of this condition, and construction of a series of city situated architectural propositions which articulate a specific inquiry within the studio theme] LO3: A critical understanding of the effects of, and the development of skills in using, differing forms of representation (eg. Verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work. [How considered and rigorous drawing and modelling of city, land, ground, built fabric- both existing and speculative- acknowledge the city as a temporal as well as spatial and material condition]

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graduate attributes 4.1 4.2 4.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh In collaboration with Duncan Chalmers | Jamie Henry | Douglas Walker

Investigation_Field: The City of Contested Ground Considering the wider field of The City of Edinburgh, the project began with the accumulation of a number of historical maps covering a period of over 200 years, beginning at 1804. Each map selected demononstated a notable change to the urban fabric and/or sociological structure of the city. The alterations and morphologies were explored to gain an insight into the development of Edinburgh as a city.

John Ainslie map of Edinburgh: 1804

The Edinburgh Geographical Instituate : 1891

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh In collaboration with Duncan Chalmers | Jamie Henry | Douglas Walker

Investigation_Field: The City of Contested Ground Upon selecting and isolating certain aspects of interest common to a number of the maps, including private land boundaries, public buildings and space, royal municiple boundries and rail networks, a bricolage was created which allowed the identification of areas of land that where highly contested as Edinburgh grew and developed as a city.

The same maps were used to identify area of ‘public’ land and how this has developed and shifted throughout time.

The boundary lines including Royalty of Edinburgh, parish & municipal boundaries, city rail links and private spaces with named deeds apparent on historical maps initially seemed quite interesting, however became less important as the focus became more centered on the theme on ‘common ground’, which showed strongest presence in the comparisons between boundary shifts in public land and unnamed private property over the period of maps investigated.

Rail infrustructure: 1856 + 1891

Royalty of the City: 1821

Parish boundaries: 1821

Unamed private and public land boundaries: 1804, 1821, 1831, 1891

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh Investigation_Field: narrowing the field of inquiry Making use of the layered maps a number of area were identified where the negotiation of boundaries was particularly interminable and compared against the condition of ‘mutual strangeness’, identified and discussed by Sociologist Georg Simmel in his essay - ‘The Metropolis and Mental Life’. To this end, two photographic booklets were created, working in tandem, in order to investigate the condition of ‘mutual strangeness’ that is supposed to exist between inhabitants of large cities. The photographs also allowed for the visualiaztion of how this condition varies depending on location, topography and construction in the city and identify where it is most prevalent. Essentially, this condition allows strangers living together in the same city to share common space, feeling equal claim, responsibility and rights to inhabit such a space. Georg Simmel describes the condition of mutual strangeness as follows; “[S]olitude in the modern city can be read not simply in terms of estrangement from others, but in terms of an ethics of indifference which creates its own forms of freedom and a broad space for tolerance. The choice is not merely between alienation and familiarity; rather there exists ways of being with others in the city which preserve difference and maintain separateness while recognising shared claims to social space.”

Through these studies of a select number of locations in Edinburgh identified from the prior bricolage, it was discovered that the condition of mutual strangeness is most prevalent in the Grassmarket area, thus it became the chossen site to carry out further investigation towards achiving the ‘proposal_excursus’ section of the course.

Map indicating initial areas of investigation

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh Investigation_Field: pinhole edinburgh The photographic exercise was undertaken with a pinhole camera introducing techniques of pentimenti, sfumato and chiarascuro. A set was done during daylight hours and then again from the same locations between 4-5am in attempt to record the life of the city in two varied states as possible.

Pentimenti is featured in the unknown reaction of film and the untold actions of the subject as changes occur over the necessary long opening of the shutter time and the traces this leaves behind.

Traces which help one understand the environment which is being recorded and the effect this environment has on its inhabitants.

Sfumato is visible in the changing moments captured on the film.

Depending on the motion and nature of the changing element when paired with the available light the image can often be ambiguous whist containing much significance in reading the subject.

There is always the element of the unknown in pinhole photography as there is no viewfinder to frame the shot and as there is know real way of knowing how long to expose an image for, one can never tell how traces of movement and light will be received by the film. In the case of stylus and support, techniques introduced through the studio course, the light upon the subject acts as the stylus and the film as its support.

Cockburn Street/Fleshmarket Close Above: Day / Below: Night

The Royal Mile Above: Day / Below: Night

The Grassmarket Above: Day / Below: Night

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh Iivestigation/invention: the grassmarket Figure ground diagrams were produced from the four maps identified earlier in the ‘City of Contested Ground’ section. From these diagrams, a composite figure drawing was created allowing the identification of small pockets and slithers of the Grassmarket, where the ground had remained open and unchanged over our identified period, (1804 - Present Day) spaces of ‘tarry’.

Although enabling the identification of spaces which had ‘tarried’ over the last 200 years of history, the composite drawing is inherently flat and lends no spatial identity to each identified area.

In order to gain a spatial understanding, a layered massing model was constructed using the figure ground from each of the four maps as a way to give thickness in creating an imagined Grassmarket.

1804

Constructing an ‘Imagined Grassmarket’ using a figure ground massing model gave rise four potential sites which each presented unique spatially interesting characteristics as well as relating to the tarried space identified in the previous figure ground composite.

1856

1850-53

Figure ground composite

~Present Day

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Details of each respective layer

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh inventing site_extrapolating contours Taking the sparse contours on the OS Map these were then dived by ten in order to give a much more intense and assumed accurate landform map. These additional contours were then used to create ground plane sections, two taken at each of the four points previously identified as having potential interest to the final excuses.

These also served as a way to overcome the inherent flatness of the figure diagrams one the two elements were combined.

Ground plane sections

Countour map of ‘the Grassmarket’ + section lines

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh inventing site After identifying the potential site at the North-East end of the Grassmarket diagrammatic Sections were taken from the massing model.

These sections aimed to explore the possibility of inhabiting a ‘sliver space’ for the excuses proposition. This proposition was to be a new archive for the City of Edinburgh whilst also being an archive of the physical city itself, exploring the shifts in land boundaries over time.

Cross Section

Concept sketches

Long Section

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh excurses_site Using the areas of the Grassmarket identified in the massing sections, further sections were then taken of the same areas, as existing, in the present day.

The sections taken from the North-East of The Grassmarket aimed to explore the possibility of inhabiting a ‘sliver space’ as a true excuses proposition as opposed to on an invented landscape.

These sections allowed for the clarification and exploration the landscape with more rigour than before, and allowed for the application of a realistic set of constraints.

Cross Section

Close left over despite numerous urban shifts

Long Section

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh excurses_site The sections taken from the South-East of The Grassmarket aimed to explore the possibility of inhabiting ‘platform space’ and consider what such an environment would lend to a potential proposition.

Cross Section

Long Section

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Edinburgh excurses_proposition Applying the layered maps and elements from the imagined Grassmarket to the existing site an excuses proposition was created.

Employing the mapping layers from ‘The City of Contested Ground’ allowed for the creation of a much more rigours and visually interesting design, with each of the shifting boundary layers from respective years applied sectionally to the increasing layer/storeys of the proposed archive.

With the form of the boundary shifts applied sectionally to each ‘layer of history’ they were then extruded into the existing fabric according to their location in plan. This then created pockets of space which housed storage of books and other archive materials as well as providing spaces for study.

Cross Section

Site Plan

Site Plan: Historic Overlays

Long Section

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Architectural Technology Research generic study: timbrel vaulting / contextual study: building within a dense urban fabric

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Architectural technology research Brief Synopses

Course Aims

course Structure

Architectural Technology Research aligns the year’s design studios with current technological advancements through a research led investigation of relevant building innovations in a field of the students choosing. As the ambition and scale of most projects at M.Arch level are so high, standard or routine building techniques are frequently insufficient and research led design is required.

The course comprises two assessments; the generic study and contextual study. These were delivered in the form of verbal presentations and written reports with the aim of integrating the research with the design studio. The contextual report required students to directly relate the research to the current design studio to enable a mutually beneficial exchange of ideas. This resulted in a wide range of reports across the year, which formed a cumulative body of knowledge to be drawn upon throughout the semester.

1. To develop approaches for research in technology and environment, and reflect on its role in the design process.

The course was broken down into two projects entitled Generic Study and Contectual Study. The Generic Study asked us to prepare a detailed review of an aspect of contemporary technology of our own choosing. The study should co on recent pncentrated on modern practice and application, making reference to appropriate exemplars. The critical factors that inform design were also identified and explained.

2. To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form.

3. To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

The Contextual Study asked for a technological and environmental understanding of a chosen topic within the broader theams of the studio course.

+ Learning Outcomes LO1: An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg sustainable design.

LO2: An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

LO3 :An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

LO4: An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

Mapungubwe Interpretation Centre

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

generic study: timbrel vaulting In collaboration with Chris Nicholson

After the Guastavinos: Gaudí

Introduction The Timbrel Vault or Arch, also known as Catalan Vaulting, Laminated Vault, Layered Vault and Cohesive Construction is, like all vault systems, chiefly a construction system used to span great distances without support between the points it spans. It is a system not too dissimilar to what one might see employed everywhere from a simple masonry footbridge to the vaulting in grand Romanesque cathedrals, the key difference however, lies in the dimensions of timbrel vaulting’s main component, the ‘tile’ and the way in which these are layered to create a cohesive structure. As opposed to large, shaped brick or stone, voussoirs, commonly used in the ‘Gravity System’, timbrel vaulting relies on the use of significantly thinner ‘tiles’ of clay or terracotta arranged in layers for its structural strength, which can each comfortably be as little as 12-13mm thick, and extremely fast setting mortar during its construction.

The origins of timbrel vaulting are uncertain, however there is evidence to suggest that similar systems were being used as long ago as in the Pyramids at Giza and the construction in Mesopotamia which also relied on cohesion for structural support and did not feature any kind of centring. Looking at architecture throughout history it is considered most likely that timbrel vaulting was largely a product the Mediterranean during the Middle Ages. Use of timbrel vaulting almost ceased to exist as a construction method by the time architecture entered the Renaissance period.

The next major stage of development in the history of timbrel vaulting occurred when father and son Rafael Guastavino began developing the technique again during the 1880’s. The Guastavino’s made use of advancement in fast setting concrete and brought the technique from Catalonia to America where they used it in the construction of over 1000 buildings over a period of around 80 years.

Construction Methods Gravity System – This can be found in the resistance of any solid mass surface to the action of gravity when conflicting with the thrust of another solid. These two solids, opposed to one another produce a state of equilibrium and, in turn, form a solid structure.

Cohesive System – This method has for a foundation the characteristics of cohesion and integration of multiple materials that all form part of the structure. It is not the one individual solid reacting against another that creates this type of arrangement, but the amalgamation of several materials combining to create a cohesive system.

Up until the 19th century timbrel vaults were mainly built using intuition and rules of thumb with little or no formwork to create these amazing structures. It wasn’t until the invention of Graphic Statics in 1886 that the perfect form of a vault and the forces within could be determined. Graphic Statics is a technique used

for the design of a structure that utilises scale drawings rather than mathematical calculations. This technique allows vaults to be built with an economy of materials in mind so they are not over designed or engineered.

Key Properties Fire Resistant: Being composed mainly of clay or terracotta and hydraulic cement, timbrel vaults are completely non-combustible and resistant to fire.

Affordable: Being a self-supporting structure, none or very little amount of form-work is needed to create the necessary vault shape, where it can be constructed within a matter of hours.

Ecological: Timbrel vaults can be built inexpensively out of locally sourced materials, using clay or terracotta tiles and even normal cement for the bonding method

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Illustration showing how the first layer of tiles (1) and second layer (2) overlap leaving no breaks in the joints

Guastavino patent drawing of his ‘Cohesive Construction’ system that he brought to America

Graphic Statics diagram showing thrust directions underneath the viaduct of the ParkGiell, Barcelona

Durable: It has also proven to be a very durable construction technique as seen when restoring Ellis Island in the 1980s where only 17 tiles out of around 29,000 had to be substituted. Clay neither rusts nor erodes to any great degree giving it huge advantages over steel.

Comparative to Current Practice The timbrel vault, with its very thin layer of tiles, is adept to bearing much higher loads to that of a Roman arch, and similar loads to steel and reinforced concrete. This allows for wider spans and softer arcs to be designed without major expense, materials and energy being used in the construction.

Below are examples of the amount of energy used and carbon emissions created for each material.

Energy MJ per kg: 25 Reinforced Concrete 20.1 Steel 56.7 Stainless Steel 6.5 Clay Carbon kg CO2 per kg: 2.5 Reinforced Concrete 1.37 Steel 6.15 Stainless Steel 0.45 Clay

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Perhaps the most prominent and prolific figure in architecture to implement timbrel vaulting in his work succeeding the Guastiavino’s was Antoni Guadí. It was thought that Guadí first encountered timbrel vaulting as a student whilst on a class visit to the Guastavino’s factory for the Batllo Company in Barcelona. Using the same technique of Graphic Statics as the Guastavino’s had used before him, Guadí began to expand on this technique by applying it in a way that allowed him to calculate the specific angle of thrusts produced by his vaults. In doing so, Guadí was able to avoid the use of traditional buttressing and in place use a system of angled columns which he felt married better with his pursuit to design and construct a natural architecture. In order to extend the capabilities of Graphic Statics further still Guadí used his famous hanging string models to fully determine the forms of some of his best-known projects, such as the vaulting of Sagrada Familila.

