Orhan Kemal Unlu - Portfolio of Works - 2018 by Orhan Ünlü

MASTERS | PRACTICE

PART 2 ARCHITECTURAL ASSISTANT

ORHAN KEMAL UNLU PORTFOLIO OF WORKS

ORHAN KEMAL UNLU PORTFOLIO OF WORKS 2018

CONTENTS

1.0

MASTERS WORKS

1.1

In The Devil’s House | Stage 4

1.11

Blow Up: Pinhole Camera

1.12

Making Meanings: Camera Obscura

1.13

Life & Death on The Yantlet: Observatory

1.14

Great Expectations: The Hoo Centre for Contemporary Alchemy

1.2

Turbulence To Terminus | Stage 5

1.21

Disassemble: The Ventilator Breathes

1.22

Construct: Material Hierarchy

1.23

Materials Pavilion: Manifesting Space

1.24

The Common: High Street Turbulence

1.3

We Lived Inside a Dream… The Uncanny Architecture of David Lynch’s Twin Peaks | Dissertation

1.31

Uncanny Architecture

1.32

Methodology

1.33

The Gas Station - Case Study

1.34

Conclusions

2.0

PRACTICE WORKS

2.1

Stondon Park | Rear Extension

2.11

Kitchen Extension Photograph

2.2

Mirror House | House Modifications & Extension

2.21

Mirror Cladding Photograph

2.22

External Elevations

2.3

College Green | Rear Extension

2.31

Corten & Stained Timber Photograph

2.4

Tyrwhitt Road | House Modification & Extension

2.41

Rear Extension Light Shelves & Outlook Photograph

103

2.42

Mirror Clad Garden Tree House Photograph

105

3.0

PROFILE

107

3.1

108

3.2

Filmography

109

3.3

Photography

113

101

2017 | MArch STAGE 4 | IN THE DEVIL’S HOUSE

IN THE DEVIL’S HOUSE CENTRE FOR CONTEMPORARY ALCHEMY A research and psychotherapy facility that revives the technology and practices of Alchemy, a protoscience that was a precursor to modern chemistry.

2016 - 17 / Academic Project Masters in Architecture Unit 1 Tutors: Michael Richards Michael Holms Coats with: Tim Carlyle

George Bernard Shaw identifies Charles Dickens as a great social commentator, vividly illustrating the hierarchy of the class system, and cultural landscapes of his time. Crafting narratives through this landscape; coaxing, moving, and irritating, to let his readers speculate on the legitimacy of what was, is, and could be. Dickens’ canvas for Great Expectations was the North Kent marshes on the Hoo Peninsula, drawing from his affection for the area in which he was raised as a child, and lived as an adult. This text instigated the following project, inspiring a critique of Kent’s cultural landscapes, to unearth its past scars, and posit a narrativedriven, provocative and poetic architectural proposition for its future. Preceded by a series of iterative works to develop fundamental attitudes to

the design practice and methodology. Two key handmade devices, and a preliminary design project, investigated observation, kinetics & motion, contested zones, shape shifting and material exposure. This highlighted the concept of transient space or places and non-places. Initially intrigued by the tidal range on the coasts of the Yantlet Creek and Thames Estuary, that expanse on neither land nor river bed. Sometimes covered by water, sometimes exposed to form transient routes. After adopting a critique of the peninsula’s industries, specifically its gunpowder and explosives magazine stores in St. Mary’s Hoo. A cross-layering of the phenomenology of the protoscience Alchemy which occurred in the peninsula, shaped characteristics to determine a sense of the Hoo

Peninsula as it relates to place, space, time, movement and light. Conceptually explored through designing, building, testing and rebuilding a pinhole camera and camera obscura. The resulting architectural proposal is a research and psychotherapy facility on St Marys Hoo, of the Hoo Peninsula, that employs and specializes in contemporising the technology and practices of Alchemy. Thematically linked to the vernacular typologies of local industrial and agricultural architecture. Exploring the associative process of the esoteric internal knowledge and exoteric external reality, from the developed concepts of transience, repetition, and the design mechanics of observation and contested zones.

