Revaluing Poplar: Managing Transition by Nella Abi Khalil

REVALUING POPLAR MANAGING TRANSITION NELLA ABI KHALIL

Rethinking the Creative City: Learning Through Time and Transition Architectural Association School of Architecture M.Arch Housing and Urbanism 2020-2021 Tutors: Lawrence Barth, Anna Shapiro London 2021 2

ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE GRADUATE SCHOOL PROGRAMMES

COVERSHEET FOR SUBMISSION 2019-20

PROGRAMME:

Housing and Urbanism

STUDENT NAME(S): Nella Abi Khalil

SUBMISSION TITLE

Revaluing Poplar: Managing Transition

COURSE TUTOR

Lawrence Barth and Anna Shapiro

DECLARATION: “I certify that this piece of work is entirely my/our own and that any quotation or paraphrase from the published or unpublished work of others is duly acknowledged.” Signature of Student(s):

N. Abi Khalil

Date: 29/01/2021 4

Thank you Jorge, Elena, Dominic, Francesco and Giorgio, and Irenee for sharing your knowledge, experience, and persepectives all throughout the 16 months.

ACKNOWLEDGEMENT

Thank you Larry, for your wise guidance and never ending patience. Mostly, thank you for always reflecting your knowledge on us and challenging our preconceptions about the city, architecture and how it all comes together. Thank you Anna, for your passion and constant support. Your mentorship and dedication in fostering all that H&U embodies despite the pandemic will forever be appreciated. This never wouldâ&#x20AC;&#x2122;ve been possible without the support of my parents, Carol and Georges. Thank you a million times. To all my H&U friends, I hope to see you all soon.

This thesis deals with the area of Poplar as a rising creative neighbourhood, rethinking the relationships between both the production and consumption sectors of the creative economy alongside residential environments. It questions the current regeneration development patterns in East London that are looking at ways to integrate creativity in their new residential neighbourhoods, which is understood as an asset but also as a challenge to preserve the notion of creativity while building housing, upgrading, and densifying areas. In this context, the thesis explores projects that have a command over temporality; it argues that future urban developments can learn from meanwhile projects to cater for gaps in resources and creative infrastructure provision, working with them in a way that affects how we approach and manage time and transitions on site. In turn, this sequential reasoning allows us to think differently about housing and the crossovers in the long term. Hence, the attitude towards building residential neighbourhoods is different from those we have seen in previous regeneration schemes: a collective approach to housing, that values the existing communities, manifest itself through a series of building typologies such as the deep block, linear L-shaped block and the living cluster.

ABSTRACT

On that account, if a wave of regeneration and densification is going to come to an urban area, this thesis showcases the opportunity to manipulate change in a way that builds on what is already there. Instead of remaining one of those trends that come and go, the meanwhile becomes a tool, for the architect, to take control of the development process in the immediate present, and, through an incremental process, sequentially intensify the area and create employment.

Abstract Acknowledgement

1- IntroductionThe Creative Industries: From Production to Consumption Meanwhile Architecture: Potential, Flaws, and Inspiration Existing Patterns of Creative-led Urban Developments in East London The Creative City: Towards an Incremental Vision of Time and Adjacencies

13 14 17 23 31

2- Revaluing PoplarCreative Potential and Oportunities Urban Conditions: Morphology, Mobility and Riverside Condition Concept of the Area: Layering up Poplar

33 34 37 41

3- Learning from the Meanwhile: Temporary Use, Long Term ValueMeanwhile Diagrams: Infill, Campus, and Supermix Re-evaluating the Shed Typological Evolution Over Time

47 50 58 59

4- A New Approach to Housing DevelopmentAssembling Stakeholders The L-Linear Block The Deep Block The Collective Cluster The Layered Ground

67 68 71 78 85 92

5- Conclusion

Bibliography

100

CONTENT

INTRODUCTION

Figure 1. Makerâ&#x20AC;&#x2122;s Yard in North Greenwich

The Creative Industries: From Production to Consumption The concepts of the creative city, cultural infrastructure, and the creative economy have become key factors in theorizing contemporary urban development in today’s cities (Bishop and Williams 174). The latter is largely due to the economic impact of the creative industries in terms of employment and output: in London alone, 1 in 6 jobs is in the creative industries (Department of Culture Media and Sports 5). Forming a key economic sector, they are used by post-industrial cities to forecast a present-day image in an increasingly global market. Furthermore, in recent years, the integration of culture in urban regeneration strategies has played a significant part in a developer’s agenda (Bishop and Williams 174). While terms like creative cities often become buzzwords, one can’t deny that creativity is almost exclusively urban; the ways in which we produce, consume, and appreciate creativity and culture are constantly changing and continuously contribute to reshaping the city.

What makes up the creative industries could be broken down into two realms: what is consumed and what is produced. The first one represents the places where culture is experienced, engaged with, exhibited, or sold such as art galleries, exhibition spaces, cultural events, performances, and educational and social engagement events. On the other hand, what is produced is referred to as the creative work made by manufacturers, artists, makers, or through digital processes. Such spaces could be light industrial units, artist studios, makers’ workshops, creative workspaces or media production studios (Chung et al 5). While large investment funds are usually poured into private galleries, museums or opera houses, culture in London has reversed this trend: the city also provides a less formal and increasingly accessible stage for the creative industries. Today, this shift in trend appears in creative-oriented temporary architecture that deals with both creative consumption and production (Bishop and Williams 175).