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Graphic Statics diagram of how the perfect form of an arch is determined without the use of mathematical data

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

generic study: timbrel vaulting In collaboration with Chris Nicholson

Boston Public Library

Sustainable Urban Dwelling Unit (SUDU)

Mapungubwe Interpretation Centre

Ceilings were constructed using numerous patterns, ranging from a simple alternating brick pattern to a herringbone style under the same construction technique.

Offers an alternative to large urban housing projects of reinforced concrete, addressing areas of economic, environmental and ecological concerns.

Tile arches and domes were assembled with well-burned clay tiles where the first soffit’s vertical joints were bonded with plaster of Paris, allowing the vaulting to be built with a least amount of formwork. Subsequent layers were laid in English Portland cement resulting in a strong cohesive structure that was designed to sustain a load of five hundred pounds per square foot. To compare with today’s standards; a typical library floors load is only around 150 pounds per square foot.

Introduces the ability to construct a two story dwelling entirely from soil, thus it is an exploration of a ‘medium ground’ between single story informal dwelling and massive scale urban density, as studies have shown that even a 2-story urban density dramatically impacts urban density.

The handcrafted elements are key to the buildings integration with the landscape as well as it ecological merits, with the main focus being in the construction of the timbrel vaulting. In order to create the tiles for the vaults, soil was taken from the site then hand-pressed by a local workforce of 24 people for the period of one year.

Once completed, the shell can be pierced at random without jeopardising the stability of the structure. This means that within existing structures, considerable sized holes can be punched through for the installation of any new mechanical equipment etc.

The high level of fire resistance provided by the clay tiles protected the rare, irreplaceable books on show in the Boston Pubic Library.

St. John the Divine Cathedral Construction of the main dome, of timbrel vaulting, began 1909.

At 150 foot about the floor of the cathedral the dome spans a total distance of 66 foot and was constructed without the use of centring or structural supports, instead being constructed by craftsmen working ‘overhand’.

Working overhand meant that the workmen would construct three latitudinal rings of vaulting, extending out 18 inches for each additional ring over the span each day, then returning each following day using the previous days work as their support to construct the next rings, continuing the process until the dome was complete.

To ensure structural equilibrium a number techniques were employed in order to construct the dome to the proper curvature over the total distance of its span. Along with a theodolite, a system using a number of hangers set at 90 degrees respective to their position on the proposed dome facing in towards a central point.

It is estimated that $2000 were saved due to not having to erect any kind of falsework or centering and even more if we take into consideration post-use deconstruction. (Roughly $200,000 today) Timbrel vaulting was also used in the construction of the cathedral’s Nave and Crypt. In the Crypt the vault spans a distance of 53 by 65 feet unsupported with a safe loading factor of 300 pounds per square foot and carries the floor of the choir above.

Soil is readily available on and around the site of the SUDU and is rich in clay particles, as it is in the majority Ethiopia. Excavation and processing of soil for this type of construction does not require any externally powered machinery, instead relying on human labour and thus it possess low embodied energy.

Adding perpendicular diaphragms to the structure protects the vaults in the case of asymmetrical loading. The 100mm thick arch only reaches a maximum height of 500mm over the 5.8m span in an attempt to save material over the cross section, as a result of this, the outward thrust is much higher then that of a deeper funicular barrel vault with a catenary curvature in only one direction over the same span. To tackle this a steel tensioning cable is employed along with the diaphragms.

crossway House

Conclusion

Designed to be one of the UK’s first zero carbon Passivhaus.

A key benefit that stand out from each case study was the system’s ability to be constructed without the use of any falsework, scaffold or centering. In doing so projects were able to save large sums of money by avoiding the hire and construction/ deconstruction of scaffold which would be unavoidable in traditional stone or concrete arch construction.

The construction of the house is timber frame, clad with English cedar and filled with ten tons of recycled newspaper to provide superior insulation.

The floor is made out of crushed glass bottles, which absorb heat, and releases it when the temperature drops. Insulation from concrete slabs below the structure, which is 50% recycled help keep heat in.

An additional 20 tons of gravel and earth are placed on top of the arch structure which increases the strength by evening the loading.

2.1 2.2 2.3

3.1 3.2 3.3

George R. Collins, The Transfer of Thin Masonry vaulting from Spain to America, Edited by Salvador Tarragó, Guastavino Co. (1885-1962): Catalogue of Works in Catalonia and America (Barcelona: Col·legi D’Arquitectes De Catalunya, 2002)

The domes curve in multiple direction giving them strength in order to prevent failing under asymmetrical loading.

The cladding stones taken from the site are fixed equally over the domes and help to create and maintain structural equilibrium in loading.

It is estimated that by constructing the building using as much locally sourced material and handcraft components as possible, rather than casting the arches from concrete in a hyperbolic perabola, as would have been a close alternative, there was an estimated 80-90% savings made in carbon emissions over the course of the project’s construction.

The internal zones of the house are all enveloped by a large, unsupported parabolic timbrel vault arch using locally sourced materials wherever possible.

select bibliography

The relatively high depth of the vaults compared to their span, the largest span being 15m x 8m, means that much of the thrust is transferred directly down to the rammed earth piers they sit on and lateral thrust is reduced.

This example is for the most simplified vault of a single degree of curvature. A double-curved vault has a greatly improved stability by virtue of the multiple load paths possible to be taken throughout the surface. Thus, a reinforced ring-beam is also employed to resist deflection of the beam along the base structure of rammed earth.

Diagram of theodolite used for obtaining curvature of dome over span at St. John the Divine Cathedral

Section of SUDU showing basic construction

Crossway House exterior

Construction of the Mapungubwe Interpretation Centre using timber guides

In terms of structural strength it was demonstrated that timbrel vaulting is able to provide support to much larger weights by quite a considerable margin when considering it on a material quantity to strength value compared to timber, steel and reinforced concrete. Completely non-combustible and resistant to fire.

Modern construction methods have surpassed the more labor intensive procedures of the timbrel vaulting system with thin shell concrete. Comparing the actual square foot

graduate attributes

general criteria 1.1 1.2 1.3

Due to the quality of the soil on the site it was necessary that the soil be mixed with 5% concrete. Vaults required a total of 300,000 tiles. In order to construct the vaults with the proper curvature, ensuring that they are structurally sound, a series of thin timber guides were employed and later removed once the desired curve had been achieved.

costs of the Guavantino system with a relative construction method of today could potentially yield some interesting results. However, for one to do a precise assessment of the two techniques, it must be distinguished that the Guastavino system not only provides the structural support, but also the buildings fire proofing, acoustic properties and ornamentation combined into the one structure which is not something you would achieve using thin concrete.

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Contextual study: building within a dense urban fabric In collaboration with Douglas Walker

introduction

sliver house: london

suit g: tokyo

select bibliography

Narrow site architecture is regaining popularity due to shifts in society and contemporary lifestyles. As demographics change we see a rise in single parents, couples and individuals looking for housing solutions away from the typical three bedroom family house.

This easily overlooked building type caters for these needs and, although it has existed for many centuries, it is only now beginning to be rekindled as a viable housing option in the wake of growing concerns of urban sprawl and environmentally conscious living.

Three meters wide at street front.

Three story private house on a site measuring 3.8x12m, not outside of the norm for private dwellings in Tokyo.

Friedman, Avi. Narrow Houses: New Directions in Efficient Design. New York, New York: Princeton Architectural Press, 2010

Potential floor space is maximised using a hybrid of prefabricated wooden panels and concrete construction in order to make the exterior walls as little as 70mm thick with integrated storage.

World’s narrowest house by Jakub Szczesny, Dezeen.

8th November, 2012 http://www.dezeen.com/2012/10/31/worlds-narrowest-house-by-jakub-szczesny/

The focus of the investigation is on urban infill projects which occupy a gap in a dense city surrounding. Our definition of a ‘narrow’ site is any project with a street-facing building width of less than 4 meters, but with no restriction on length. Of the examples shown, all are immediately bounded by existing buildings and are situated in central areas of the city where developable land is extremely rare and valuable as a result.

Our interest in the subject stems from a design project which is sited dually in Edinburgh and Lisbon - both cities where the old town areas have many potential narrow sites which could be open to creative interpretation. Our research in this area informed the potential re-appropriation of these spaces in an inventive yet pragmatic way. It also allowed a chance to design in a rich environment full of history and character and to see the many constraints as a springboard to innovation rather than a hindrance to design.

the gap: London Seven story town house with a footprint measuring 3.5x8.5m Includes three bedrooms, living room, kitchen and a rooftop study.

Getting light into internal spaces is always of utmost importance on constrained sites, thus fully glazed facade to let in as much light as possible due to awkward East-West orientation with East facade facing the street. South light completely blocked by neighbouring building. Opaque and bamboo used for ground level privacy.

Each floor constitutes a single use with all circulation stacked to maximise efficiency in footprint.

Standard Steel frame components with bespoke glazing. As many components are prefabricated off site as possible as narrow sites usually have little to no on-site storage.

15m pile foundation to deal with huge loading over the relativity small footprint.

Site restriction including overlooking of neighbours, overshadowing and lack of light. The regulations are overcome by restrictions cutting, angling and shifting the various floor planes according to the varying requirements of each level.

Translucent glass was also specified in almost all windows to deal with overlooking from neighbours and street level privacy.

The wedge shaped site is north-west facing with a three story fully glazed façade. This admits as much light as possible to the property while smaller windows are placed according to function and planning restrictions to the rear of the property.

Constructed using in situ cast concrete with a steel frame section for the second floor. The façade was partly pre-fabricated as an aluminium frame with glazing units. The majority of the construction was carried out on site without the use of heavy machinery.

keret house: poland Site measures just 92 centimetres at its narrowest point and 152 centimetres at its widest with fully functional living space, with a kitchen bathroom and space to work.

Off-site prefabricated lightweight steel-frame reducing transferable load and the need to work with any large tool on such a constricted site. Frame craned into final position.

No reliance on neighbouring buildings for structural support.

The building’s water supply and sewerage is stored in PVC tanks contained within the footing. Electricity is supplied through the existing power supply of one of the neighbouring buildings.

Setting up the services in such a way almost no new infrastructure has to be installed and ground work is kept to a minimum.

The vertical walls of the construction are created from plywood insulated sandwich panels, painted white on both sides and bolted to the outside of the steel frame to maximize potential floor space.

The triangular form, combined with the sloped construction of translucent polycarbonate panels allows light into each floor. The street facing façade of the building is also constructed of the same polycarbonate panels with the addition of a wire mesh on the exterior for safety.

Under Polish law the construction cannot actually be classified as a liveable home as it is too small, therefore it is considered as an art installation. However, it stands as a good example to what can be achieved in such extreme building situations in similar scenarios.

2.1 2.2 2.3

3.1 3.2 3.3

Suit G, Milligram Architecture Studio 7th January, 2013 http://milligram.ne.jp/suit-g/#

Planning laws in Tokyo restrict any construction to sit back 500mm from the adjacent lots on either side and parking must be accommodated within the building’s plot, resulting in the loss of half of the ground floor of the already constrained property.

Slopped roof is dictated by planning restriction which limit the number hours a construction can overshadow its neighbouring building for. In an attempt to maintain as much headroom as possible the roof structure of Suit G is left exposed.

With the slight increase in height Milligram Studio were able to add a substantial amount of glazing along the length of the South façade, as the building now protrudes slightly above the level of its southern neighbour.

Metal grate allows the light to permeate through to the floor beneath without the loss of usable floor space.

The Gap

Sliver House

Keret House

Suit G

conclusion Overall, our investigation into these four case studies has allowed us to critically present the potential re-appropriation of narrow sites in an inventive yet pragmatic way, a key aim which ties to our design project sited dually in Edinburgh and Lisbon. As mentioned, Edinburgh and Lisbon are both cities where the old town areas have many potential narrow sites which could be open to creative interpretation and feature a rich environment full of history and character. Although not based in Edinburgh or Lisbon, the case studies featured here have allowed us to reconsider the many constraints which face narrow sites generally. To this end we can now consider such spaces key to progressive and innovative urban design rather than an encumbrance to design and planning.

graduate attributes

general criteria 1.1 1.2 1.3

Circulation is all stacked in the same orientation and contained within the reinforced concrete wall which runs along the south side of the site. Reinforced concrete wall wraps round the back of the building providing structural support for entire construction.

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Architectural Design Studio d

saltcity 2: building in the city of unsure ground i - lisbon

general criteria 1.1 1.2 1.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Brief Synopses

Course Aims

course Structure

The second semester of M.Arch I, Studio D, emphasised exploratory and creative work that developed from our first semester enquiries.

The semester began with a field trip to the study city of Lisbon where the studio theme; ‘the city of unsure ground’ was developed and refined in the initial field work studies. This initial task also saw the re-arranging of a number of working groups in order to make use of and expand individual areas of interest. Creative investigative methods were tested; substantiated by theoretically informed interests that pushed questions of contemporary relevance. The work focused on the development of a design thesis proposition for the city and landscape of Lisbon which played out through the design of a gate-house for the city.

1. Develop an awareness of the full complexity of the contemporary environment and the possibilities and problematics of architecture’s interaction with it.

The semester was broken down into three main areas or stages of process working towards a thesis proposition.

Within Studio D, preceded by a field trip, the point of focus and exploration was based in the city of Lisbon and its wider context, as the general field of enquiry. Using techniques developed in Studio C, whilst investigating Edinburgh, a number of potential sites for the housing of an architectural proposition and an in-depth investigation into the particular characteristics of these sites was undertaken.