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

1.1

Contemporising the technology and practices of Alchemy... exploring the processes of the esoteric internal knowledge and exoteric external reality, through transience, repetition, and the design mechanics of observation and contentious zones.

2017 | MArch STAGE 4 | PINHOLE CAMERA Components 01 02 03 04 05 06 07 08

Cartridge Slide Paper Frame Light Tight Rabbet Joinery Cartridge Insertion Point Aluminium Pinhole Sheet Cartridge Track Sliding Shutter Shutter Retaining Frame

03 04

(1) Pinhole Camera & Cartridge Exploded Isometric

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(2) Pinhole Camera & Cartridges Device

2017 | MArch STAGE 4 | PINHOLE CAMERA

(1)

(2)

(3) (1) Eliot Hall UoK Long Exposure (2) UoK Law Building & Hoo Boat Yard Short Exposure (3) Eliot Courtyard UoK Panoramic

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(4)

(5) (4) Blean Water Tower Mid-Shot Short Exposure (5) Blean Water Tower Close-Up Long Exposure

2017 | MArch STAGE 4 | CAMERA OBSCURA Components 01 02 03 04 05 06 07 08

Projection Slide Light Chamber Lens Aperture Chamber Frame Piano Hinges Lens Rotator Collapsing Light Chamber Flat Packed Chamber

04 05

03 06

(1) Camera & Cartridge Exploded Isometric

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(2) Camera Obscura & Assembly Device

2017 | MArch STAGE 4 | CAMERA OBSCURA

(1) Canterbury Cathedral Thirty Second Sequence

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(2)

(3)

(4) (2) Harlow Blackwater Sailing Club High Light Environment (3) The London Stone Low Light Environment (4) UoK Drama Students Performance Interactions

2017 | MArch STAGE 4 | OBSERVATORY Key 01 02 03 04 05 06 07 08 09 10

Portland Stone Sliding Wall Panels Hexagonal Steel Frame Portland Stone Floor Slabs Tidal-Lift Stone Winch Unit Galvanised Steel Balustrades Precast Reinforced Concrete Stairs Column Tidal Lift Stone, Shaft & Pillar Tidal Lift Counter Weight Stone Tidal Intake Chanels Stacked Stone Corner Braces

03 05

08 09 10

(1) Yantlet Coast Observatory Exploded Isometric

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

Key a b c d e f g h i j k

London Stone To Memorial Stone Access Axis Yantlet Creek Low Tide Yantlet Creek High Tide Site Boundary Active Field Perimeter Drains Yantlet Sluice Gate Drain Site Sluice Gate Yantlet Walk Preservation Boundary Site Low Tide Pebal Shore Boundary Marsh Lands

(2) Yantlet Creek, The Hoo Peninsula Site Location Plan

2017 | MArch STAGE 4 | OBSERVATORY

(1) Flooded Ground Floor Chamber Internal Perspective

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(2)

(3) (2) Observatory Flooding Sequence Working Model (3) Chamber Flooding Stop Motion Animation Devices

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

ST. MARY HOO, EXPLOSIVES MAGAZINES The parish of St. Mary Hoo lies on the north side of the Hoo peninsula, extending from the central ridge of higher ground to a northern marshland fringe and foreshore on the River Thames. Bordered east and west by the parishes of Allhallows and High Halstow, its chief settlements are the village of St. Mary Hoo, the hamlet of Fenn Street and the Ratcliff Highway; the principal routeway. Historically its economy was largely agricultural, but like others on the peninsula, St. Mary Hoo saw industrial and military development in the 19th and 20th centuries, mainly in the form of gravel extraction, explosives storage, war-time defensive structures and land fill waste disposal. Magazines were constructed on the marshes around 1892 by the Thames Storage Company for the packing, repacking and storage of explosives, as a commercial venture on land leased from the Dean of Rochester Cathedral.