Figure 2: Off Site gallery on the roof, Peckham Levels by Turner Works

Figure 3: New Patterns of Learning, The Workshop, Lambeth

Meanwhile architecture: Potential, Flaws, and Inspiration Potential

Figure 4: Event- led Culture, CoachWorks by Turner Works, Ashford UK,

What is taken for granted in London are those areas that provide opportunities for all sorts of creative activities, from consumption and production, to take place. Through them, it is not only new trends that emerge such as off-site gallery or event led culture. Most importantly, they cultivate new patterns of learning, new patterns of making in the city, and new diagrams of mixed-use; they become a new kind of urban economy. They are also effective in terms of their fundamental character of low-cost construction and temporary notion. We could talk about them in terms of temporary or meanwhile uses, but this doesnâ&#x20AC;&#x2122;t cover the importance of what theyâ&#x20AC;&#x2122;re achieving. For such places to thrive, they need local businesses on board; they give them a stage to produce. More precisely, they act as steppingstones for businesses to participate in the local economy and provide a platform for the creation of new partnerships between actors that are often from diverse professional backgrounds. In particular, they put forward new diagrams of how we might want to organize our neighbourhoods differently, allowing us to rethink the relationship between creative consumption and production towards the provision of housing.

Figure 5. New patterns of making, Sugarhouse Studios by Assemble Studio

Figure 6: Artist Studios for local creatives, Peckham Levels by Turner Works

Figure 8: Off Site Gallery, 180 the Strand

Figure 7: Involving the local community, Granby Space by IF_DO

Figure 9: Event-led culture as local engagement practice, Folly for a flyover by Assemble Studio

Figure 10. Make-shift feel, Pop Brixton by Turner Works

Figure 11. Mixed Use Environment, Bluehouse Yard

Flaws

Inspiration

Originally, the notion of temporary architecture came to be when artists took the opportunity to squat derelict buildings or plots to produce art, mostly in post-industrial areas, due to cheap rent and the scarcity of affordable spaces in city centres (Bishop and Williams 34). Today, temporary use is assimilated into mainstream urban policy. In London, it has become a tool for developers to gain access to land or batter for space: well-marketed and culture oriented interim uses are proposed on vacant plots or buildings, acting as a positive visual and experiential filler . Eventually, the meanwhile stand-in development is replaced by a generic commercial development. We also understand that on the urban scale, meanwhile projects are rarely the parts-of-a-whole of a larger urban regeneration development pattern and are mostly pieces, often successful, within themselves. Hence, such temporary uses are unable to produce radically different futures or put forward a rethinking of the creative city. Undeniably, what lies behind the ever-growing popularity of these transitional projects in London is affordability; indeed, such projects are able to provide artists, creatives and small enterprises with affordable and adequate workspaces which have become scarce in the city. Furthermore, they have the power to take control of time and immediately initiate regeneration within a neighbourhood.

What is it with these architecture offices that value the existing, and what do we have to add to it? In some architectural offices such as Turner Works, Assemble and Ash Sakula, the meanwhile has become both an expertise and part of their design agenda. Throughout the years, such design firms have built a clear understanding of both the advantages and constraints of such transitional projects. In addition, they continue to recognize the potential of a neglected area. Behind their valorisation of the existing, low-tech, low-risk approach and makeshift materiality, a new logic of organizing neighbourhoods has emerged. These temporary projects put forward a rethinking of mixed-use by taking advantage of the typology of an existing building, such as a shed or parking structure, or of the existing morphology of an unused site. In many cases, the role of the architect expands from mere designer to an active actor that helps local residents take control of the economic development process of their neighbourhood, both in the present and over time. In addition, through such methods, the consumption and production of creativity become part of the everyday life of locals. In short, as the architect understands and works along with the current moment and detail, long-term value emerges from the meanwhile. Taking the latter into consideration, we recognize what the meanwhile brings to the table, but we are also aware of its flaws; this thesis explores the ways in which we could take this trend further. 21

Event Led Culture

Making Workshops

Mixed Use Environments

Learning and Playing as Engagement Practices

Local Employment

MEANWHILE

Workspace for Creatives Interim Regeneration Projects

Off-Site Gallery Small Scale Cultural Institutions

New Learning Patterns

Existing Patterns of Creative-led Urban Developments in East London We are aware that cities are trying to figure out ways in which they can integrate creative environments into new residential neighbourhoods. It is understood as an asset but also as a challenge to preserve the notion of creativity while building housing, upgrading and densifying areas. Besides, as much as we understand the advantages of meanwhile use, we are also aware that when they are successful for a while, they disappear. They donâ&#x20AC;&#x2122;t seem to be permanent parts of a neighbourhood life or predict patterns for future change. Beyond such temporary projects, three development patterns that integrate creativity into housing are presently identified in East London.

New Nighborhood Organizations

Figure 11. Creative trends that make up meanwile uses

London City Island The first pattern is recognized in London City Island, a large scale real estate commercial project dominated with housing, located on 5-hectare site encircled by the River Lea. Ambitious in nature, it is put forward as being the new version of the creative neighbourhood and is able to integrate some creative functions such as the English National Ballet and the London Film School. The partial success of the island stems from its geographical condition: indeed, in calling itself an island and behaving as such, it becomes an isolated territory not only geographically but also within its part-to-whole relationship with its surroundings. Hence, the project is successful within itself as it doesnâ&#x20AC;&#x2122;t pretend to be dictating a certain pattern of change on how culture could be integrated beyond it in Poplar. The London City Island development acts as a protective zone that is quite limited in its effect.

Figure 15. The English National Ballet: Infill or anomaly in the plan?

Figure 12. Snapshot of the London City Island website portraying the development as an island destination

Figure 16. The English National Ballet Figure 13. Inside one of the highly defined courtyards of the London City Island

Figure 17. The production side of the creative industries, designing ballet costumes

Figure 14. View into London City Island standing in Poplar

Trinity Buoy Wharf

The Design District

The second project, Trinity Buoy Wharf, utilizes the post-industrial landscape of a derelict site, transforming it into a sort of theme park centred around the arts and the creative industries. What sets this creative cluster apart from the others lies in its temporality and incremental densification process. Clearly, the diverse mix of cultural functions on this plot of land is made possible through the developerâ&#x20AC;&#x2122;s step by step, phased programme and low-cost, low-risk approach that meanwhile projects bring into the formula. Such spatial dynamics allow different stakeholders to come together on the same site. The result is a mixed-use creative development where live/work artist studios, educational facilities, workspace and some commercial activities come together on the same plot (Bishop and Williams). However, twenty years later, Trinity Buoy Wharf has failed to become a stepping stone towards something more permanent or ambitious; it is not a platform for any long-term change. The random distribution of buildings on the site, its makeshift materiality, and short-term lease framework do not provide a sense of stability. In addition, similarly to the London City Island case, the isolated island geographical condition of the site contributes to, or perhaps reduces Trinity Buoy Wharf to what it is: an exciting weekend destination to this weird place.