2. Pursue architectural design as a critical process of research and inquiry (in relation to the specific issues raised by the unit briefs) and to follow the consequences of this across the full range of architectural scales.

3. Achieve conceptually rich and formally refined projects that respond to relevant contemporary discourses.

4. Develop and refine representational skills (drawing, modelling, photography, use of the computer and workshop) and the strategic use of different representational modes in the design process and in presentation.

The semester can be broken down as follows: City Gate - Field Map

Air City

City Light Index

Index

Lisbon Gatehouse Feildbook Proposition

+ Learning Outcomes LO1: Demonstration of a rigorous and critical analysis of a LisbonTagus ’city-gate field’; demonstration of a city design proposition which actively articulates, tests and inflects the ’city of unsure ground’ inquiry.

LO2: How evident is a developing architectural, material and spatial language, demonstrated at an experiential level, and critically appropriate to/in dialogue with the design thesis inquiry?

LO3: Demonstration of investigation, appraisal and development of clear strategies for environmental and technological strategies in a design project (through fieldwork - urban construction, citygate- fields, and city light index; previous/subsequent strategic technological and environmental investigations of ground as unsure; design propositions at both city scale and scale of inhabitation).

LO4: How considered and rigorous are drawing and modelling of city, land, ground, built fabric- both existing and speculativewhich acknowledge the city as a temporal as well as spatial and material condition (as demonstrated in Fieldbook, City-gate drawing, city light index, design propositions, Book of Building).

Water Tower Section

general criteria 1.1 1.2 1.3

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graduate attributes 4.1 4.2 4.3

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WING MONTHLY PREVAILING WINDS IN

M.Arch I M.Arch II EUSAS C ( )A L .B 30,000 Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

INTERNATIONAL AIR SPACE BOUNDARIES

ONTRAIL CONDENSATION TRAIL

saltcity 2: lisbon In collaboration with Douglas Walker

EROPLANE FLIGHT PATHS OVER

ISBON

ELOW

FT

air city Produced as part of a series of maps of Lisbon, each one focusing on a specific attribute, traffic volume, shipping routes, city walls etc. this particular map investigated a wide range of conditions in Lisbon relevant to wind and the air in general. There were a number of elements such as the airspace boundaries that one can related back to the landownership maps produced as part of Studio C, but perhaps the most relevant information unearth during the creation of this map, as we move towards producing proposals to be situated within the city, is the data concerned with prevailing wind directions and how this element moves across the diverse urban fabric of Lisbon as a constructed ground.

CONTRAIL (CONDENSATION TRAIL) AEROPLANE FLIGHT PATHS OVER LISBON ABOVE 30,000FT

Airflow plans and perspectives. Above: Tight winding streets of the Alfama / Below: Baixa Blocks ALFAMA AIRFLOW PLAN RIGHT: PERSPECTIVE VIEW OF AIRFLOW THROUGH TIGHT, WINDING STREETS OF ALFAMA

International Airspace Boundaries Average Wind Speed 5 kts NNW

N

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January

S

NE

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February

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April

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Average Wind Speed 6 kts

NNE

NW ENE

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Average Wind Speed 6 kts

NNE

WNW

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NW ENE

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Average Wind Speed 7 kts

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Average Wind Speed 7 kts

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LISBON

Average Wind Speed 7 kts

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NW

map of Lisbon showing airoplane landing paths

BAIXA AIRFLOW PLAN Contrail (condensation trail) aeroplane Contrail (condensation trail) aeroplane flight paths over lisbon. above 30,000ft RIGHT: PERSPECTIVE VIEW OF AIRFLOW OVER BAIXA BLOCKS flight paths over lisbon. below 30,000ft NNW NE

WNW W

E ESE SE

SE SSW

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Average Wind Speed 8 kts

NNE

NW ENE

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N

NNW NE

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SE SSW

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Average Wind Speed 6 kts

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SE SSW

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Average Wind Speed 6 kts

NNE

NW ENE

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N

NNW NE

WNW W

E ESE SE

SE SSW

S

August

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Average Wind Speed 7 kts

NNE

NNW

NW ENE

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N

NE

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E ESE SE S

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SSE

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October

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graduate attributes

Average Wind Speed 6 kts

NNE NE

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Wind roses showing monthly prevailing winds in Lisbon

general criteria

N

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Average Wind Speed 7 kts

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon light index The aim of the city-light index is to understand and to take into account “space, light and material scale: the specific mechanisms of place in relation to culture”. The aim was to visually ‘collect’ qualitative properties of natural light in selected interiors encountered in Lisbon, and subsequently to document, order and construct a taxonomy of light, which became a calibration of the existing ‘built scale’ of the city, a source and reference point for future invention.

While much field practice in relation to the city currently focuses on the exterior, the street, the public realm, the space of mingling, the freely engaged with, in this field/work fragments of interiors, an experiential field where qualities of light contribute significantly to the distinctiveness of situations were engaged with. Initially three significant examples of Rasmussen’s three types of Daylight were identified: the bright open hall, the room with a skylight and, most typical of all, the room with light entering from the side. These were carefully documented through photograph, text, measure (quantitative, qualitative) and close up/ scale- enlargement/ reduction.

Further to this, and pacifically as a precursor to the following propositional design work, the initially identified light condition were refined to includes situation of interaction with courtyard spaces and water.

The bright open hall

The room with a skylight

The room with light entering from the side

2.1 2.2 2.3

3.1 3.2 3.3

Light in a courtyard

graduate attributes

general criteria 1.1 1.2 1.3

Light on water

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon In collaboration with Hannah Thomas

Fieldwork_layering Lisbon Using the technique of isolation and layering of cerain pertinent aspects revealed through the examination of city maps, such as was carried out in Studio C, a similar technique was carried out with the maps of Lisbon covering the Parish of S達o Miguel. Unlike the maps of Edinburgh these maps were all of the same moment in time, the most up-to-date maps available and instead focused on delaminating specific layers of information in order to better understand the typology of the Parish.

The maps were used to look at areas of interest within out project, namely the existing water network of Lisbon the abandoned and commercial buildings within the parish and the map also allowed for the grouping of buildings by interconnected roofscapes in order to understand how rainfall might be collected and channelled round the parish.

Existing water network

Abandoned buildings within parish

Commercial buildings within parish

Connected roofscapes

Composite of all maps

general criteria 1.1 1.2 1.3

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graduate attributes 4.1 4.2 4.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Fieldwork_thougths on other group maps As mentioned previously, ‘City Gate - Field Map’: Air City was undertaken as part of a larger body of work by other students on the course with the aim to feed into a wider understanding of the city in numerous areas for each person involved. The presented information could then be dissected and appropriate pieces carried into your personal design propositions.

graduate attributes

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Fieldwork_indexing lisbon’s water network When considering the plausibility of proposing a independent micro water systems within the larger context of Lisbon we must note that whilst the ability to control ones own water supply is potentially beneficial we must be mindful that certain elements, such as the mass supply of water for emergency hydrants, is essential. This is a reliance on a grid, a network, so as well as being independent from the network it is important not to become isolated from it. To this end it would be more favourable to plug into a grid, to provide for oneself (an area/community) whilst feeding any excess back into the network, thus maintaining mindfulness of the greater urban context.

Parish of SĂŁo Miguel: Proposed route of new water networks and points of potential infrastructure housing

graduate attributes

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

Index of fire hydrants around Lisbon

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Fieldwork_indexing lisbon’s water network: continued What quickly became evident when walking the streets of Lisbon was the large number of public fountains and wells, now all decommissioned, which would have provided the residents with their only source of fresh, clean drinking water and no doubt would have provided a key social function as people gathered in squares to collect water for drinking and washing laundry. It was also noted that many of these fountains and wells were heavenly embellished indicating the importance of these objects.

Fountain water spout

Index of fountains and wells around Lisbon

graduate attributes

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Fieldwork_measuring infrastructure A number of field studies where carried out whilst in Lisbon concerned with the accurate measuring up of articles such as drinking fountains, door handles, tram tracks and drainage details.

Together these help put together a picture of the infrastructural and human scale of the elements that make up Lisbon’s urban fabric.

Various drainage details found around Lisbon

Tram track dimensions

Fountain at Beco de São Miguel

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Above: Door and stonework of ‘a Igreja de Santa Maria Maior’ Below: 19th water fountain | Largo de Sé

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saltcity 2: Lisbon Fieldwork_city museum archive drawings A great wealth of original measured drawings of some of the key buildings and structures that formed the overall aqueduct and reservoir system that supplied clean water to the city of Lisbon, up until as recently as 1973, affords valuable insight into traditional regional methods of water storage and displacement. What is also clear from these drawings, is just how important the water infrustructure was to the city of Lisbon, with large ammounts of skill and effort put into the heavily embelished stoneork that adorned these public water towers, reserveoirs and fountains.

Provided by Lisbon’s ‘Museu da Cidade’,

Águas Livres Aqueduct spanning the Alcantara valley

Elevation of Fountain at Largo do Rato

Water tower elevation

Elevation of Reservatório da Mãe d’Água das Amoreiras

Water tower section

Section of Reservatório da Mãe d’Água das Amoreiras

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Plan of Reservatório da Mãe d’Água das Amoreiras

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon fieldwork_Águas Livres Aqueduct Constructed in the 18th century, the now defunct Águas Livres Aqueduct provided fresh water to the city of Lisbon until its decommissioning in 1973. Over this period, and still today, the aqueduct was enveloped by the constant growth of the city into its current metropolitan typology, at times becoming almost invisible amongst the residence and commerce. Subtle clues reveal the aqueduct in its urban context, for instance a now disused, unassuming, service entrance on the edge of a modern car park, at other times the aqueduct can be seen to soar free of the city, such as at the Alcantara valley where it stands at 65m tall at its highest point.

In its present state the aqueduct serves as a constant reminder of Lisbon’s long standing connections with water, from the days of its first known inhabitants, the Lusitanians, who praised a number of water Gods, to the ever present Tagus, which allowed the city of Lisbon to thrive on shipping goods.

The parish of São Miguel is visible in the bottom right of the map, denoted by the satalite image. It should be noted that the parish had no direct connection to the aqueduct, meaning that the residents would have originally had to walk a distance to collect fresh water. Presumably this water was connecting to a wider spanning mains system in later years.

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Fieldwork_countours and gradients of lisbon The topography of the Parish of S達o Miguel is extremely complex and forms a very steep gradient over a relatively area of ground, each contour marking a five meter difference in height. This steep landscape lends itself well to the formation of water network in terms of moving water around the site with minimal mechanical intervention, instead relying on gravity and storage points located strategically in the landscape.

Sketch of vessels feeding into a topographically driven network

Topograpocal map of the Parish of S達o Miguel, Lisbon

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Fieldwork_countours and gradients of lisbon Drawing up a section through the Parish of S達o Miguel as existing allowed for a greater understanding of how the complex topography works in relation to the existing buildings on the site. Thus making it possibly to make an informed decision when deciding where to place certain parts of the proposed water infrastructure.

Parish of S達o Miguel, Lisbon, running down to the shore, as existing

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Lisbon gatehouse_Aqueous connectivity This 1:1000 model was constructed to demonstrate a number of potential routes, between the abandoned and vacant buildings within S達o Miguel, that could be taken by water solely using gravitational forces provided by the naturally steep topography of the Alfama

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saltcity 2: Lisbon In collaboration with Hannah Thomas

Lisbon gatehouse_Project Overview It can be noted, in the map showing the Águas Livres Aqueduct, that the parish of São Miguel has no direct connection to the aqueduct, meaning that the residents would have originally had to walk a distance to collect fresh water. Presumably this water was connecting to a wider spanning mains system in later years.

The main aim of the project is to provide the identified parish (and potentially other parishes) with an autonomous water system, including the harvesting of rainwater through series of interconnected roof structures to its reuse in greywater systems such as hydroponics. Essentially the projects seeks to provide the people of Lisbon with a more stable and self- sustainable system than the one that is currently provided by the city of Lisbon, which has been identified to fall short on a number of levels, including the drainage and processing of excess water run-off, sewage transportation and consistent supply of water through summer months. The project also makes use of a number of the parish’s abandoned buildings to house these proposed systems, thus creating a project which is as sensitive to the existing historic fabric as possible.

This conceptual axonometric presents a connected block of buildings within which is contained commercial, residential and uninhabited constructions and a demonstration into how a connection between such components can be made and strengthened through a new aqueous infrastructure.

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Lisbon gatehouse_proposition The proposal shown here, a hydroponics farm within one of the many uninhabited buildings of the Alfama, demonstrates mixed use of water accumulations and sustainable hydroponic production of fruits and vegetables for consumption by residents of the parish. The produced food could also be distributed to the surrounding area in times of excess production. From these points, excess water is passed along a system of external channels to other previously uninhabited structures of similar function, as well as existing commercial ventures, in an effort too increase the self-sufficiency of construction previously wholly reliant on the state provided water supply (EPAL).

Making Use of the variable and often complex system of gullies and channels formed by the interconnected roofscapes of the parish of S達o Miguel, it is proposed that through adding a system of guttering and ductwork to the identified buildings, where water would previously fall to the street and eventually to the over-stressed sewerage system, the water can be brought into, made use of and stored within these buildings for a large number of purposes, but always with the underlying purpose of increasing the selfsustainability of the parish and strengthening its community aspect.