A series of explosives stores, tramways and a caretaker’s cottage were being planned for the land at St Mary’s Marshes by late 1891. Only an acre of land was thought to be needed for the actual site of the magazines, though a large exclusion zone of 324 acres, where no houses should be built, would be necessary. The Thames Storage Company became incorporated on 27 January 1892 in order to construct magazines for the ‘storage of explosives’ under Explosives Licence 268. By the end of March 1892, the company had leased the land and designated the site ‘Factory No 156’. Its function was the ‘packing and re-packing’ of explosives of ‘Classes I to 4’ (Explosives Inspectorate 1893, 4) which comprised gunpowder and chemical explosives. Documentary evidence suggests that the Thames Storage Company went into liquidation in 1907 but that the magazines possibly had a second life as a ‘Government Magazine’, eventually going out of use in 1913, when the lease on the land expired. Seven magazines survive in a ruinous state, some with protective earth bunds.

IN THE DEVIL’S HOUSE | MArch STAGE 4 | 2017

CONTEMPORARY ALCHEMY The proposal is programmatically developed to facilitate the practice of alchemy, for both exoteric (Physical/Scholarly) and esoteric (Spiritual/ Mystical) applications. The practical application of alchemy is achieved through the process of transmutation, or changing the ingredients, form or nature of a vessel from its current state to another but with the same equal constituent parts. The historic goal of an alchemic sequence has been to gain the following: 1 – Chrysopoia – Turning base metals into gold. 2 – Elixir of immortality. 3 – Panacea – Remedy for all diseases. 4 – Alkahest – Universal solvent with medicinal properties. To esoteric and hermetic practitioners, alchemy is a spiritual practice, where lead into gold is presented as an analogy for personal transmutation, purification, and perfection, rather than for gaining actual materials. Ultimately both physical and spiritual alchemy is in pursuit of the Magnum Opus or Great Work, this being to create the Philosophers Stone. Either a physical device with all the medicinal and physical capabilities of the above aims, or it represents reaching spiritual enlightenment. To achieve the magnum opus, both physically or spiritually the following four stages must be completed:

1) Nigredo (A Blackening or Melanosis) Putrefaction/ Decomposisiton Alchemic Ingredients are cleansed and cooked extensively to a uniform black matter. The Dark Night of the Soul Critiquing the ego until it accepts the new equilibrium bringing about the creation of the self. 2) Albedo (A Whitening or Leucosis) Purification Ingredients are washed of impurities, liquefied and divided into two opposing principals. Later to be coagulated to form a unity of opposites. Receptivity of the Soul Insight into personal shadow projections of the ego are realized and conceptualisations are separated from the psyche. 3) Citrinitas (A Yellowing or Xanthosis) Dawning of the light The liquefied ingredients are solidified and hardened by the light of the moon. Lunar Awakening The point at which the self-conscious ego and transpersonal-self meet and interact. 4) Rubedo (A Reddening or Iosis) Materiality Reincarnate The ingredients are again cast into flame. Undergoing a ‘Red Death’ they are reincarnated into a state of equal completeness. Further to referencing the ruinous magazines on site and establishing a connection to the complete proposal each of these stages will inform the schedule of spaces required of the facility comprising four different refined buildings linked by the existing field drain way– and representing both a material and spiritual progression.

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1) St. Mary Hoo, Explosives Magazine As Built Exploded Isometric

IN THE DEVIL’S HOUSE | MArch STAGE 4 | 2017

Key 01 02 03 04 05 06 07 08 09 10

High Halstow Barn Dilapidated Interior Barn Mean Fleet Towards Shade House Nature Reserve Waterway Shade House Interior Shade House Exterior Egypt Bay Thames Estuary Concrete In St Mary Hoo St Mary’s Bay

(2) St. Mary Hoo, Marshes Site Location Plan & Cinemagraph

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1) St. Mary Hoo, Explosives Magazines Site Isometric

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(2) The Hoo Centre For Contemporary Alchemy Adjacency Diagram

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1) The Four Stages Of Alchemy Site Plan

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(2) Materials And Motion Conceptual Development Diagrams

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1)

(2)

(3)

(1) The Black Pavilion Exploded Isometric (2) The Black Pavilion Ground Floor Plan (3) The Black Pavilion First Floor Plan

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(4)

(5)

(4) The Black Pavilion Contextual Isometric (5) The Black Pavilion Longitudinal Section

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1)

(2)

(1) The White Pavilion Exploded Isometric (2) The White Pavilion Ground Floor Plan

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(3)

(4)

(3) The White Pavilion Contextual Isometric (4) The White Pavilion Longitudinal Section