The third creative regeneration pattern is identified in the Design District in North Greenwich and is part of the ÂŁ8.4 billion Greenwich Peninsula development. This cultural hub sits on a one-hectare rectangular block that hosts 16 buildings clustered in four groups of four and sharing a courtyard in the centre; in turn, each cluster encloses a yard specific to itself. Each of the 16 buildings is designed by a different architect and has a different feel, character and materiality. This compact version of the creative cluster typology is able to deliver a large range of cultural functions from workspace to artist studios. It argues to be the future version of the creative quarter as it is purpose-built for the creative minds of London. To add to that, it asserts that the compact concentration of cultural activities and artists on one plot of land is the right development model to integrate creativity in urban regeneration. However, the results in a highly defined development that leaves no room for future change or flexibility. As a whole, the Design District plot acts as an anomaly in the Greenwich Peninsula masterplan. Often, such projects are designed to create identity in order to increase the value of the residential apartments around it (Fazzare).

Figure 18. Temporary housing: Live/work studios

Figure 20. A music container reserved to a single artist

Figure 19. Workshop spaces + Temporary housing: Live/work studios

Figure 21. Event space + flexible yard for creative activities such as shootings

Figure 22. one of the 16 buildings, by David Kohn Architects

Figure 23. A view into the internal courtyard

Figure 26: A design district or theme park?

Figure 24. Assembling clusters and yards

Hence, these three patterns of development create artificial environments, looking off people who are not dealing with them. Neither of them give us an understanding of how culture becomes part of Poplar and North Greenwich beyond the limit of their plots. They fail to achieve both long term change and the integration of housing provision and future local employment. They work solely on the basis that they are highly defined and involve a complete redevelopment of a relatively constrained territory. In addition, they do not put forward a clear understanding of the relationship between housing and the creative industries, nor a vision of how creative neighbourhoods should be organized. Nonetheless, it is clear that there is interest in this type of clustering; there is enough believe in it so that we design a lot of our contemporary projects around it. While what they seem to always do is invite new people in, our approach might be to value the existing community and move the transition in a way that is more respectful.

Figure 25. Assembling clusters and yards

The Creative City: Towards an Incremental Vision of Time and Adjacencies Looking at all those recent developments that are unsuccessfully trying to integrate creativity into residential developments, a key question arises: what if we look at things that have a command over temporality? Perhaps future urban development can learn from transitional projects to cater for gaps in resources and creative infrastructure provision. We could work with them in a way that affects how we approach and manage time and transitions, which would then allow us to think differently about housing and the crossovers over the long term. In other words, we can take advantage of time and start now, with the meanwhile as a tool, for the architect, to take control of the development process in the immediate present and through an incremental process. With such an approach of time and adjacencies, an attitude about the use of what is already on site becomes obvious; through a series of small transitional projects, we understand what the current condition gives us. Hence, we can extract what is of value there while working in an exploratory way. Meanwhile diagrams could act as a starting point to generate permanent and long-term creative strategies in areas in London today. On that account, if a wave of regeneration and densification is going to come to an urban area, this thesis showcases the opportunity to manipulate and control development in a way that builds on what is already there.

Figure 27: Layering up Poplar: Managing Transition

REVALUING POPLAR

Figure 28: The pathway from the the West side of Poplar to the East, through the Limehouse Cut

Creative Potential and Opportunities Poplar is part of the East End of London and is strategically bordered by Bow on the north, Blackwall and Canary Warf on the south and the River Lea on the west. The A12 highway crosses through Poplarâ&#x20AC;&#x2122;s fabric disrupting into two parts. The morphology on the west side is defined by residential environments, mainly generic council homes. The east side, however, is mostly composed of a series of brownfield sites, used for waste disposal and as scrap yards, that disrupts the housing blocks from each other. In addition, the two sides of Poplar are quite detached from each other not only in terms of accessibility but also in terms of the vision of the urban area. Poplar, as a whole, has little to no service provision and is pretty disconnected from anything exciting happening in London today.

Figure 30: Affordable live/work unit on Leven street

Nonetheless, an interest in the creative industries has begun to appear in the strip of land east of the A12 highway and Bow Creek. ACME, a London based charity that provides affordable studios, live/ work units and a residency programme has taken interest in the area by establishing such spaces on Leven Street. Another creative addition to the neighbourhood, Poplar Works, offers facilities dedicated to fashion and gives small businesses and individuals a stage to produce through a series of studios and training spaces. This project is bought forward by different stakeholders from diverse sectors, ranging from the housing industry and educational institutions to the social entrepreneurship sector (Barnet, 3).

Figure 29: Poplar Morphological Conditions

Figure 31: Facade view of ACME housing for creatives on Leven Street, southern part of the site

Figure 32: Affordable live/work unit on Leven street

This tendency towards the productive sector of the creative industries and the growing cultural scene did not emerge out of nowhere. In fact, textile and fashion have had a strong presence in the Lower Lea Valley, more specifically in Poplar and many decades before Poplar Works was established, whether in the form of large textile factories or in the domestic setting. Hence, projects like ACME Studios and Poplar Works hint at the interest of the area in regaining such spaces and integrating them in its new residential neighbourhoods (Wainwright).

Urban Conditions: Morphology, Mobility and Riverside Condition Going back to the two sides of Poplar, we canâ&#x20AC;&#x2122;t help but notice the neglected potential the west side has to offer. Crammed between the A12 and the Lea River, a 7-hectare site defined by its disused vacant plots and industrial sheds interrupts, north and south, the residential blocks when housing provision is already very limited compared to the rest of Poplar. The geography of the canal side defines the morphology of the site through its curvy pathway. On both north and south ends of the site, the sheds are placed perpendicular to the canal and oriented towards the street for direct access. At the centre of the site, a collection of neglected industrial plots of varying form and size obstruct the access to the riverside. On the other side of the Lea River, large industrial sheds used for mass storage of goods define the urban fabric. Clearly, this thin waterside parcel presents an irregular situation and finds itself challenging to build in the usual commercial way due to how the water bends.