Long section of hydroponics and water storage Hydroponic S c a l e 1 :5 0

and

W at e r S t o r a g e p r o p o S a l

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon Lisbon gatehouse_proposition

Upper level plan of Hydroponic and water storage proposal

upper level plan S c a l e 1:100

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H y d r o p o n i cuapnpde rWlat e veerl Sptloarna g oef p HryodprooSpaoln i c S c a l e 1:100

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upper level plan S c a l e 1:100

Stripped Back isometric of hydroponic and water storage proposal

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Hydroponic

Ground level plan of Hydroponic and water storage proposal

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Stripped Back iSometric

S c a l e 15.1 :100 4.1 6.1 4.2 5.2 6.2 4.3 5.3 6.3

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H y d rSotproinp pi ce da nBda cWk at i SeormSe t or ri ca goef p HryodprooSpaoln i c S c a l e 1:100

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ground level plan S c a l e 1:100

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H y d r o p o ng i cr o au nn d dW lat e veerl Sptloarna g oef p HryodprooSpaoln i c S c a l e 1:100

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: Lisbon In collaboration with Hannah Thomas

Lisbon gatehouse_proposition

Perspective section of hydroponics farm

Perspective of hydroponics farm

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

CONTEMPORARY ARCHITECTURAL THEORY course diary / essay: a semiotic reading of THE SCOTTISH PARLIAMENT

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theory diary: t-p-k / r-s-t / pm-pf-pi / c-n-f / u-t-p / a-s-n / w-v-r / h-m-q Brief Synopses

Course Aims

course Structure and overview

Contemporary architectural theory scrutinizes the interaction between built forms and economic, political, social and cultural contexts. It takes various modes ranging from reflection on and critique of the consequences of architectural practice, to enabling, guiding and facilitating design processes. The course sampled architectural debates in various modes across this range. Many of the traditional values in architecture are being challenged by the phenomenon of globalization, and the city is increasingly the site for this process. This phenomenon has seen an acceleration and intensification of global interdependence in economic, social, political, cultural and ecological terms. This course explored a range of theoretical frameworks to study the architectural dimensions of this phenomenon, with particular focus on the city. To do so, it was concerned with intra- and inter-disciplinary linkages, looking at ‘conversations’ within the discipline and at relevant debates in related disciplines such as cultural studies, philosophy, art, landscape, geography and planning.

1. Develop your understanding of what theory is, and how it relates to design by engaging with major trends in architectural thought since mid-twentieth century;

The course structured around a weekly lecture and seminar series, each with two or three related ‘key readings’ which then formed the basis of a weekly, illustrated diary entry. The weekly readings were set to offer relevant, interesting and important samples of the field rather than comprehensive coverage with us expected to expand on the reading with further relevant examples and, in appropriate entries, a connection to our studio work. The course diary began by giving an insight into the broader origins, aims and meaning of theory, praxis and knowledge, encapsulated by the key words: praxis, theoria, techne, episteme, interpretation, obscurantism, dissociation and application, and as such, set up the remainder of the course. Outlined here are a selection of diary entries with particular connection and input to the studio course and the personally selected course of design work.

2. Develop your ability to evaluate critically the ideas presented in a text and learn how to analyse it to draw out the fundamental ideas it presents; 3. Develop your ability to write and communicate a focused critique of and response to a text.

+ Learning Outcomes LO1: A capacity to research given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

LO2: An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilised through different textual, visual and other media, and to explore their consequences for architecture.

Following on from the course diary, an essay was produced that set out to futher explore and deepen the relationship between a selected topic in the diary and the current studio work, with the intention of using the essay as an oppertunity to reflect upon and develop our own designs.

LO3: An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media

‘Placards with Bellotto’s idyllic ‘historical’ painting stands beside buildings in Warsaw, inviting passers-by to marvel at their likeness.’ A ‘Disneyfication’ of Warsaw’s Old Town.

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

theory diary: t-p-k / r-s-t / pm-pf-pi / c-n-f / u-t-p / a-s-n / w-v-r / h-m-q Theory / Praxis / Knowledge

capsules / networks / flows

Key Words:

Key Words:

Praxis Interpretation

Theoria Techne Obscurantism Dissociation

REPRESENTATIONS | SIGNIFIERS | TRACES

In order to fully understand the definition of ‘sign’, according to Charles Sanders Peirce, considered to have had a key role in creating the theory of semiology, one must explore the three interconnected terms that he believed constitutes sign: thought, symbol and referent. To aid in the understanding of these terms and the relationships between them they are commonly organized into a ‘semiotic triangle’ and again even further simplified into diagram containing only the terms ‘signifier’ and ‘signified’, signifier in the category of symbol and signified in referent.Thought is removed completely from this interpretation. When one refers to the signifier this is considered a symbol, word or gesture,[Fig. 1] for example the word(s) on/off which can also be represented by the combined binary symbol, yet both carry the same meaning.[Fig. 2] Whereas the signified refers to the actual object or action the signifier represents.[11]

THOUGHT

REFERENT

SYMBOL SIGNIFIER

SIGNIFIED

Fig. 1: Semiotic Triangle

ON/OFF Fig. 2: On/Off Binary Symbol

Through the process of design it is possible that one considers design a mode of interpretation, equally in the process of anything we create which involves a level of critical analysis, especially of creative-political concerns, one can argue that there exists an integral level of interpretation. Thus, considering design as interpretation allows one to see interpretation as a process,[12] and it is through process that we are able to open up the discussion with Michelangelo Antonioni’s film Blow-Up.

Episteme Application

Global/Local Technology Urbanization/Deurbanization

Key Words: Signifier/Signified Sign Interpretation Hermeneutics Process

CAPSULES | NETWORKS | FLOWS

Readings/Films: Michelangelo Antonioni, Blow-Up (1966) Coyne, Richard. Reflections on Digital Media & Culture: Interpretation by Design, http://richardcoyne.com/2012/12/29/ interpretation-by-design/ Stanford Encyclopedia of Philosophy. Peirce’s Theory of Signs: http://plato.stanford.edu/entries/peirce-semiotics/

In the first reading author Manuel Castells aim to lay out some of the elements for a proposition for a ‘theory of special forms and processes, adapted to the new social, technological, and spatial context where we live.’ ‘[A] theory of urbanism in the information age.’[36] He begins by setting out a comprehensible list of summarized points involved in the development of his theory of a new urbanism. These points largely center on the increasing connectivity of different levels and areas of society to global and local networks, leading to societal transformation and restructure. For example, institutions of local governance will act as important ‘nodes’ of connection allowing national governance to make use of their ‘capacity to represent citizens at a closer range’ through network. Thus smaller institution have perceivable more power once connected with differing levels of control, Castells coins this ‘the network state’.[37] The author states that considering these changes ‘we can understand new spatial forms and process, thus rethinking architecture, urban design and planning in the twenty-first centaury.’[38]

own subconscious, created as an attempt escape his own reality which he strongly implies has become mundane and based around an overwhelming falseness. One can argue this based on his apparent distain for fashion photography, his primary occupation, his enthusiasm over his images displaying bleak scenes of poverty and despair and his compulsion to provoke a reaction from any person he perceives exist in a quotidian reality.

There are three scenes in particular during the film in which we can explore the relationship between process and interpretation. The first of these sees the film’s protagonist Thomas, a photographer, visiting his friend Bill, an artist, at what is presumably his studio.

The studio is filled with discernibly post-modern paintings of his own creation, formed from a multitude of colourful lines, dots and gestures, a large one on the studio floor currently underway.

‘They don’t mean anything when I do them, just a mess’, Bill says, ‘afterwards I find something to hang on to, like this leg.’[13][Fig. 3] What one can say of this is that, through interpretation, Bill defines the painting’s reality. Therefore one can argue that the process of creation is ongoing long after the piece of work is physically finished.

Through this analysis it becomes easier to comprehend the notion of design (creation) as interpretation.

In the design studio there are a number of seemingly omnipresent concerns and questions which seek to guide our work. How does the proposal critically interpret its context, both social and spatial? A primary concern for the project author. How do you interact with the users based on their semiotic notions of the space? Which is reliant on the user to imparting their reality onto the space. How do you orientate and guide a person through a proposal without the use of literal lettered/numbered signage, spelling out the direction and location of each pragmatic space? You might say in this case, that the best signs are they ones that we do not notice.

In the second of these three scenes Thomas is producing prints from a number of negatives he has captured earlier.[Fig. 4] The photographs of a romantically engaged couple, unaware for a while, in an otherwise empty park, Thomas believes, capture a murder taking place and the body of the victim. The murderer and victim that Thomas believes he has spotted are at first minuscule on the initial print. Thomas then proceeds to enlarge (‘Blow-Up’) this portion of the print multiple times.[Fig. 5-8] This process constantly alters the image, decreases the quality, adds ambiguity, removes it from the realms of perceived reality and opens it up to Thomas’ interpretation, again we see design/creation as interpretation.

Fig 3. Bill describing his painting

Fig 5. Thomas marking out the portion for enlargment

Fig 7. Enlargement of the ‘assailant’

The third scene sees Thomas return to his studio, followed shortly

by Bill’s partner Patricia, to find all but the most enlarged print stolen/missing.[Fig. 9] ‘Looks like one of Bill’s painting’s’[14] Patricia remarks.[Fig. 10] This is the first and only instance in the film where a character besides Thomas has ‘seen’ either of the couple from the park. However, at this level of enlargement, with all context in the image also transposed to the world of Bill’s post-modern art, the image can only be read through abstract interpretation, removing it from the predefined reality that Thomas implied it belonged to through his compulsion to arrange and bring out the details within each pertinent photograph.

Fig 4. Thomas examinging negatives

Castells’ approach to spatial transformation focuses on three ‘bipolar axes’,[39] Function, meaning and form. In this Castells seeks to restore meaning through symbolism and to ensure that the form of certain modes of social interaction remain distinct from one another, to ‘[reinstate] the city in its urban form by the practice of urban design focused on the preservation, restoration, and construction of public space as the epitome of urban life.’[40] To this extent, we may consider Castells slightly nostalgic, in the sense that these propositions can be likened to postmodern ideals discussed in the third diary entry, especially in his linkage of projects ‘personality’ to societal development. However, the concept that network linkage allows for ‘cultural and personal diversity rather than overimposing a common set of values’[41] as each sub-culture gains equal provision and importance in its ability to share information, whilst remaining independent, must be considered positive.

Fig 6. Thomas hunging up the enlargments

Fig 8. Further enlargement of the ‘assailant’

Connection of metropolitan nodes, try and dig out Corbusier

Fig 9. The ‘missing’ enlargements

There are many further instances of representation and signification that can be observed within the film. For example the guitar neck Thomas obtains at a Yardbirds concert, which he quickly discards, is strongly significant to the fans Thomas fights off for it, a fetishized object, but apparently meaningless to him. A perhaps less explicit form of representation can be found in the couple Thomas photographs. It could be strongly argued that neither the man not the woman he photographs exist at all, as they are never seen by or interact with any other character, the scene in which Jane refuses to speak on the telephone Thomas hands to her is particularly telling.

One also notes that Jane turns up at Thomas’ studio without prior knowledge of where it is located and appears to act in a peculiar manner in his company. To explain their appearance, role and manner it can be argued that they are exist as manifestations of his

Fig 10. The most increased ‘Blow-Up’ still in the studio

The City Node

Society Capitalism Key Words: Global/Local Technology The City Society Urbanization/ Deurbanization Node Capitalism

Readings: Castells, Manuel (2004). 'Space of flows, space of places: Materials for a theory of urbanism in the information age', Rethinking technology: A reader in architectural theory, William W. Braham and Jonathan A. Hale (eds). London: Routledge: 441-56.

Cauter, Leiven de (2004). 'The capsular civilisation: The city in the age of transcendental capitalism', and 'The rise of heterotopias',The capsular civilisation. Rotterdam: NAi Publishers: 40-74 99percentinvisible.org - Episode 72- New Old Town: http://99percentinvisible.org/post/42381553110/episode-72-new-oldtown#_=_

Castells stresses the importance of public spaces as area of faceto-face socialization and argues that these are vital to the social structuring of communities.[42] Castells also argues that places of flow, transportation networks, are gaining symbolism as they gain association with experience, thus are transforming in places with specific functionality.[43] Flow becomes a place which we can inhabit ‘We carry flow and move across places.’[44] However, it is the integration of architecture, planning and urban design which Castells sites as being ‘essential’ for design, design that carries symbolism such as Gehry’s Bilbao, to ensure cultural and social cohesion within these ‘nodes’.[45]

Castells states we must ‘[reinstate] the city in its urban form by the practice of urban design focused on the preservation, restoration, and construction of public space as the epitome of urban life’,[53] de Cauter argues that the city of the information age, the generic city, the capsular city ‘abolishes the public sphere.’[54] We consider this so as capsular space created under the guise of pubic space is merely a simulated publicness, harking back to the postmodern city, where we also noted to be nostalgic, thus simulated, under Castells’ theory.

The global network described by Castells becomes a series of heavily fragmented ‘social’ units under the theory of a capsular civilization. Even within city boundaries smaller fragments exist between areas such as the ‘historic old town’ and the surrounding modern sprawl and between groups of societies who associate with different cultures or lifestyles, all are areas where crossover is unable to exist.

Leiven de Cauter begins the second reading by explain the phrase ‘transcendental capitalism’ and the various shortcomings of the model it gives its name to.[46] He argues that society has been duped into considering capitalism a natural course of development for civilization, as though it has already existed, despite it being a product of the 1500s, this explains the transcendental component.