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1)

(2)

(3)

(4)

(1) The Yellow Pavilion Exploded Isometric (2) The Yellow Pavilion Ground Floor Plan (3) The Yellow Pavilion First Floor Plan (4) The Yellow Pavilion Second Floor Plan

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(5)

(6)

(5) The Yellow Pavilion Contextual Isometric (6) The Yellow Pavilion Longitudinal Section

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1)

(2)

(1) The Red Pavilion Exploded Isometric (2) The Red Pavilion Ground Floor Plan

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(3)

(4)

(3) The Red Pavilion Contextual Isometric (4) The Red Pavilion Longitudinal Section

2017 | MArch STAGE 4 | THE HOO CENTRE FOR CONTEMPORARY ALCHEMY

(1)

(2) (1) The Black Pavilion Design Development Model (2) The White Pavilion Design Development Model

IN THE DEVILâ&#x20AC;&#x2122;S HOUSE | MArch STAGE 4 | 2017

(3)

(4) (3) The Yellow Pavilion Design Development Model (4) The Red Pavilion Design Development Model

2018 | MArch STAGE 5 | TURBULENCE TO TERMINUS

TURBULENCE TO TERMINUS HIGH STREET REJUVENATION A series of parasitic and inhabiting interventions along Dover High Street, culminating in an exhibition centre at the market square.

2017 - 18 / Academic Project Masters in Architecture Unit 3 Tutors: Michael Holms Coats Lee Jesson with: Oliver Watson Matthew Rust

‘Thinking with your Hands’ is a contemporary design and pedagogic expression for a design development approach that deliberately seeks to benefit from the manual parts of design and making without prejudice about materiality or technology. From mark making, to exquisite handcraft, from touch-screen stylus to the subtle hand finishing of the latest fabrication techniques. This approach values DIY cyclical repairs as highly as the detailed installation of bespoke engine parts. Adopting this approach, this project commenced with a series of making & remaking exercises, to develop the personal attributes and refined approach to practical thinking. Following a study of the disassembly of an existing designed component with mechanical intrigue,

through the creation of a physical ‘attitude construct’, the framework for the development of a project vocabulary of a technical and conceptual nature is established. This was further elaborated with the creation of a ‘materials pavilion’, expanding the invention of component parts, whilst also opening an engagement with context but remaining deliberately ‘light’ on function. These discoveries where crossexamined in relation to the material and social realities of the ‘harbour’, of importing, exporting and deporting. Through investigating this directly within the Kentish Cinque Ports – specifically Dover - along with its thematic potential – a search for locations for havens, sanctuary, and safety lead to the dying high street. From

recognising a major decline in industry and innovation – which once emanated from high street businesses, such as the brewery and paper mill. As well as the greater forgotten mining landscapes of Kent, particularly Shakespeare colliery of the Dover coast line. This project aspired to reinvent Dover high street, with a series of parasitic and inhabiting interventions that culminated in an exhibition centre at the currently defunct market square. Referencing the forgotten industrial heritage of Dover, its existing production landscape, and implementing a key technical design methodology that harnesses the wind tunnel effect of the valley topography and orientation of the site – for varying degrees of ‘wind mining’. To reclaim, repopulate and revive.

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

1.2 From recognising a major decline in industry and innovation â&#x20AC;&#x201C; which once emanated from high street businesses... To reclaim, repopulate and revive.

2018 | MArch STAGE 5 | THE VENTILATOR BREATHES Components 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19

Moulded Wall Plug Base Plate Fixings Cable Gland Polycarbonate Hood Power Cable Lid Cable Tidy Drum Lid Fixings Suppressor O.D. Gasket Motor Outer Casing Steel Laminations End-Bell Carbon Brush Drum Lid Gaffer Tape Seal Insulated Tape Seal Motor Core Motor Fixings Insulated Foam Seal

07 09

08 11 14

13 16 18

(1) Record Power Ventilation Motor Unit Exploded Photographic Schematic

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Ventilator Disassembly Photographs

2018 | MArch STAGE 5 | THE VENTILATOR BREATHES Components 01 02 03 04 05 06 07 08 09 10 11 12 13 14