Figure 33: Common Working space, Poplar Works

Figure 34: Common Working space, Poplar Works

Figure 35: From old lock-up garages to a creative space for fashion production, Poplar works, southern part of the site

Figure 36, 37: Irregular parcel conditions

While the A12 highway provides an excellent vehicular connection to the rest of London, north from Stratford and down to Greenwich through the Blackwall Tunnel, it acts as a harsh physical barrier between the site and the rest of poplar that lies east to it. Pedestrians linkage across it are few with large distances in between each, making it almost inaccessible by foot or cycling except on certain key points. Probably, the most important one lies at the moment the pedestrian path parallel to the Limehouse Cut Canal, on the east side of Poplar, traverses under the huge highway to the other side, on the Northern part of our 7 hectares site. On the south, the site is connected to the adjacent residential blocks through Levant Road. However, both ends of the site, the north and south sides, are disconnected from each other as there is no clear mobility network that goes through the site, nor towards the canal; midway, pedestrians and cyclists find themselves on the highway.

Figure 39. View from the canal onto the siteâ&#x20AC;&#x2122;s industrial leftover plots

Figure Figure 40. Street view of residential environments south of the site Figure 38: Mobility Patterns and Plot structure

Concept of the area: Layering up Poplar

Figure 41. Blocked access to the riverside

Figure 42. Pedestrian and cyclist pathway north of the site

Figure 45.

Figure 43. Bric a brac

In this thesis, the 7 hectares site is looked at as a large object to order; as we understand the neglected potential of the area, the existing morphology becomes a sequence that would, in turn, organize and inform the future morphology of the urban fabric. The reason we are looking at those industrial plots is simple: through their differentiation in size and form, and their inconsistent morphology, typological variations of future buildings emerge. Hence, step by step, as we understand the current moment and detail of the site, value would immerge. Through this sequential rethinking of the fabric, whatever we build first, we can still do it respectful of the existing condition. Hence, letâ&#x20AC;&#x2122;s take advantage of time. Right now, we can start exploring the spatial possibilities of both south and north edges of the site which have direct access to housing provision and are accessible to local residents. As a starting point, and each step along the way, we use a system of meanwhile uses to encourage skill development and participation in the creative economy of Poplar.

Figure 44. Pedestrian and cyclist pathway through the Limehouse Cut, passing under the A12 highway

Figure 46. Layering up the site, existing plots dimensions and size

Figure 47. Morphology of existing plots and its sequences

Figure 48. Meanwhile layers

Figure 49. Assembling blocks

Figure 50. From assembling blocks to simultaneous development

Figure 51, 52, 53. Managing Transition: From assembling blocks to simultaneous development

LEARNING FROM THE MEANWHILE: TEMPORARY USE, LONG TERM VALUE

Figure 54. Lunchtime at Trinity Buoy Wharf

Meanwhile Diagrams: Infill, Campus, Supermix Temporary use has been a growing trend in London for a long time now which can be noticed through its growing presence on social media. As we look at these projects, we notice that many of them follow a similar morphological or typological logic. In this thesis, 3 temporary use patterns with the potential to manage transitions between industrial and residential, in Poplar, are examined thoroughly: infill, campus, and super-mix. As we imagine the character of future creative environments, those precedents could provide us with significant typological starting point that would cater to the set of conditions present on the waterside plot.

Figure 55. Instagramable Facade at Yardhouse by Assemble

Figure 56. Another social media worthy moment at the Peckham Levels Playground

Figure 57. Pop Brixton putting forward its small businesses on social media

Meanwhile As Infill Several meanwhile projects are rather small; they find themselves inserted into the fabric of a neighbourhood block, and after a while, it seems as if they were there all along. Such projects, like the Blackhorse Workshop by Assemble Studio in North London. offer a new diagram of how we might want to integrate making or light industrial manufacturing into a residential block through infill. In addition, they puts on the table new possibilities of how we could reorganize our neighbourhoods differently.

Figure 59. Yard space as frontage

Figure 58. Axonometric View of Blackhorse Workshop + yard, showcasing the everyday working life of the tenants

Figure 60. Cafe space, added to the primary structure of the Blackhorse workshop as the needs of the tenants evolve

Figure 61, 62: layering up the mixed use block

In Blackhorse Workshop, the terraces of the lowrise housing act as a spatial separation between the residential environment and the working yard; this creates a campus-like environment. Such an infill project is vital in understanding the morphological possibilities of mixed-used blocks. Despite being sort of crammed between a terraced housing and a linear building, the Blackhorse workshop has room to grow due to its facing yard; with time, additional functions such as a cafĂŠ made use of the productive open space and were added to the initial structure. As for the interior spaces, they adapt to different working situation; small creative enterprises can rent a unit with ample space for their own equipment and machinery while individual makers have the option to rent a desk at an affordable price with access to common workshop spaces. The latter host all the tools and equipment needed for both woodwork and metalwork.

Meanwhile As Campus The second identified pattern of the meanwhile is the campus approach, which is adopted in Dome View Yard in North Greenwich and Coachworks in Ashford. In these projects, old industrial forms are used to create new spaces.

Figure 63, 64: Blackhorse Workshop Part-to-whole relationship

Figure 65. Exploration: Integrating living environments to working life of the block

For instance, Dome View Yard consists of two shed buildings randomly placed on a sort of L shaped block and joined by a common yard space. The first shed is a linear deep block made up of a series of studio units that support medium-scale fabrication while the second building has a smaller floorplate with a series of smaller rooms that host music and film production activities. The working yard is the main asset of this temporary project; it is used as a parking and unloading/loading area, storage space, and allows for the spilling of production activities outside of the building. Besides, it grants certain flexibility to the meanwhile structures to grow or extend as a space and gives a platform for creatives from different industries to forge relationships. The plot adjacent to Dome View Yard is occupied by a deep linear container building made up of larger units that host small and medium light manufacturing enterprises. Together, both plots form a creative campus whose morphology is defined by a series of interiorised wide yards. In addition, the three buildings form a cluster that hosts through its different scales, from small, medium to large, distinct modes of working and producing creativity.