[47] Cauter explains that, due to capitalism, the metropolis was produced, who’s development can be broken down into three main transition, ‘the stream age, the petrochemical age and the microelectronic age (or, emblematically, the train, the automobile and the web).’[48] A key thread which runs through de Cauter’s text, is the idea of the ‘generic city’, where states that in a general sense all products are generic. For example, de Cauter argues that items such as the Coke bottle, which appear individual against other drinks bottles, are in fact generic as they can be considered, in a broader sense, items of ‘corporate identity’ thus, ‘[belong] to a certain genus.’[49] In terms of urban development, there are a number of traits the author cites as being symptomatic of the generic city; the waterfront development, the transition of a metropolitan city’s historic town center into a tourist attraction,[50] all elements of simulation thus are generic. I would consider European cities such a Hannover and Warsaw to fall into this category, both are cities which lost almost the entirety of their ‘old town’ during bombing campaigns of the Second World War, now rebuilt and restored to mimic their previous existence[Fig. 13] and given over as a folly to sight-seeing tours and horse-drawn carriage rides.

Fig. 13 ‘Placards with Bellotto’s idyllic ‘historical’ painting stands beside buildings in Warsaw, inviting passers-by to marvel at their likeness.’ A ‘Disneyfication’ of Warsaw’s Old Town.

de Cauter argues that increasing the generic city is becoming a city defined by a capsular civilization, which entails capsular architecture.

What happens within these capsular cities is a trapping of society, even when people move from one city to the next they are moving from one capsule to another within physical capsules: ‘the train, the automobile [and] the aeroplane.’[51] de Cauter goes on to extend the metaphor to the virtual world, televisions, mobile phones etc..

(Simulation of course pair strongly with the virtual world) ‘The generic city is obsessed with closure, safety and control.’[52]

11. Stanford Encyclopedia of Philosophy. Peirce’s Theory of Signs: http://plato.stanford.edu/entries/peirce-semiotics/ 12. Coyne, Richard. Reflections on Digital Media & Culture: Interpretation by Design, http://richardcoyne.com/2012/12/29/interpretation-by-design/ 13. Michelangelo Antonioni, Blow-Up 14. Idem.

Fig. 12 Le Corbusier’s Urbanisme, projets A,B,C,H, Algiers, Algeria, 1930 could be considered a model for a society of capsule and flow.

36. Castells, Manuel (2004). ‘Space of flows, space of places: Materials for a theory of urbanism in the information age’, Rethinking technology: A reader in architectural theory, William W. Braham and Jonathan A. Hale (eds.). London: Routledge: 441-56. 441 37. Ibid., 441-3 38. Ibid., 443 39. Ibid., 444 40. Ibid., 446 41. Idem.

42. Idem.

43. Idem.

44. Ibid., 448 45. Idem.

46. Cauter, Leiven de (2004). ‘The capsular civilization: The city in the age of

Perhaps contrary to the discussion in the first reading, where

trancendental capitalism’, and ‘The rise of heterotopias’, The capsular civilization.

Rotterdam: NAi Publishers: 40-74. 41 47. Ibid., 42 48. Idem.

49. Ibid., 43 50. Ibid., 44 51. Ibid., 45 52. Ibid., 46 53. Castells, Manuel. ‘Space of flows, space of places: Materials for a theory of urbanism in the information age’: 441-56. 446 54. Cauter, Leiven de. ‘The capsular civilization: The city in the age of trancendental capitalism’, 40-74. 46

4

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Readings/Films: Michelangelo Antonioni, Blow-Up (1966)

Readings: Castells, Manuel (2004). 'Space of flows, space of places: Materials for a theory of urbanism in the information age',

Rethinking technology: A reader in architectural theory, William W. Braham and Jonathan A. Hale (eds). London: Routledge: 441-56.

Coyne, Richard. Reflections on Digital Media & Culture: Interpretation by Design, http://richardcoyne.com/2012/12/29/ interpretation-by-design/

Cauter, Leiven de (2004). 'The capsular civilisation: The city in the age of transcendental capitalism', and 'The rise of heterotopias',The capsular civilisation. Rotterdam: NAi Publishers: 40-74

Stanford Encyclopedia of Philosophy. Peirce’s Theory of Signs: http://plato.stanford.edu/entries/peirce-semiotics/ 99percentinvisible.org - Episode 72- New Old Town: http://99percentinvisible.org/post/42381553110/episode-72-new-oldtown#_=_

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

theory diary: t-p-k / r-s-t / pm-pf-pi / c-n-f / u-t-p / a-s-n / w-v-r / h-m-q waste / void / ruins

heteronomous / multiple / quotidian

Key Words:

Key Words:

Materiality

Monumentality

Fragmentation

WASTE | VOIDS | RUINS

Political/Literary Tendency Production Organizational

Key Words: Materiality Monumentality Fragmentation

Waste Matter, by Tim Edensor, critiques ‘the way in which the material world is normatively ordered’[100] through exploring the ‘disordering effects of ruination’.[101] Beginning this critique, Edensor draws parallels between material order, and social and spatial order, “a place for everything and everything in its place”,[102] and states that material order has a direct reflection on the production and preservation of cultural values.[103] It is through the establishment of networks and the connection and relationships that exist between the objects within, that the significance and meaning of the individual objects is to be found.

Throughout the text Edensor primarily refers to ruination and waste through the context of industrial structures and their contents, and argues that once these industrial facilities cease to be functional and are given over to the process of ruination, whether through ‘non-human intervention’ or otherwise, they also cease to exist as part of a network. Thus, the buildings and the objects within lose their programmatic meaning and significance.[104] What this process of loss of programme and significance means for the ruin however, is that the objects are now open to free interpretation and can be bestowed with new ‘meaning, stories and practices’.[105] What one also discovers through the ways in which the building and its components are deciphered during the process of ruination, is certain truths and stories regarding the building’s construction, as previously unseen elements, beams, columns, electrical cables and so on, become exposed resulting in a reordering of the building and its components.[106] With all this said, when one considers a building as a ruin, we do not necessarily mean that the building is in a state of physical dilapidation. Writing on Daniel Libeskind’s ‘Jewish Museum’, Berlin, in her text ‘The Ruins of History’, Naomi Stead explore the concept of ‘the Jewish Museum as a kind of constructed ruin, a monument which was always already ‘ruined’ by the events of history.’[107] [108] Exploring the fragmentary mode of Libeskind’s construction reveals this. The fragmentary form of Libeskind’s Jewish Museum, differing from Germany’s traditional Classicism attested to by the monumental buildings of the city’s ‘Museum Island’, was one that allowed him to avoid the historical ties with Germany’s National Socialism[109] as well as its ‘idealist doctrine’,[110] an idea explored in the entry ‘Autonomous, Singular, Neoliberal’, where the architecture is seen to ‘[strive] towards total unity, transcendence, and a timeless universality.’[111] In doing so, Stead describes Libeskind’s project ‘as an attempt to ‘ruin’ the totalizing effect in a calculated strategy of transgression, of the classical tradition, the modern tradition, and especially of each of these as they may have been expressed in the Nazi regime.’[112] What Stead means when writing as to ‘ruin’ the totalizing effect, is to dismiss and deny any implicit power over the individual that the monumentality of a wholly discrete architectural composition holds.[113]

HETERONOMOUS | MULTIPLE | QUOTIDIAN

Readings: Edensor, Tim (2005). ‘Waste Matter - The Debris of Industrial Ruins and the Disordering of the Material Worlds’, Journal of Material Culture, Volume 10(3): 311-332 Stead, Naomi (2000). ‘The Ruins of History: allegories of destruction in Daniel Libeskind’s Jewish Museum’, Open Museum Journal Volume 2: Unsavoury histories, August 2000. http://archive.amol.org.au.omj/volume2/stead.pdf

The Author as Producer, a lecture given by Walter Benjamin, primarily concerns itself with the organizational function engendered by the products of authorship, its purpose, and indeed, what modes/tendencies of production possess an organizational function. Regardless of the discipline grouping of the authorship, whether it be literature, photography, film, radio, music and so on, when we consider the purpose of the production we must look to the concerns/role of the author, asking, “who does the author write for?”[119] It is also important here that we define what is meant by ‘organizational function’, or rather, what is to be organized. In this context, writing from a Marxist persuasion, Benjamin is referring to organization of the proletariat, organizing themselves around a common credo as a means to effect revolution.

A 2008 study found the city of Lisbon, Portugal, to contain up to 4000 abandoned buildings, many of these slipping into rapid dilapidation and ruination after mass depopulation of the city over a period of years.[114] The residents of Lisbon moving to surrounding municipalities as a result of disproportionate property prices.[115] This is not too dissimilar to what Edensor describes when referring to industrial buildings as ‘exemplary manifestations of the waste produced by capitalism,’[116] as companies leave behind factories in the UK in the search for cheaper land and labor. Within the MArch 1 Studio course a section of my work aims to interact with a small number of these abandoned buildings, in varying states of ruination, within a specific parish of Lisbon the parish of São Miguel. On a pragmatic level the project is a water harvesting and redistribution system, with various points for water storage within the proposed system. In relation to the abandon buildings, these would form points of storage or resistance to the flow of collected water.

Ultimately what I aim to do is propose an armature of manipulation within select abandoned buildings. This would be an armature that, aide for accommodating the storage of water, would allow for the manipulation and control of the water as it enters and exits the structure, with the aim to modulate water’s interaction with elements of the built fabric. For example, what is the effect on materiality when a specific section of walling to be constantly wet/damp, for a timber beam/rafter to become saturated and dry out again on a daily basis, for steel elements and joints to expand, oxidize and eventually disintegrate? In Edensor’s writing we see him describe the object of ruin ‘[entering] a different temporality, where its life may be shortly at an end, depending upon the conditions of moisture, the state of dilapidation of the building in which it is housed which allows the weather into what was formerly the protective inside’.

[117] creating this armature I hope to explore the function and value of this protective layer as it is “reformed and regenerated, shifting back and forth between different states, always on the edge of legibility”[118] during accelerated ruination as openings form and close over time, interaction of light with the structure is transformed, new functions are imparted onto various part of the construction and an overall spatial reordering takes place on the level of human interaction.

To ask whom a piece of writing is for is answered when the authorship of a piece of work is considered to be dictated by the current social situation and its concerns. When that work is astutely dictated by these conditions and becomes ‘useful for the proletariat in the class struggle’,[120] Benjamin considers this work to ‘conform to the correct political tendency’.[121] We note however, that this removes the authors autonomy. The ability of the product of this authorship to preform an organizational function, under the materialist (Marxist) understanding that ‘social relationships are determined by relationships of production’,[122] can be explored through an alternate question which Benjamin poses to the materialist concern ‘how does a literary work stand in relation to the relationships of production of a period’. Instead, Benjamin asks ‘how does it stand in them?’[213] This question more specifically challenges what the concern or role of the author’s work is within a movement, opposing any element of disassociation from the movement’s primary concerns or intangibly broad potential area of concern that may arise from situating the discussion from an extraanalytical position. We see this proposal of situating the intellectual (author) alongside the proletariat challenged again in an analogy to answer the question “what is to be done?”[124] where Benjamin posits that this is ‘an impossible position’[125] and the only way in which the intellectual can find his position within the class struggle is to put oneself within the process of production.

Fig. 17 Typical example of an abandoned residence in Lisbon

100. Edensor, Tim (2005). ‘Waste Matter - The Debris of Industrial Ruins and the Disordering of the Material Worlds’, Journal of Material Culture, Volume 10(3): 311332. 311 101. Idem.

102. Ibid., 312 103. Idem.

104. Ibid., 313 105. Ibid., 317 106. Ibid., 18 107. Stead 2 108. This idea of the ‘constructed ruin’ is not to be confused with the faux-Greek and Roman ruins constructed in the gardens of stately homes, described by Edensor, purely for their aesthetic appearance and epistemological connotations.

(Edensor 324)

It was mentioned previously that the mode of the authorship was unimportant regarding its ability to carry political tendency, however, what one must be mindful of, is that the method in which the product is mediated can negate any position of attitude the author carries towards his work. ‘The best political tendency’, Benjamin says, ‘is false when it doesn’t indicate the attitude towards which one should approach it for the [author] can only indicate this attitude when he makes something.’[126] A strong example, provided by Benjamin, of a product mediator that negates attitude, is the newspaper. The reason for this is that the mass media newspaper purposefully does not hold a clear political position in an attempt to appeal to the concerns of people over multiple classes. Therefore, it dilutes the voice of its own concerns, if any, and neutralizes the position of any strong revolutionary pieces it does contain by siting them alongside

109. Ibid., 6 110. Idem.

111. Idem.

112. Idem.

113. Idem.

114. As this study was carried out in 2008, the year that marked the beginning of the financial crisis, I feel it would be a fair assumption to estimate the number of abandoned buildings now to be much greater. http://citizenreporter.org/2010/08/ abandoned-lisbon/ 116.Edensor, Tim ‘Waste Matter - The Debris of Industrial Ruins and the Disordering of the Material Worlds’: 311-332. 316 117. Ibid., 317 118. Ibid., 318

Readings: Edensor, Tim (2005). ‘Waste Matter - The Debris of Industrial Ruins and the Disordering of the Material Worlds’, Journal of

Material Culture, Volume 10(3): 311-332

Kaplan, A. and Ross, K. (2002) ‘Introduction to Everyday Life: Yale French Studies’, in Ben Highmore [ed.], The Everyday Life Reader, London; New York: Routledge, pp. 76-79, available from http://www.jstor.org.ezproxy.webfeat.lib.ed.ac.uk/stable/ pdfplus/2930192.pdf?acceptTC=true

pieces of differing or of no political or literary tendency.[127] As we can consider the newspaper to no longer holds a position, a literary tendency ,thus political tendency, it loses its literary power to enact social action. ‘[T]he indiscriminate assimilation of facts goes hand in hand with the similar indiscriminate assimilation of readers’.[128] Using the analogy of writer Sergei Tretiakov that Benjamin gives we see what he feels is the correct method of positioning an author within his class struggle to gain meaning and significance from his product. Tretiakov, Benjamin explains, positions himself within his struggle as an ‘”operative” writer’[129] (operative in the sense of a worker within the manufacturing and production industry) ‘actively intervene[ing]’ in the organization of the proletariat whilst carrying out his writing rather than as a seemingly extraneous reporter.