Hood Drum Lid Body Inlet Round Ferrite Cable Gland Nut Switch Cable Suppressor Capacitor Cable Gland Drum Lid Seal Hex Head Set Screw Cartridge Filter PVC Hose

10 13

(1) Record Power Ventilation Unit Exploded Schematic

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2)

(3) (2) Ventilator Motor Unit Components Knolling Cabinet (3) Knolling Process Photographs

2018 | MArch STAGE 5 | MATERIAL HIERARCHY Components 01 02 03 04 05 06 07 08 09 10 11

Pine Softwood Timber Battens Birch Dowel Rods Galvanized Steel Sheet Stainless Steel Nut & Bolt Fixings TPU Filament Mitred Joints Rebated Channel Steel Brace Dowel Captive Hole TPU Hole Slip Knot Fastening

06 02

09 07

(1) Construct Exploded Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Construct Assembly Photographs

2018 | MArch STAGE 5 | MATERIAL HIERARCHY

(1)

(2)

(3) (1) Bench Saw Rebate Isometric (2) Band Saw Mitre Isometric (3) Sheet Metal Folder Straps Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(4) Material Hierarchy The Construct

2018 | MArch STAGE 5 | MANIFESTING SPACE

01 03 05

Components 01 02 03 04 05 06

Corrugated Polymer Sheet Aluminium Angle Polymer Filament Acorn Nut & Bolt Pin-Joint Tensioning Cable Connector Reclaimed Pallet Timber (1) Manifesting Space Exploded Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Pavilion Design Development Photographs

2018 | MArch STAGE 5 | MANIFESTING SPACE

(1) Materials Pavilion In Context Photograph

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2)

(3)

(2) Materials Pavilion Joinery Photographs (3) Materials Pavilion Deployed Photographs

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

DOVER, HIGH STREET

BUILDING PROGRAMME

Dover high street anonymously exists in the context of the city centre. It is difficult to locate on the ground, and hard to define from its parallels. Its fading existence is shaped by the activities of its disillusioned inhabitants. From investigating the industrial heritage that birthed the high street to the modern retail park development on Dolphin Lane just off the market square. This proposal offers a chance to re-establish a connection between the somewhat segregated high-street and the towns inhabitants, from beyond the frontier of its globally renowned port.

To revitalise Dover High Street by attracting existing local business The interventions must be adaptable enough to accommodate varying occupants from the range of businesses that currently exist, as well as innovating groups or individuals that may wish to inhabit a space. Initial thoughts are with implementing a modulated system, that has independently adaptable conditions, whilst retaining a bold new aesthetic for the high streets identity.

HIGH STREET TERMINUS: THE ST. JAMES DEVELOPMENT DISASTER Dover high street anonymously exists in the context of the city centre. The St James development was a scheme to utilise the redundant site of the Old Phoenix Brewery on Dolphin Lane as a retail and leisure district at the end of Dover high street. The development was to be adjacent to the A20, the main road leading to the port of Dover. A highly visible and accessible import and export point for goods, visitors and tourists. On the surface this project was marketed as a benefit to the town, providing modern, engaging activities, employment and retail. It disregarded the existing high street, in relation to its historical occupation and ever-growing number of closing small businesses and boarded shop fronts. There was much outcry over the course of its construction, with petitions calling to abort works, due to the fear that the high-street would become completely vacant. The high-end retail and leisure activities, would also begin to price many low-income, working class residents out of Dover. Perhaps the scheme was a step toward the gentrification of Dover rather than its renewal.

WAITING FOR TACHYON To revitalise Dover High Street by attracting existing local business back to repopulate a series of parasitic and renovative interventions. Culminating in an exhibition centre at its terminus, at the currently defunct market square. This will be achieved through referencing the forgotten industrial heritage of Dover, the existing production landscape, and through implementing a key design methodology that harnesses the wind tunnel effect of the valley topography and orientation of the site - for varying degrees of wind mining. A filmic means of refining view and spatial planning will also be implemented as investigated through desktop planar studies.

HIGH STREET INTERVENTIONS There are three main proposed interventions 1 – Incubator – parasitic structures functioning as idea tanks. 2 – Inhabiter – inhabiting the abandoned buildings along the high street, rejuvenating and repopulating with industry and innovation. 3 – Exhibition – a celebration of the works of the high street, frequently rotating. But the experiential qualities of the building are the permanent exhibit.