Figure 66. Dome View Yard makeshift frontage

Figure 67. Workshop bric a brac

Figure 68. Domeview Yard axonometric showing the shed structure, building organization and orientation to the yard

15 22

Figure 70: Layering up the block

Figure 71: Yards + street access

Figure 72: Block dimensions

Figure 69: Small and medium sheds, structure dimensions

Meanwhile as super-mix

In Coachworks, the architects have carefully refurbished and readapted a collection of disused light industrial sheds, two deep linear and one smaller shed surrounding a yard into a creative campus. The interior of the deep sheds was upgraded to absorb different types of workspaces such as studios and co-working spaces in addition to flexible and wide spaces for local event and exhibitions and areas for social gathering and food. The logic of this cluster is organized around the central open yard which creates an interiorised environment; the sheds are accessed through the yard rather than directly from the street. The yard acts as a flexible space and serves as the main social component of the project; what is mean by flexibility is the ability of a space to offer different sets of possibilities within its borders. Particularly, the added value of Coachworks in the context of the meanwhile lies within its section; unlike most sheds in temporary uses, the sheds here gain in height and number of floors. This which allows for a denser version of the type with a more effective distribution of workspaces and the diversification and separation of event spaces.

Figure 71: Exploded Axonometric showcasing the spatial flexibility of the shed structure

Figure 72: Food and Social activities under the shed

Some temporary projects deal with interior organizations and are able to integrate a diverse set of functions through minimal alterations. For instance, Peckham levels was a derelict car park before designers transformed its walls of nothing to a mixed-use multi-story deep block building. Through its seven floors, this interim use delivers, within its constrained spatial qualities, a super mix of functions. In terms of workspaces, this deep block building delivers 50 studios, a 70 desk coworking space, and shared creative facilities such as a 3D printing lab and a ceramics workshop. The latter spaces are not exclusive to artists but open for small businesses, entrepreneurs, and charities, most of them local. The aim is to put on the table an affordable option to grow, learn together and get things started. In addition, Peckham Levels provides locals with exhibition spaces, childrenâ&#x20AC;&#x2122;s play area, ample space for events, a market hall, food kiosks and bars. The success of this interim use lies within the careful consideration of the existing condition: rather than altering its nature, the architects have adapted the spaces to the structure of the car park. Hence, instead of looking at it as a set of limitations, a new typological diagram of mixed-use environment is put forward, where working, playing and learning can happen simultaneously on the same floor. For instance, one parking stall becomes an artist studio while a combination of them becomes a shared workshop space or an exhibition area.

This super-mix of functions is achievable through the depth of the block: the spaces that need most light are placed on the edges while those that can do without are placed at the centre of the floorplan. The look and feel of the car park are maintained inside and out; hence, the changes are purely organizational. The walls are accepted as they are are and value is extracted out of the structure that brings out new uses to light for small and medium enterprises centred around the creative industries.

Figure 73: Bold playground at Peckham Levels

Figure 74: Sectional perspective showcasing the super-mix of activities

Re-evaluating the Shed

Typological Evolution Over Time

Through the Infill and Campus diagrams, we notice that the shed structure is the dominant building type in meanwhile projects today, whether it is repurposed or assembled on site at the present moment. The reason behind the latter is obvious: in meanwhile projects, designers try to do the most with the least, whether in terms of cost, construction time, or material. In the sheds, walls are accepted as they are and value is extracted out of the structure that brings out new uses to light for the creative industries. To add to that, the flexibility provided inside and through the adjacent yard allows for different spatial configurations depending on the programme and as it changes. The low rise shed has a transformative role as a transitional space not only in terms of filling in the gap through interim use but also as a typological tool in the ground floor diagram; it is able to assemble different functions and stakeholders together within the building itself and in relationship to those adjacent to it. It, however, fails to achieve the latter on the level of the section.

However successful these projects are, their limitations come with the fact that such buildings were not designed with a long-term intention in the back of the designerâ&#x20AC;&#x2122;s mind. Clearly, they were put forward as a typological solution to cater for gaps in the resources and cultural infrastructure provision of a given neighbourhood or larger area in the present moment. Therefore, in the context of the thesis, typological re-evaluation of meanwhile use is necessary to equip such projects with spatial components that not only react to the existing but that can anticipate future adaption. This way, the meanwhile gains in height, deepens its floorplate, and starts to formalize itself; through an incremental process, it starts to integrate housing on top of it or adjacent to it. The core question here is, how can we live in those buildings differently and how do they allow us to reimagine the role of creative production in the city? Creating employment with the purpose of retaining it as housing is built remains one of the main challenges.

Figure 75, 76 Shed structure diagrams

Besides, in the context of our site in Poplar, establishing a clear attitude towards the river manifest itself through the layers of the meanwhile. An interesting opportunity arises to link all these productive businesses together, and sequentially with living environments, through the waterside. Hence, large vehicles directly access the yards from the street for unloading or loading and storing materials, products and large objects while the space between the buildings and the canal are softer and more intimate; they become part of the working life of the building. Furthermore, such spaces are constantly and collectively maintained by creative groups and only get better through time.