Using this example also helps to explain the point concerning the modes of authorship, as the writing of Tretiakov may not necessarily be considered literature but demonstrates how his work can equally be considered a ‘[form] of expression’ that carries the same ‘[energy]’[130] in its literary tendency, thus we focus more on the intentions and outcomes of the author’s actions.

As outlined in the Waste, Voids, Ruins entry, my proposal within the MArch Studio course is concerned pragmatically with providing a specific parish in Lisbon with a locally controlled and maintained rainwater harvesting and redistribution network, an autonomous water network. The aim of this network is to provide the community of the parish with control over their own water supply, to make the people, to a certain extent, self sufficient in this area. Essentially, a system of this nature would allow the parish the power and freedom to organize itself as a ‘microclimate’, and gain greater control of their own ‘social space’[131] within the larger city. Through the Situationalist spatial perception of the quotidian, described by Kaplan and Ross in ‘Introduction to the Everyday’, this would be an organization which could be considered inline with the Situationists as ‘[c]ultural interventionists rather than academics’,[132] i.e. possessing an attitude towards a political tendency through production. Through the Marxist terms posed by Benjamin, we can also say that such a system would provide an organizational function, the system becomes an ‘apparatus of production’,[133] a means of production adapted for use by the people of the parish, thus liberating them from any regulations imposed by the wider network, (EPAL) such as water bans for non-essential operations during periods of summer drought. Since this is a closed system, maintained and operated from within the community, it can be considered ‘[alienated]’ from any imposed control from wider, external forces,[134] thus maximizing its organizational function within the parish community. It is in this sense that when one thinks in terms of our work through Benjamin, it is possible to consider ourselves the ‘author as producer’.

Fig. 18 Map created in the MArch Studio course indicating abandoned buildings and existing water network within the São Miguel parish, Lisbon 119. Benjamin, W. (1982) “The author as producer” [1934], Victor Burgin (ed.), Thinking Photography, London: Macmillan Press, pp. 15-31. 1 120. Idem.

121. Idem.

122. Ibid., 2 123. Idem.

124. Ibid., 4 125. Idem.

126. Ibid., 6 127. Ibid., 4 128. Ibid., 2 129. Idem.

130. Ibid., 3 131. Kaplan, A. and Ross, K. (2002) ‘Introduction to Everyday Life: Yale French Studies’, in Ben Highmore [ed.], The Everyday Life Reader, London; New York: Routledge, pp. 76-79, 2 132. Idem.

133. Ibid., 4 134. Benjamin, W. “The author as producer” 15-31. 4

Kaplan, A. and Ross, K. (2002) ‘Introduction to Everyday Life: Yale French Studies’, in Ben Highmore [ed.], The Everyday Life Reader, London; New York: Routledge, pp. 76-79, available from http://www.jstor.org.ezproxy.webfeat.lib.ed.ac.uk/stable/ pdfplus/2930192.pdf?acceptTC=true

general criteria 3.1 3.2 3.3

Readings: Benjamin, W. (1982) “The author as producer” [1934], Victor Burgin (ed.), Thinking Photography, London: Macmillan Press, pp.

15-31

Readings: Benjamin, W. (1982) “The author as producer” [1934], Victor Burgin (ed.), Thinking Photography, London: Macmillan Press, pp. 15-31

Stead, Naomi (2000). ‘The Ruins of History: allegories of destruction in Daniel Libeskind’s Jewish Museum’, Open Museum Journal Volume 2: Unsavoury histories, August 2000. http://archive.amol.org.au.omj/volume2/stead.pdf

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Key Words: Political/Literary -Tendency Authorship Production Organizational Function

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scat essay: a semiotic reading of THE SCOTTISH PARLIAMENT

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

question

select bibliography

Make a semiotic reading of The Scottish Parliament, Holyrood House, the New Museum of Scotland or Edinburgh Castle, and assess the usefulness of semiotic techniques for architecture. What are the lessons for your own design work?

introduction Semiotics in architecture has long been a pertinent issue in the design studio, the architectural education system and as the subject of countless journal articles, whether this be in an effort to ‘deepen the understanding of the production of meaning in architecture’ or in an attempt to create an architecture whose physical manifestation is ‘meaning-less’, the architect’s prerogative focusing instead on creating a building of pure function and syntax, as was key to so many International Style project of the 1920’s. In order to undertake a relevant semiotic reading of any architectural project, in this case The Scottish Parliament, it is first important to explore and define an understanding of semiotics in architecture. It is also important that there is a clear distinction made between communication theory and semiotics, where communication theory deals with an analysis of how signs and messages are sent and received as opposed to semiology which deals with ‘“what the signs consist of” of “or what laws determine them.”’ Ultimately when carrying out such a reading, what one must acknowledge as inherent, is the framework around which the reader’s knowledge and understanding has been formed, along with the basis of which the architecture itself has been formed, be this Western, African or of a specific architectural epoch. To this end it is understood that semiotics is cultural specific and is based on a particular cultural code.

key points By observing and examining the relationship between specific architectural objects that comprise a project as a whole, one is able to understand, under semiology, the laws that determine a sign and the sum of what comprises them as part of a particular architectural project, and thus the ‘meaning’ which they impart. This relationship between specific architectural objects is understood as reciprocal.

What is meant by this, is that in observing or recognizing an object, one also recognizes the differences and similarities between other relating objects in the architectural project and in the wider context of architecture, this in turn forms a semiotic system, or a ‘set’ as termed by Martin Krampen.

According to Baudrilliard, ‘objects lose their material and functional status by their integration into object systems’, as he posed that as a unit in a system the individual objects can only form part of a wider overall message and forego their own characteristics.

However, it can be argued that the ‘universe of discourse’, a system of sets, is what allows one to make the transition into semiology.

Despite Westminster obviously not being literally present alongside the Scottish Parliament, it is a fair assumption to presume that it forms part of the mental lexicon of images for the vast majority of society. Therefor one can still consider it as forming an opposition structure, providing meaning through relationship and relativism.

Scottish Parliament on initial approach through its main entrance has an unusual openness for a construction of such importance.

All other angles reveal almost the opposite of this to be the case.

Architects all over the world have struggled to find a compromise between the openness that one expects of a democratic relationship between proceedings and the people, and the security surrounding potentially the most valuable target in the country to terrorists. The Scottish Parliament is not different in this respect, despite first appearances. ‘[S]emiotics may be useful as a weapon against ideology, or “adaptive [architectural] theory,” which allows the perpetuation of the economic and political status quo.’ Therfor, it is important that one stands actively opposed to architectural ideologies, where ideology is understood to represent certain fixed beliefs, be they aesthetic, moral, religious, political etc. that form a governing, dogmatic structure, crucially, misrepresentative of larger society and its dynamic needs.

In terms of using semiotic theory as a method of critique in particular architectural instances, possibly the most relevant projects to assess against are the functionalist projects of the 1920’s, designed to be specifically ‘meaning-less’, from private villas to mass social housing projects. referring back to the theory of communication, which to some extent could be considered a traditional, or rather ill-considered, method of architectural semiotics, it is possible to use the theory of architectural semiotics outlined in this essay as a comparative model to critique communication theory and define why it is inadequate in any attempt to use it to understand meaning in architecture.

Under a model of semiotics plotted in Charles Kay Ogden and Ivor Armstrong Richards’ semantic triangle it is understood that a word itself has no inherent meaning, the connection between the word as a symbol and the item that it represents being arbitrary. In the case of architecture, within this framework, the theory of communication, the architectural object takes the place of the word, thus is merely a tool for communication, without a true parallel between the specific object and its meaning, in summary, it is a system that is not engendered from its subject matter and consequently it is impossible for it to carry any meaning or bear any relevance in an architectural, or in fact any context outside of linguistics.

general criteria 1.1 1.2 1.3

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The key problem with Armstrong and Richard’s method though, is that it strongly suggests that architecture and its design has a final destination in terms of its meaning that can only expand as far as the grasps of linguistics. It becomes purely a communicative tool for a system that already operates based on its own specific rules which architecture could only play an impoverished role in, thus it arrives like all other consumed theories at a theoretical blockage.

Krampen, Martin. Meaning in the Urban Environment. (london: Pion limited, 1979) Broadbent, geoffrey. A Plain Man’s Guide to the Theory of Signs in Architecture Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory, 1965-1995, Edited by Kate Nesbitt (New york: Princeton Architectural Press, 1996)

thought

conclusion Through the exploration of what comprises and is understood as present day architectural semiology, the clear benefits it posses as a critical device and the misconceptions that surround its definition, it is clear that there are a number of lessons which one can carry into the design studio in order to progress projects mindfully and meaningfully. ‘And if our buildings are going to symbolize anyway – despite our best (or worst) intentions – then an understanding of how they do so may help us design them to do it better.’ A key fundamental of architectural semiology was also explore, under the understanding that social class and environmental background will largely affect ones reading of a particular piece of architecture, we also understand that the reading will form of a particularly involved system of experiences and knowledge that ‘is partly idiosyncratic and partly held in common by others in a population’, A particular socialcode that is essential to semiotics. However we must also note that in this understanding any reading may necessarily remain ‘incomplete and open-ended’ and may eventually become defunct as the comparative cultural agenda shifts. nevertheless, that is not to say that the architecture itself is destined to the same fate as it continues to be open against comparison against new cultural agendas.

What we find is that ‘the picture of architectonic function and meaning is augmented by a unique property of the [semiotic] system, namely the relative permanence of its broadcast. Clearly if a signal remains permanently available, it becomes intersubjective property to many potential addressers and addressees.’ This also means that despite the nature linguistic syntax having to relevance in architectural semiotics ‘verbal language confers upon the built environment temporal variation in invariation’, a key property in establishing a universe of discourse. Ultimately, through the application of architectural semiology it was seen that semiology can be used as a tool to critique social progress hindering architectural ideologies through constructing an architecture that in opposition promotes the production of ideas, theories and knowledge to help maintain progress in society.

referent

symbol signifier

signified

Charles Kay Ogden and Ivor Armstrong Richards’ semantic triangle

Showing the ‘curtain’ motif as a ‘set’ along with security bollards

MSP’s pods, arranged in a linear fashion, reminiscent of a kind of secular monastery

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Architectural Design Studio a

saltcity 2: building in the city of unsure ground ii - lisbon

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Brief Synopses

Course Aims

course Structure

Studio A emphasises the development and refinement of the structural, material, environmental and legislative aspects of the design projects. It builds from work completed in Year 1 of the Integrated Pathway. The projects carried over have framed hypotheses for projects in the city, investigations of potential and imagined futures of city and urban field. The design projects of Studio D and Studio A are required to interact to form a single Thesis project. Studio A looks for a sustained and rigorous process of investigation and the development of urban and architectural design. The projects work towards a complete draft of one detailed architectural proposal of significant complexity.

1. Develop an awareness of the full complexity of the contemporary environment and the possibilities and problematics of architecture’s interaction with it.

The semester was broken down into five distinct areas or stages of process, each with a differing scale in mind, working up from the ‘tell-tale- detail of about 1:5 to the far larger scaling of the city’s estuary. Through the process of developing these five stages or design markers, the proposition previously conceived in Studio D were given a certain level of consolidation and substantiality, each adding further complexity to the overall thesis argument.

2. Pursue architectural design as a critical process of research and inquiry (in relation to the specific issues raised by the unit briefs) and to follow the consequences of this across the full range of architectural scales.

3. Achieve conceptually rich and formally refined projects that respond to relevant contemporary discourses.

The semester can be broken down as follows: Tell-Tale Detail

Water channels

Janela + Quarto/Sala

Laundry scale

Barrio

Community scale

+

Estuário

Parish in context

Learning Outcomes

Proposition

4. Develop and refine representational skills (drawing, modelling, photography, use of the computer and workshop) and the strategic use of different representational modes in the design process and in presentation.

LO1: A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (eg. the built, social, historical, technological, urban and environmental contexts).

LO2: A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants.

LO3: An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies.

LO4: A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

Massing model showing potential for rainwater harvesting using gradient of roofscapes leading Down to Wash House [Scale 1:200]

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Tell-Tale detail: establishing the language of the channel Set up as the first of five scaling devices ‘Tell-Tale Detail’ was undertaken as a generator for proposals designed during this semester taking the form of models, drawings, maquettes, studies and experiments at 1:20, 1:5 and 1:1 scales of identified detail (join) which should encompass an enclosed, inhabited condition within our architectural proposition in Lisbon-Tagus. Our exporation of architecture in the city of unsure ground was to possibly be manifest in the construction of base; of an attitude towards join between component parts; of an intention in terms of tool, processes of making and constructing. It should clearly differentiate intended environmental conditions of inside and outside (wall/existing/ topography), enclosure and exposure (horizon/roof/ground)

1:20 Plastercast maquette: Inside face

1:20 Plastercast maquette: Outside face

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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10.1 10.2 10.3

11.1 11.2 11.3

43

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Tell-Tale detail: establishing the language of the channel

i iii

iv

i ii

ii iii

Key:

Key:

I. Existing aggregate wall Ii. New anodised steel water channel Iii. New anodised steel internal downpipe Iv. Timber trim

i. Insect + debris mesh ii. Water circulation pipe for solar heat exchanger iii. Anodised steel hood serves to calm Incoming flow of water

Exploded axonometric of detail

Section of detail insitu

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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10.1 10.2 10.3

11.1 11.2 11.3

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2.3

2.4

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Janela (opening) The second scaling device, Jenela (opening) looked at a slighly larger scale element of the proposal, introduced ideas of apature in relation to threshold, light air and further environmental factors.