Design Methodology There are 4 key design methodologies to implement: 1 – Wind Mining – using wind path simulation to dictate site locations and alterations – mining surfaces or creating dramatic excavations. 2 – Film Metrics – implement the languages of the editor and cinematographer. 3 – Politics – look at the political undercurrent of the entire intervention, to explore spatial sequencing, and the impact of footfall, circulation and ownership. 4 – The Uncanny – create a distinct spatial quality from dissertation research findings, to enhance the experiential qualities of the exhibition space – and design moves that inform an evocative architecture.

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE Key 01 02 03 04 05 06

Dover High Street Dover Market Square Cannon Street St Maryâ&#x20AC;&#x2122;s Church Biggin Street Dover Town Hall

03 02

(1) Cinque Ports & Dover High Street Site Location Plans

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018 Key 01 02 03 04 05 06 07

Incubator Inhabiter Exhibitor Wind Filtration Cross Wind Acceleration Wind Tunnelling Turbulence Terminus

(2) Dover High Street Proposal Overview Site Plan

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1)

(2)

(3) (1) Biggin Street Incubators Elevation (2) Cannon Street Inhabiters Elevation (3) Dover Market Square Elevation

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(4) High Street Typologies Isometrics

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1)

02 03

(2)

Key 01 02 03 04 05 06 07 08 09 10

Aluminium Standing Seam Roofing Breather Membrane 200mm Mineral Wool Insulation Boards 25mm WBD Ply Deck 150mm Square Hollow Sections Mineral Wool Insulation VCL Reclaimed 25mm Laminated & Treated Timber Insulated Boards 25mm Laminated & Treated Timber Floorboards 250mm Sawn Graded C16 Timber Joists W/ Mineral Wool Insulation Between Aluminium Casement Frame With Red Oxide Primer Finish

06 03

09 10

(1) Roof Panel Sectional Isometric (2) Floor Panel Sectional Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018 Key 01 02 03 04 05 06 07 08 09 10 11

305 I Section Column Red Oxide Primer Finish Panel Pivot Bracket Panel Pivot Nut And Bolt Fixings Aluminium Casement Frame Sections Rebated Timber Frame Locator Perimeter Insulation 25mm Correx Sheet Reclaimed 25mm Laminated & Treated Timber Boards 200mm Mineral Wool Insulation VCL Breather Membrane

06 05

(3)

(4) (3) Correx Wall Panel Exploded Isometric (4) Reclaimed Timber Wall Panel Exploded Isometric

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1) Incubator Typology Floor Plans

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Biggin Street Incubators Perspective

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1) Incubator Typology Exploded Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Incubator & Existing High Street Shop Section

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1) Inhabiter Typology Floor Plans

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Cannon Street Inhabiters Perspective

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1) Inhabiter Typology Exploded Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Inhabiter & Existing High Street Shop Section

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1) Market Square Exhibition Floor Plans

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Market Square Exhibition Perspective

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1) Market Square Exhibition Exploded Isometric

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(2) Market Square Exhibition Section

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1)

(2) (1) Incubator Design Development Model (2) Inhabiter Design Development Model

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(3) Exhibition Design Development Model

2018 | MArch STAGE 5 | HIGH STREET TURBULENCE

(1)

(2) (1) Incubator Design Development Model (2) Inhabiter Design Development Model

TURBULENCE TO TERMINUS | MArch STAGE 5 | 2018

(3)

(4) (3) Exhibition Design Development Model (4) Exhibition To High Street Design Development Model

2018 | MArch STAGE 5 | WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS

WE LIVED INSIDE A DREAM UNCANNY ARCHITECTURE What are the benefits and detriments of cultivating uncanniness for observers & occupiers, and how have they provided a forum to question social structures and the morality of the omniscient onlooker.