Figure 77: Meanwhile layers on the northern edge of the site

Figure 78: Managing Transition Ground floor plan

Figure 79. Managing Transition First Floor plan

A New Approach to Housing Development

Figure 80: A corner in Trinity Buoy Wharf

Assembling Actors How do we take advantage of whatâ&#x20AC;&#x2122;s there, value the existing, while questioning the ways in which housing provision establishes long term relationships to makers, and creative groups and individuals? How do different uses start to emerge within and alongside housing? The approach to residential development must be different than those we have seen in previous regeneration schemes such as the London City Island. In a way, we want to invite new homeowners to develop the whole area while revaluing the existing communities. To start with, the meanwhile could be used as a tool to incrementally involve new and diverse actors on-site through temporary leases, as we have previously seen north of Poplar, in Hackney Wick (Ferreri and Lang 39). This would allow our site to distance itself from the threat of commercial development and instead give the opportunity to smaller groups of people, whether a collective of creatives, makers, or local light industrial business owners to come into the area and blend with the existing community. In turn, as the east side of Poplar sequentially becomes a space where different actors get involved in the urban fabric, an affordable and collective approach to housing, both within the building and the dwelling, becomes vital.

Hence, we propose a set of typological starting points that would allow us to orient the collective environments of dwelling to the collective creative production on site. As we value the existing buildings, time is taken advantage of through meanwhile uses. In turn, sequentially and simultaneously, we begin to explore some of the characteristics of housing that work well at the adjacencies of these temporary structures. To add to that, an attitude towards the canal side and the street is built up through the sequential layering of buildings. The typologies explored here are able to absorb, within their floorplates, a range of workspaces for creatives and services along with housing provision. Furthermore, they cater to a set of diverse living situations; different types of apartments, from studios to family homes could be found on the same floor.

Figure 81: Creating Vitality through interim use policies in Hackney Wick

Figures 82, 83, 84: The L Linear Block, The Collective Cluster, The Deep Block (respectively)

The L-linear Block

Figures 85: Overflow of domestic activities to the exterior corridor, Stadterle Cooperative building, Basel Figure 87: Ground floor plan of L- linear block with exterior corridor Stadterle Cooperative building by Bruncher and Brundler

The first type is found in the Stadterle Cooperative Building by Bruchner and Brundler Architekten in Basel; it is an L shaped linear block that has quite a thin floorplate. With such dimensions and morphology, the floorplate is able to adapt cluster apartments for collective living, in addition to large individual studios. One of the key characteristics of this type is the exterior open corridor that serves not only as a circulatory system but most importantly as the main collective element of the building, allowing for the spillage of domestic activities outside of the building.

Figure 88: Typical floor plan, thin linear building with exterior corridor Swedish Housing and Market Hall, JAJA Architects

Figures 86: The relationship between the exterior gallery and the inside, R 50 Baugruppen, Berlin

On the ground floor, the extending gallery could be interpreted in many ways depending on the season, time of the day, and needs of the residents. As for the internal organization of the apartments, it makes the most of the unfavourable north facing situation of the site. The kitchen is oriented towards the open gallery which extends into the living space that has a view towards the canal. The bedrooms are large and allow each resident to have a certain amount of privacy within their own room. The dimensions of the floorplates allow for the studios to benefit from a double orientation both towards the east and west. Taking a closer look at this block, an interesting opportunity arises to link all these productive businesses together, and sequentially with living environments, through the waterside. Instead of designing a polished public realm that invites new people in, the canal edge here has a rather unfinished feel and is left at the hands of the tenants to define.

Figure 89: Ground floor plan, Assembling actors through the L linear block and Small, Medium, and large shed structures

In addition, the L shaped block allows us to orient the collective environments of dwelling to the collective creative production happening in the yards and in turn in the small, medium and large creative units on the plot. Hence, the relationship between working and living is emphasized as the exterior gallery is oriented towards and overlook the yard. The latter is used during the day as a productive space, an area for unloading and loading of goods, storage space, and a makerâ&#x20AC;&#x2122;s yard activities. At night, the open productive space could be transformed into a communal and social one where local parties, off-site exhibitions and creative events take form.

Figure 90 The productive landscape: A textile design workshop

3.5

Figure 96. Studio flat

35 50

Figure 93: L Linear Block dimensions Figure 97. 2 bedroom flat

8 12 Figure 91. Typical floor plan

Figure 94. L Linear Block structural grid

Figure 98. Cluster Apartment 3 bedroom flat

Figure

Figure 92: Managing Transition, Assembling domestic Environments and Creative Production

Figure 95. L Linear Block, different living situations

Figure 99. Cluster Apartment 4 bedroom flat

The Collective Cluster Another housing typology is found in this collective living cluster, the Spreefeld in Berlin. Careful on how it allocates its expenditure, it creates affordable, high living value; it is user-driven and accommodates different types of apartments for a range of living situations. The most common housing unit here is the cluster apartment that takes up the whole floorplate of the building. It consists of a series of independent rooms or rather studios flats, each equiped with a kitchinette and ample private space, that share all together a large common living room and a collective kitchen area. The shared living and cooking spaces are each located at both ends of each floor, making the most of the east and west frontages.

Figure 100. Axonomic showing morphology, circulation and the relationship to the river, Spreefeld Berlin, Carpaneto Architekten + Fatkoehl Architekten + BARarchitekten

Figure 101. Typical Floorplate of Spreefeld Berlin, composed of cluster apartment types for collective living

Figure 102, 103: One the of many common spaces, a collective kitchen and dining space in Spreefeld Berlin where tenants are in charge of maintaining the space

In the context of our site, the buildings are oriented and placed according to the given constraints of the existing conditions. Through this bias in orientation, quality emerges within the building and its surroundings; a series of interiorised environments, each with its own degree of intimacy or openess, extends towards the canal. The maintenance of the public realm elements that extend towards the canal becomes an opportunity, for both residents that work and live within the buildings, to evolve and change through time. In turn, living and working environments are blended not only internally but also externally, on the canal side.

Figure 104: The Collective Cluster, Ground floor plan

Here, the notion that the activities taking shape on the ground floor are related to the life happening inside the dwelling manifests itself. Indeed, there is an emphasis on shared space for both working and living. Ample space on the ground floor would be left as options rooms that can be used for different uses, from work spaces for creatives to exhibition areas depending on the needs of the tenants, the seasons, or the day of the week. What the architect is delivering through this cluster is a rather unfinished result, with the opportunity for the collective to take control of the shared spaces not only inside the building but also outside.