1:20 Plastercast maquette

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

45

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2.3

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Janela (opening) Cross section between wash house + drying building Existing exploration of aperture levels and sizing relative to sea and ground

38.71m (8.91m)

38m (8.20m) 37.42 (7.62m)

36.71m (6.91m)

35.7m (5.90m)

34.99m (5.19m) 34.42m (4.62m)

33.7m (3.9m)

32.74m (2.94m)

31.99m (2.19m) 31.44m (1.64m)

29.8m (0.0m)

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

46

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2.3

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Janela (opening) As the proposal very much focuses on the community aspect of life in the parish, objects of the everyday, relative to each proposition, are used to influence and sizing and spacial configuration. For the laundry, standard European linen dimensions over a full range of bedding sizes. As these are objects that play a direct functional role in the daily operations of the proposal, and are also objects of a very human scale, they give clues as to how one uses a space and how a space can be best augment for a specific function. This is particularly pertinent as we are dealing with existing fabric of variable stability and stages of disrepair.

Keeping in mind that the fabric of Sao Miguel can’t always provide a loading function in its current state, we are looking to much of the intervening structure, the proposed architecture, to provide a buttressing, pinning and reinforcing function where required, without aiming to restore, or even necessarily rebuild, rather to enjoy the contrast between the natural decay, which in some ways has become epitomic of Lisbon, especially in the Alfalma, and the solid, clearly defined contemporary structure.

Duvet Cover

Flat Sheet Pillow

Single

Double

King

Super King

Standard European Linen Dimensions - Janela Sizing Chart

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

47

2.1

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Janela (opening)

Section of typical existing opening found in Alfama, Lisbon

Section of proposed louvred opening

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

Plan of proposed louvred opening

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Janela (opening)

Janela Render

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

49

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2.3

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Quarto/Sala (Room) Quarto/Sala opened up the project for architectural considerating at a scale of inhabitaion, and began to combine the elements of Detail and Janela within the larger context of a construction.

In this case the project focused on the drying room in a building neighbouring the Janela (opening)

Plan of drying room

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

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10.1 10.2 10.3

11.1 11.2 11.3

50

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Quarto/Sala (Room)

Cross section of drying room next to laundry

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

51

2.1

2.2

2.3

2.4

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2.6

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Quarto/Sala (Room)

Long section of drying room

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

52

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon

Drying house proposed roof opens on a counterweight to provide adequate airing and when fully open lines flush with proposed wall lining of traditional Portuguese basket weaving

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

53

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Quarto/Sala (Room)

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

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54

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2.2

2.3

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2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Barrio: neighbourhood scale The ‘Bairro’ element of the work sets out to explore and illustrate the physical connection between the two main proposals within the parish, as well as exploring the proposal’s connection to the wider concerns of the neighborhood. The physical topographic modeling of a section of parish landscape, which sites the two proposals, demonstrates just how unique and formidable this area of the Alfama can be in regards to its topography. Combined with the drawing it can be seen how the roofscape between proposals mirrors the topography of the ground and throws up interesting challenges when considering how to negotiate water transfer along this surface. The drawing also seeks to show minor interventions to areas outside the immediate proposals, in terms of street furniture and handrails. These tactile interventions are to be of the same material to that used in the proposals themselves, thus giving hints as to the location and language of an intervention as one explores the parish.

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

55

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Barrio: neighbourhood scale

Massing model showing potential for rainwater harvesting using gradient of roofscapes leading Down to Wash House [Scale 1:200]

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

56

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Estuário: Parish in context The law passed in November of 2012 (Lei n.º 56/2012) reduced the official number of freguesias to 24 administrative units, with the administrative reorganisation being completed in September of 2013. This restructuring of local government was carried out in favour of saving and effective service. However, there was significant opposition to these changes for a period of over two years from all opposing political parties and perhaps more importantly from the Associçáo Nacional de Freguesias (National association of parishes) who conducted a study concluding that overall these changes would only bring savings in the region of 6.5m Euro. Many polling stations also boycotted the vote in protest. Despite these official changes, it appears to be the case that residents still organise themselves, at least socially, around the old boundaries, evidenced in articles such as parish community websites. Curiously, the administrative boundaries along the shorefront now reach out to cover sections of the Rio Tejo (Tagus River) where previously the boundaries reached only as far as the natural ground, even negating the constructed concrete edge.

Ajuda Alcântara Beato Benfica Campolide Carnide Lumiar Marvila Santa Maria Dos Olivais (Lisboa) São Domingos De Benfic Parque Das Nações São Vicente Arroios Campo De Ourique Belém Areeiro Estrela Misericórdia Santa Clara i Santa Maria Maior Santo António Avenidas Novas Alvalade Penha De França

New administrative boundaries as of November 2012

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

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57

2.1

2.2

2.3

2.4

2.5

2.6

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Estuário: Parish in context 1.Ajuda 2.Alcântara 3.Alto do Pina 4. Alvalade 5.Ameixoeira 6.Anjos 7. Beato 8.Benfica 9. Campo Grande 10. Campolide 11. Carnide 12. Castelo 13.Charneca 14.Coração de Jesus 15. Encarnação 16.Graça 17. Lapa 18.Lumiar 19.Madalena 20.Mártires 21.Marvila 22.Mercês 23.Nossa Sra. de Fátima 24.Pena 25.Penha de França 26.Prazeres 27.Sacramento 28.Santa Catarina 29.Santa Engrácia 30. Santa Isabel 31.Santa Justa 32.Santa Maria de Belém 33.Santa Maria dos Olivais 34.Santiago 35.Sto. Condestável 36.Sto. Estevão 37.Santos-o-Velho 38.S. Cristovão e S. Lourenço 39. S. Domingos de Benfica 40.S. Francisco Xavier 41.S. João 42.S. João de Brito 43.S. João de Deus 44.S. Jorge de Arroios 45.S. José 46.S. Mamede 47.S. Miguel 48.S. Nicolau 49.S. Paulo 50. S. Sebastião da Pedreira 51.S. Vicente de Fora 52.Sé 53. Socorro

1981 1991 2001 2008 Amadora 163.878 181.774 175.872 172.110 Cascais 141.498 153.294 170.683 188.244 Lisbon 807.937 663.394 564.657 489.562 Loures 276.467 322.158 199.059 195.035 Mafra 43.899 43.731 54.358 70.867 Odivelas - - 133.847 153.584 Oeiras 149.328 151.342 162.128 172.021 Sintra 226.428 260.951 363.749 445.872 Vila Franca de Xira 88.193 103.571 122.908 142.163 North bank 1.897.628 1.880.215 1.947.261 2.029.458 Alcochete 11.246 10.169 13.010 17.464 Almada 147.690 151.783 160.825 166.103 Azambuja 19.768 19.568 20.837 Barreiro 88.052 85.768 79.012 77.893 Moita 53.240 65.086 67.449 71.596 Montijo 36.849 36.038 39.168 41.432 Palmela 36.933 43.857 53.353 62.820 Seixal 86.169 116.912 150.271 175.837 Sesimbra 23.103 27.246 37.567 52.371 Setúbal 98.366 103.634 113.934 124.459 South bank 601.416 660.061 735.426 789.975 AML 2.502.044 2.540.276 2.682.687 2.819.433 PORTUGAL 9.833.000 9.867.100 10.356.100 10.267.250

Left: City of Lisbon showing parish boundaries & route of historic aquaduct with location of São Migue parishl mark at No. 47 Right: AML Municipalities with table showing massible depoulation of lisbon between the periods1981-2008 according to census data

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

58

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Existing site: laundry & drying facilities

Existing plan of buildings to become laundry and drying facilities

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

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11.1 11.2 11.3

59

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Existing site: laundry & drying facilities

Existing cross section of buildings to become laundry and drying facilities

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

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11.1 11.2 11.3

60

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Existing site: laundry & drying facilities

Existing long section of building to become laundry facility

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

61

2.1

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2.3

2.4

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2.6

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposition: laundry & drying facilities The proposition is fundamentally based around the harvesting and reuse of water on a micro [parish] basis. In doing so it is the aim that the parish is provided with a level of autonomy, an ability to control their own water supply and thus govern its use, where the water supply to parts of Lisbon can be short during the summer months and heavy rainfall can cause sewage to overflow.

This small cluster of buildings is proposed to house a laundry and drying facility for communal use by the residents of the parish. In doing so, the proposal make use of abandoned and otherwise unused space within the parish, structurally restoring some of the existing city fabric and provides and economic way for the residents to wash and dry laundry in a communal environment, effectively freeing up space from their already tight houses in this region.

Proposed plans of laundry and drying facilities

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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10.1 10.2 10.3

11.1 11.2 11.3

62

2.1

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2.3

2.4

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2.6

2.7

dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposition: laundry & drying facilities

Proposed cross section of laundry and drying facilities

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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10.1 10.2 10.3

11.1 11.2 11.3

63

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2.3

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposition: laundry & drying facilities

Proposed long section of drying facilities

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

64

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2.3

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposition: laundry & drying facilities Location of Tell-Tale Detail

Proposed long section of laundry facilities

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

65

2.1

2.2

2.3

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2.6

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dsa

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposition: laundry & drying facilities

Handrail profile for dry house timber with steel channel

Timber stair section, dry house

Timber stair elevation, dry house

Handrail profile for wash house, folded steel channel

Steel stair section, wash house

Steel stair elevation, wash house

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

arch. management, practice & law

contract game / examination

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

architectural management, practice and law Brief Synopses

Course Aims

course Structure

Architectural Management, Practice and Law aimed to expand our comprehension of the architect’s professional requirements in practice, as well as to introduce the title of the ‘architect’ and the accompanying responsibilities, offering an insight in the management strategies that can be employed in a professional office. This was a lecture and workshop based course delivered through a series of lectures presented by architects and related professionals involved in the creation of the built environment. The lectures were intended to present us with a range of knowledge which was then be built on and developed by further reading.

The course was also intended, in part, as being a preparation for fulfilling the requirements of the Part 3 Examination in Professional Practice and Management.

1. Acquire understanding of the issues and constituencies which influence the processes and delivery of design and theoretical aspects of project and practice management.

The course is broken down into two main sections, Contract Game and Examination. Within the Contract Game the first task, over a period of two days and in teams of four, placed us in the position of the architect whilst we worked through a series of 31 ‘live’ scenarios issuing responses, Actions etc. as appropriate. These two days were then followed up by two individual reports, one focusing on an analysis of the team learning environment and the second on an alternate methods of procurement from what was in place during the Contract Game.

2. Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect.

3. Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project.

4. Develop an awareness and understanding of the financial matters bearing upon the creation and construction of built forms.

Development Brief Princes Street Block 10 cover

Within the Examination section we worked in pairs to complete four essays focusing on practice/business management and legal responsibilities.

5. Develop an awareness of the changing nature of the construction industry, inter-relationships between individuals and organisations involved in building modern day building procurement.

+ Learning Outcomes LO1: An understanding of practice management and codes of professional conduct in the context of the construction industry.

LO2: An understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project.

LO3: An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

general criteria 1.1 1.2 1.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Contract game In collaboration with Chris Nicholson | Pavlina Stergiadou | Hannah Thomas

introduction Operating under the Traditional JCT Contract, the contract game places the ‘architect’ as a mediator between various professionals of the building industry; Contractor(s), Client, CDM Coordinator and Surveyors. Through the 26 scenarios the game offers a simulation environment to understand the fundamental principles of professional relationships, but also the nuances of procurement methods, contract structures and management strategies in relation to the variables of time, cost and quality of the project delivery. In turn the report reflects on the possible implications that contractual relationships between the different parties in contract might have for the delivery of the project, using the JCT 87 Standard Form of Management Contract as an alternative method of procurement.

These implications are discussed in reference to scenarios drawn from the Contract Game in regards of time, cost and quality.

Sample pages from the Contract Game

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Contract game analysis of the learning experience After the contract game we were asked to submit an individual 1000 (max) word analysis of the learning experience, detailing dynamics of team working, roles and responsibilities of team members, reflection on strengths and weaknesses of the team and finally to highlight particular cost control measures implemented by the team during the game.

Sample essay page

Screenshot of Contract Game Interface

general criteria 1.1 1.2 1.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

Contract game alternative methods of procurement The second individual submission constituted a 1000 (max) word reflection on how a different form of procurement and contract would have had an impact on the delivery of the scenario project in relation to time, cost and quality

Select biblography Clamp, Hugh, Stanley Cox, and Sarah Lupton. Which Contract?: Choosing the Appropriate Building Contract. London: RIBA Publishing, 2007 Green, Ronald. The Architect’s Guide to Running a Job. Oxford: The Architectural Press, 2001 Dalziel, Robert, and Nigel Ostime.