Figure 105: The Productive Landscape

The Deep Block The layered approach to the site leaves us to deal with the deep floorplates of the sheds, hence granting us the opportunity to explore the possibilities that come with the deep block typology. In cooperative housing projects that deal with large floorplates such the Wohnprojekt Wien in Vienna, density is achieved through a range of apartment types from collective living clusters to more independent studio apartments and family household apartments.

Figure 108: Ground Floor Building, Wohnprojekt Wien Vienna Figure 106: The Collective Cluster block, Typical Floor Plan

Figure 109: Typical Floorplan, showcasing a range of living situations Wohnprojekt Wien Vienna Figure 107: Collective Cluster block, access and relationship to surroundings

In this neighborhood block, it the ground floor layer of existing and meanwhile creative structures that organizes the future mixed-use, water side environment. Hence, through the manipulation of the deep block, transition is sequentially managed and built upon the existing; the meanwhile formalises itself as housing is incorporated on top of it, and adjacent to it. Hence, in Poplar, as we start to integrate residential environments into these new neighborhoods, this approach of time and adjacencies allows us to maintain and protect the local employment opportunities provided by the creative industries.

Figure 110 Ground floor plan, Managing Transition, Assembling domestic Environments and Creative Production through deep floorplates

22 Figure 113. Floorplate dimension

Figure 114. From shed to Deep block housing, dimensions

Figure 115. From shed to Deep block housing, circulation

Figure 111. Assembling deep floorplates, Typical Floor plan, Cluster 1

2 bed.

Cluster 3

Cluster 2

Cluster 4

Figure 112. Assembling deep floorplates

Figure 116 Deep Floorplate apartment layout

Figure 117. Cluster apartment type 1

Figure 118. Cluster apartment type 2

Figure 119. Axonometric View from the waterside

Layering the Ground In the case of the deep block that sequentially builds up at the adjacency of a meanwhile shed, both the ground and basement levels play an important role in the spatial relationship between the productive sector of the creative economy and the dwellings. Here, the space in between the meanwhile structure and the deep block is pierced through at the ground floor, overlooking the open space on the basement level. This acts as a spatial separation between the residential environment and the working yard, while at the same time creating a campus-like environment where living and working blend together. Figure 120. Section

Figure 1121 Section, mixed use block through deep floorplates

An emphasis on shared spaces is present on both these levels. Space for common bicycle storage is placed towards the A21 highway whereas spaces for childcare and flexible rooms for the collective are oriented towards the canal edge for more privacy and less noise pollution. To add to that, such spaces are constantly and collectively maintained by creative groups and only get better through time. This way, the static placemaking tool of the developers approach found in projects such as London City Island disappears and the two layers of living and working come together.

Figure 122. Assembling deep floorplates

Figure 123. The Productive Landscape, mixed use block through deep floorplates

CONCLUSION

Figure 124. Bric a brac in North Greenwich

If a wave of regeneration and densification is going to come to an urban area, in this case, the east side of Poplar, this approach experiments with the opportunity to manipulate and control development in a way that builds on what is already there. Specific or recurrent conditions within the urban fabric are taken and retranslated into multiple and overlapping readings that would absorb creative production and consumption through a series of infills or repurposed vacant structures turned into campus environments. In turn, each temporary use becomes a part of a whole armature of creativity in Poplar that stretches along the Lea Valley. Instead of remaining one of those trends that come and go, meanwhile use becomes a tool, for the architect, to take control of the development process in the immediate present on site. In this context, the meanwhile is no longer looked at as a time frame or number of years but as a layer to build upon. This way, through an incremental process of regeneration, the area is sequentially densified, and employment opportunities are simultaneously created. In addition, the existing communities are included in those transitions while new stakeholders are invited to think differently about managing transition.

This allows us to rethink the relationship between the creative industries and housing provision. Our approach to building new residential neighbourhoods differs from those found in regenera-tion development projects in London today. Rather than taking an urban area, cleaning it all up and starting from ground zero, the existing layers of the site inform both the morphology and typology of the housing blocks that simultaneously appear on site. In addition, a collective attitude to living is reinforced as housing is sequentially built; rather than designing a highly defined neighbourhood, what the architect leaves us with is a rather unfinished result, allowing the collective to add up their own layers on to the site. Hence, what the thesis puts forward isnâ&#x20AC;&#x2122;t a masterplan but a set of conditions; a sort of manual that catalogues the different characteristics of both housing and creative environments and showcases the possibilities of how they could come together, step by step.

BIBLIOGRAPHY Bishop, P., & Williams, L. (2012). “ The temporary city”. New York: Routledge. Togni, L. (2015). “ The Creative Industries in London”. Working Paper 70, GLA Economics. “Creative Industries: Focus on Employment” (2016). Department of Media, Culture and Sports. Chung, C. et al (2018) “Growing UK’s Creative Industries: What Creative Entreprises Need to Thrive and Grow”. Creative Industries Federation Ferreri, M. & Lang, A. (2016). “Notes from the Temporary City: Hackney Wick and Fish Island, 2014 – 2015” Fazzare, E. (2020). “An Inside Look at London’s New Design District Opening This Year ”. Architectural Digest https://www.architecturaldigest.com/story/inside-londons-new-design-district-opening-this-year Wainwright, O. (2020) “From wrecked cars to catwalk: the fashion hothouse born in a row of lock-ups”. The Guardian https://www.theguardian.com/artanddesign/2020/jun/26/poplar-works-fashion-startup-garages-east-london Barnett, R. (2009) ”Developing artists’ studios in partnership with social housing providers”. NFASP http://nfasp.org.uk/system/files/ACME%20LevenRoad.pdf London City Island Website https://www.londoncityisland.com/ The Design Destrict Website: https://designdistrict.co.uk/space-to-create/