Architect’s Job Book. London: RIBA Publishing, 2008

Sample essay pages

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

examination In collaboration with Pavlina Stergiadou

practice/business management The first two questions of the examination dealt with an understanding of practice management and codes of professional conduct in the context of the construction industry, alined with Learning Outcome 1.

The first selected question from Section 1 focused on information handling/professional indemnity with the second focusing on business management/economic context

general criteria 1.1 1.2 1.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

examination In collaboration with Pavlina Stergiadou

Legal responsibilities The latter two questions dealt with an understanding of the influence of statutory, legal and professional responsibilities As relevant to architectural design projects, aligned with Learning Outcome 3 The first question from Section 2 focued on briefing with the second fucusing on planning.

Select biblography Architect’s Job Book. London: RIBA Publishing, 2008 Architect’s Handbook to Practice Management Edinburgh City Council Planning Portal: http://www.edinburgh.gov. uk/planninganddevelopmentonline

general criteria 1.1 1.2 1.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

architectural design studio h

saltcity 2: Architecture in the city of unsure ground - lisbon

general criteria 1.1 1.2 1.3

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Brief Synopses

Course Aims

course Structure

The Thesis Project developed through Studios C, D and A raises many issues concerning architecture in the urban context. Studio H has a single objective: to present the Thesis Project as complete, in its own terms and in relation to the terms of the ARB/RIBA validation criteria. Students will frame issues that either require specific further development or may arise as parallel concerns. These may traverse philosophical, technological, environmental, cultural, political, economic, management issues, and will be developed through design, critical presentation and more exploratory modes of practice.

1. Acquire understanding of the issues and constituencies which influence the processes and delivery of design and theoretical aspects of project and practice management.

Studio H was broken down into four ‘Moves’ as follows:

2. Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect.

3. Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project.

4. Develop an awareness and understanding of the financial matters bearing upon the creation and construction of built forms.

5. Develop an awareness of the changing nature of the construction industry, inter-relationships between individuals and organisations involved in building modern day building procurement.

+ Learning Outcomes LO1: The ability to develop a research inquiry which is clearly and logically argued, has awareness of disciplinary and interdisciplinary modes of research, draws from specifically defined subject knowledge, and is relevant to current architectural issues.

Move 1: The (Un)sure Ground. draw, model, work with LisbonTagus composite city ground maps through the terms of our thesis Move 2: The Speculative Morphologies. develop a model/ drawing/ hybrid developed from Move 1 which foregrounds the Tagus as the armature and context for our existing and projected design hypotheses and speculations Move 3: Opening out and closing down the Design Narrative.

With reference to Moves 1 and 2, but primarily to the main threads of your design work, prepare an A3 visual map (as a pdf) as a tool to strategise what your design report will constitute.

Move 4: The New Architectures. test emergent and critical samples at architectural scale (the scale of inhabitation and spatial experience) from Move 2 through appropriate means and methods (eg. materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks) which are pertinent to the particular conceptual framework, content and trajectory of your thesis inquiry.

LO2: The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks.

LO3: A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon abstract With Lisbon’s increasing depopulation and ever growing number of vacant, abandoned buildings falling into disrepair, driven heavily by austerity measures taken as part of the European Bailout Scheme (with Portugal due to exit the scheme in May 2014, leaving Cyprus and Greece the only eurozone states still under ‘assistance’ from the IMF) Aqueous Amelioration aims to provide particularly heavily affected areas of the city with the means for greater selfsustainability and self-sufficiency, and a decreased reliance on state governed infrastructure. The end goal of the project being to lessen the often debilitating impact of sweeping bureaucratic decisions typically out-with the hands of the everyday inhabitant and present a progressive, less environmentally impactful way to live in the future.

It is important to note that the project by no mean purports to be a panacea for the hardships of austerity, rather serving as an example and a precedent of ways in which the city and its inhabitants can take control of and maintain crucial aspects of their everyday life, and in the process, rejuvenate areas of their community and the culturally rooted communal everyday.

general criteria 1.1 1.2 1.3

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon Prologue The city of Lisbon, until 2012, was officially split into 53 distinct civil parishes (freguesias), which are secondary local administrative units, of which the residents tend to identify with quite strongly. Each parish is administered by a junta de freguesia drawn from a publicly elected four-year-term assembleia de freguesia. The project focuses on the parish of SĂŁo Miguel, which now sits within the Santa Maria Maior, one of the 24 new freguesias. It can be noted that the parish has no direct connection to the historic Ă guas Livres Aqueduct, meaning that the residents would have originally had to walk a fair distance to collect fresh water. Presumably this water was connected to a wider spanning mains system in later years.

The utilitarian aim of the project is to provide the identified parish (and potentially other parishes in the future) with an autonomous water system, including the harvesting of rainwater through series of interconnected roof structures and ground-planes to its reuse in grey-water systems such as laundry and even a supply of potable water for use in times of seasonal dry-spells, where residents will struggle for water to bath and drink at certain times of the day.

Essentially the projects seeks to provide the people of Lisbon with a more stable and self-sustainable system than the one that is currently provided by the city of Lisbon, which has been identified to fall short on a number of levels, including the drainage and processing of excess water run-off, sewage transportation and consistent supply of water through summer months. The project also makes use of a number of the parish’s abandoned buildings to house these proposed systems, thus creating a project which is as sensitive to the existing historic fabric as possible whilst containing inherent sustainability.

Bricolage map of Lisbon showing a number of aspects including ferry lines, parish boundaries, flight paths and geological data.

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[50.8m] Highest Surface Ground Level [53.9m > Sea Level]

[42.3m] Water Storage Level Within Reservoir

[27.9m] Ground Level of Laundry Building

[21.9m] Critical Height For Sufficient Water Pressure

[18.8m] Water Provison Level for Hostel Dwelling

[0.0m] Lowest Surface Ground Level [3.1m > Sea Level]

Critical Datums Relating to the Storage and Distribution of Water Relative to the Parish of S達o Miguel

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir Location Plan: [Inner Radius (Bakery) 2 minute walk through Alfama (200m) | Middle Radius - 3 minute walk through Alfama (240m)| Outer Radius - 4 minute walk through Alfama (300m)]

Plaster cast of reservoir housing

general criteria 1.1 1.2 1.3

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir Key: 1. Entrance Way + External Reflecting Pools 2. Purification System 3. Internal Reflecting Pool A

3

1 2

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Proposed ground floor plan

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M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir Key: 4. Miradouro 5. Entrance Trapdoor to Storage Tanks

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

A_Long Section Through Reservoir

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

Edging detail allowing water collection from reservoir roof surface

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

Rainwater collection system [RainHarvest Systems LLC]

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

High capacity filter system detail [RainHarvest Systems LLC]

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

Rainwater storage system [ryowo]

Connection details

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

001_Entrance to reservoir through external reflecting pools

general criteria 1.1 1.2 1.3

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

002_Interior reflecting pool underneath potable water reservoir

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 1/3 : reservoir

003_Miradouro overlooking the gradated roofs and landscape of the parish of S達o Miguel

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying Location Plan [Inner Radius (Bakery) 1 minute walk through Alfama (89m) | Middle Radius - 1 minute walk through Alfama (67m) | Outer Radius - 3 minute walk through Alfama (240m)]

Plaster cast of wash housing

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dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying Key: 1. Wash House/Laundry 2. Traditional Wash Racks + Pools 3. Heated Seats 4. Modern Washers 5. Additional Rainwater Inlets 6. Dry House

A

5 B 4

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Plan of Wash House/Laundry + Dry House

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91

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

A_Long Section Through Wash House/Laundry

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

92

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

B_Long Section Through Dry House

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

93

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

C_Cross Section Through Wash House/Laundry + Dry House

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

94

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

001_Interior of Wash House/Laundry Showing Traditional Washing Rack along-side Machine Washing

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

95

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

002_Detail of Water Inlets for Additional Rainwater Collection

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

96

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

003_Washing Being Pulleyed Up to Send to Drying House

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

97

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 3/3 : Dwelling/hostel Location Plan [Inner Radius - 1 minute walk through Alfama (67m) | Middle Radius (Bakery) 2 minute walk through Alfama (150m) | Outer Radius - 4 minute walk through Alfama (300m)]

Plaster cast of dwelling/hostel housing

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

98

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 3/3 : Dwelling/hostel Key: 1. Entrance/Atrium 2. Reception 3. Larder for Day Food 4. WC + Showers for Guests 5. Male Domitory 6. Female Domitory 7. Miradouro with BBQ Pits

A

4 2 1

A

3

Ground Floor Plan of Hostel - Dwelling

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

99

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 3/3 : Dwelling/hostel Key: 1. Entrance/Atrium 2. Reception 3. Larder for Day Food 4. WC + Showers for Guests 5. Male Domitory 6. Female Domitory 7. Miradouro with BBQ Pits

A

A 5

First Floor Plan of Hostel - Dwelling

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

100

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 3/3 : Dwelling/hostel Key: 1. Entrance/Atrium 2. Reception 3. Larder for Day Food 4. WC + Showers for Guests 5. Male Domitory 6. Female Domitory 7. Miradouro with BBQ Pits

A

A 6

Second Floor Plan of Hostel - Dwelling

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

101

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 3/3 : Dwelling/hostel Key: 1. Entrance/Atrium 2. Reception 3. Larder for Day Food 4. WC + Showers for Guests 5. Male Domitory 6. Female Domitory 7. Miradouro with BBQ Pits

A A 7

Miradouro on Roof of Hostel - Dwelling

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

102

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 3/3 : Dwelling/hostel

A_Long Section of Hostel - Dwelling

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

103

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

001_Atrium/Lightwell of Hostel-Dwelling

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

104

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

002_First Floor Dormitory Looking Out Over Atrium/Lightwell

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

105

2.1

2.2

2.3

2.4

2.5

2.6

2.7

dsh

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

saltcity 2: lisbon proposal 2/3 : Laundry & Drying

003_Miradouro Overlooking Roofscape of The Parish of S達o Miguel Parish Out Towards the Rio Tejo (Tagus River)

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

106

2.1

2.2

2.3

2.4

2.5

2.6

2.7

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

design report

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

107

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Dr

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

design report Brief Synopses

Course Aims

course objectives

This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the Programme.

1. Construct a design report as a designed object that effectively and eloquently introduces an architectural design project or design thesis undertaken during the M.Arch Programme.

1. Critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

2. Appropriately structure and present a comprehensive design report which documents and presents in detail an architectural design project or design thesis, a fully referenced academic document which fully demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design.

2. Demonstrate an ability to analytically and logically synthesise documentation which encompasses a range of architectural issues, research and design development undertaken, individual study progress and key project representations.

The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, at the same time it is also itself a designed object.

3. Develop skills in the communication of architectural design proposals, through sophisticated visual and textual synthesis and consideration of reception.

+ Learning Outcomes LO1: The ability to develop a research inquiry which is clearly and logically argued, has awareness of disciplinary and interdisciplinary modes of research, draws from specifically defined subject knowledge, and is relevant to current architectural issues.

LO2: The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks.

LO3: A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

Plaster cast of Washouse

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

108

2.1

2.2

2.3

2.4

2.5

2.6

2.7

Dr

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

design report

The Design Report serves to bring together all the thesis work into a concise document to tell the sort of the design from start to finish.

Through out the journey of the design and concepts the report also looks to centre the work with technical, safety and environmental concerns, to bring a real sense of completeness and conclusion to the project.

i

ii

Reservoir

iii

Wash

Dwell

3

4

Sample Index Page

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

109

2.1

2.2

2.3

2.4

2.5

2.6

2.7

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

eusas

e xtra c urricular

general criteria 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

110

2.1

2.2

2.3

2.4

2.5

2.6

2.7

M.Arch I M.Arch II EUSAS Semester I Semester II Semester I Semester II DSC DSD DSA DSH EC ATR SCAT AMPL DR

eusas event posters

dissensus on:

eusas members free students £6 | non-students £8 membership | tickets available on the door drink included on entry

| dɪˈsɛnsəs | noun [ mass noun ] the holding or expression of opinions at variance with those commonly or officially held

2O

2O

images

e u s a s c h r i s l o w r y building in borneo chris dobson [studioalto] l e w i s w a rd ro p remo pedreschi + more to be confirmed

edUcation tHroUgH making

featuring:

featuring:

start 19:00 sharp | doors 18:30

etienne turpin seth denizen nabil ahmed

_____________________

22|10|13 - doors 18:00 - start 18:30 m a t t h e w g a l l e r y m i n t o h o u s e 20 chamber street eusas members free (non)-students (£8) £6 membership available drink included on entry

_[landscape

lecture room 1 | minto house

[principal director: anexact]

architect | evolutionary biologist]

__________________________[visual

eusas.co.uk

general criteria 2.1 2.2 2.3

3.1 3.2 3.3

artist, author & musician]

eusas.co.uk

@eusas

1.1 1.2 1.3

eusas members free students £6 | non-students £8 membership | tickets available on the door drink included on entry

| dɪˈsɛnsəs | noun [ mass noun ] the holding or expression of opinions at variance with those commonly or officially held

architecture & anthropocene wednesday 04|12|2013

seconds

dissensus on:

friday 29|11|2013

start 18:30 sharp | doors 18:00

lecture room 1 | minto house

lynne cox david narro cristina gonzalez

___________________________________________________________________________________

________________________________________[david

[tog studios]

narro associates]

_[lecturer

& practitioner]

eusas.co.uk

@eusas

graduate attributes 4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 10.2 10.3

11.1 11.2 11.3

111

2.1

2.2

2.3

2.4

2.5

2.6

2.7