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GRAPHIC REFERENCES Figures by Author: Numbers 1, 11, 13, 14, 18, 19, 20, 21, 24, 25, 27, 28, 29, 31, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 61, 62, 63, 65, 66, 70, 71, 72, 75, 76, 77, 78, 79, 80, 82, 83, 84, 89, 90, 91, 92, 93, 94, 95, 96, 104, 105, 106, 107, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124 Figure 2: Peckham Levels bu Turner Works Figure 3: The Workshop https://www.dezeen.com/2019/08/08/matt-fiona-mega-maker-lab-children-london/ Figure 4: Coachworks by Tuner Works https://turner.works/works/view/coachworks/ Figure 5: Sugarhouse Studios by Assemble Studio https://assemblestudio.co.uk/workspace Figure 6: Peckham Levels by Turner Works https://turner.works/works/view/peckham-levels-2/ Figure 7: Granby Place by IF DO https://www.ifdo.co/projects/granby-space#drawings Figure 8: Exhibition space at 180 the Strand https://thespaces.com/transformer-a-rebirth-of-wonder-activates-the-cavernous-spaces-of-the-store-x180-the-strand/ Figure 9: Folly for a Flyover by Assemble Studio https://assemblestudio.co.uk/projects/folly-for-a-flyover Figure 10: Pop Brixton by Turner Works https://turner.works/works/view/pop-brixton/ Figure 11: Bluehouse Yard by Kattein Architects https://www.ribaj.com/buildings/blue-house-yard-macewen-award-2018-jan-kattein-architects

Figure 17 English National Ballet https://www.dezeen.com/2020/03/23/glenn-howells-architects-english-national-ballet-architecture/ Figure 23 Design Destrict building by David Kohn Architects https://designdistrict.co.uk/architecture/david-kohn-architects Figure 24 Design District Internal Courtyard https://designdistrict.co.uk/architecture Figure 26: The Design District in North Greenwich https://designdistrict.co.uk/architecture Figure 30, 32: ACME Housing Live/work studio https://acme.org.uk/ studios/ Figure 30, 34 Fashion and Textile co-working space https://www.theguardian.com/artanddesign/2020/jun/26/poplar-works-fashion-startup-garages-east-london Figure 55: Yardhouse by Assemble Studio hatchtag on instagram, Screenshot from Instagram Figure 56: Peckham Levels Playground, Screenshot from Peckham Levels Instagram Account Figure 57: Pop Brixton, Screenshot from Pop Brixton Instagram Account Figure 58: Blackhorse Workshop Axonometric View https://assemblestudio.co.uk/projects/blackhorse-yard Figure 59: Blackhorse Workshop, View from street https://assemblestudio.co.uk/projects/blackhorse-yard Figure 60: Blackhorse Workshop Cafe https://assemblestudio.co.uk/projects/blackhorse-yard Figure 67: Dome View Yard Workshop Facilities, Picture From Assemble Studio Instagram Account Figure 68: Dome View Yard Axonometric View https://assemblestudio.co.uk/workspace/domeview-yard

Figure 12 Snapshot of The London City Island Website London City Island Website https://www.londoncityisland.com/

Figure 69: Dome View Yard Floorplans https://assemblestudio.co.uk/workspace/domeview-yard

Figure 15 English National Ballet https://www.ballet.org.uk/blog-detail/sneak-peek-inside-new-home-london-city-island/

Figure 71: Exploded axonometric Coachworks by Turner Works https://turner.works/works/view/coachworks/

Figure 16 English National Ballet https://www.dezeen.com/2020/03/23/glenn-howells-architects-english-national-ballet-architecture/

Figure 72: shed, Coachworks by Turner Works https://turner.works/works/view/coachworks/

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Figure 73: Playground, Peckham Levels by Turner Works https://dcmsurfaces.com/peckham-levels-play-area/ Figure 74: Section, Peckham Levels by Turner Works https://twitter.com/peckhamlevels/status/692410693744730112/photo/1 Figure 81: Hackney Wick interim use policies Ferreri, M. & Lang, A. (2016). “Notes from the Temporary City: Hackney Wick and Fish Island, 2014 – 2015”

Figure 108: Ground Floor Plan Wohnproyact Wien, Vienna https://plans.arch.ethz.ch/archives/project/wohnprojekt-wien Figure 108: Typical Floor Plan Wohnproyact Wien, Vienna https://plans.arch.ethz.ch/archives/project/wohnprojekt-wien

Figure 86: Facade, Cooperative Building Stadterle by Bruncher and Brundler https://www.daisukehirabayashi.com/portfolio/cooperative-building-stadterle/ Figure 87: Exterior Corridor, R50 Baugruppen Building https://www.metropolismag.com/architecture/residential-architecture/dont-call-it-a-commune-inside-berlin-radical-cohousing-project/ Figure 87: Typical Floor plan Stadterle Cooperative Building by Bruncher and Brundle https://bbarc.ch/de/ genossenschaftshaus-stadterle Figure 86: Typical Floor plan, Swedish Housing and Market hall hybrid, JAJA Architects https://www.archdaily.com/570903/jaja-wins-second-prize-for-affordable-housing-and-market-hall-hybridin-katrineholm Figure 100: Axonometric Diagram Spreefeld Berlin by Carpaneto Architekten + Fatkoehl Architekten + BARarchitekten https://www.archdaily.com/587590/coop-housing-project-at-the-river-spreefeld-carpaneto-architekten-fatkoehl-architekten-bararchitekten Figure 101: Floorplate Diagram Spreefeld Berlin by Carpaneto Architekten + Fatkoehl Architekten + BARarchitekten https://www.archdaily.com/587590/coop-housing-project-at-the-river-spreefeld-carpaneto-architekten-fatkoehl-architekten-bararchitekten Figure 102: Collective Kitchen Space Spreefeld Berlin by Carpaneto Architekten + Fatkoehl Architekten + BARarchitekten https://www.archdaily.com/587590/coop-housing-project-at-the-river-spreefeld-carpaneto-architekten-fatkoehl-architekten-bararchitekten Figure 103: Common dining area Spreefeld Berlin by Carpaneto Architekten + Fatkoehl Architekten + BARarchitekten https://www.archdaily.com/587590/coop-housing-project-at-the-river-spreefeld-carpaneto-architekten-fatkoehl-architekten-bararchitekten

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