2017 - 18 / Academic Project Masters in Architecture Dissertation Tutors: Howard Griffin with: Michael Richards Dr Helen Griffies Dr Anna Katharina Schaffner

An uncanny architecture distinguishes itself by separating familiar design attributes, associated with culture and identity, from the places they inhabit. Creating an unspoken ceremony of psychological engagement, where an occupier can truly offer themselves to the spatial experience. Momentarily sacrificing their preconceptions and emotional bonds, to engage with the idiosyncrasies of the architecture. A societal preoccupation with secrecy and voyeurism are intrinsic to the uncanny, exploiting uncertainties or revealing profound mysteries. David Lynch’s work elaborates on these conventions, weaving them into the collective subconscious, and establishing a distinct Lynchian style, inhabited by a definitively uncanny architecture.

Commenced with an investigation into the origins and development of the term, followed by primary tests and a series of case studies, this thesis investigates how the portrayal of the built environment and architecture in Lynchian narratives elaborates a language of the uncanny, and to what affect. What are the benefits and detriments of creating such environments for observers & occupiers, and how have they provided a forum to question social structures and the morality of the omniscient onlooker. Whilst understanding how Lynch uses uncanny architecture, a logical approach to applying the concept emerges. Defining a set of conventions. Whilst understanding a means of appraising how the design, site

and approach to architecture impacts the psychology of its visitors & occupants. Although the surrealist film works of David Lynch are explicitly puzzling, he consistently manages to strike an emotional chord with his audiences. The subjective dispositions of humanity are inherently unique. But Lynch materialises feelings into his work, on the cusp of comprehension, forcing the audience to engage with a field beyond known logic. He offers the introspective experience of architecture, gaining a greater selfawareness of mysteries hidden in plain sight.

WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS | MArch STAGE 5 | 2018

1.3

‘To work Inside a dream. If it’s real, and you believe in it, you can say almost anything...’ David Lynch

UNCANNY ARCHITECTURE 2018 | MArch STAGE 5 | UNCANNY ARCHITECTURE

architecture is psychologically manipulating. Driving inhabitants to explore emotions and thoughts that 2.2 UNCANNY ARCHITECTURE wise obscured. Lebbeus Woods described uncanny designs as ‘resisting imperatives of the moment… not

des, but in poetics or visionary dissent.’ 16 Dissenting from conventions to engage in new discussions. Not

architecture is psychologically manipulating. Driving inhabitants to explore emotions and thoughts that y upheaving tradition,Uncanny but rather substituting the rules. Potentially considered an outright rebellion against are otherwise obscured. Lebbeus Woods described uncanny designs as ‘resisting imperatives of the moment… not

ve architecture, genuine approaches to uncanny design aspire to connect with humanity on a metaphysical

as barricades, but in poetics or visionary dissent.’ 16 Dissenting from conventions to engage in new discussions. Not

bstracting the physical. Transcending aesthetic beauty from facades to mental planes.

completely upheaving tradition, but rather substituting the rules. Potentially considered an outright rebellion against authoritative architecture, genuine approaches to uncanny design aspire to connect with humanity on a metaphysical level by abstracting the physical. Transcending aesthetic beauty from facades to mental planes.

der architects Rudolf Steiner and John Hejduk; uncanny architecture presents ‘ethical intensity, solemnity,

ompassion, and the absorption of the suffering of others in an attempt to heal… binding the wounds of the

With outsider architects Rudolf Steiner and John Hejduk; uncanny architecture presents ‘ethical intensity, solemnity,

drawing its horrors.’17 Exemplified by Hejduk’s “House of the Suicide and House of the Mother of the Suicide”

humour, compassion, and the absorption of the suffering of others in an attempt to heal… binding the wounds of the

ts in Prague. The structures consist ofits steel & corroded steelbycladding with forty-nine spikes erupting from the of the Suicide” 17 world by drawing horrors.’ Exemplified Hejduk’s “House of the Suicide and House of the Mother

h. In memory of Jan Palach, a Czech student self-immolation thecladding 1968 Soviet Union invasion monuments in Prague. Thewhose structures consist of steel &protested corroded steel with forty-nine spikes erupting from the

slovakia.

top of each. In memory of Jan Palach, a Czech student whose self-immolation protested the 1968 Soviet Union invasion of Czechoslovakia.

ve textural quality depicts the student on fire. However, the familiar forms established through studies of

The abrasive textural quality depicts the student on fire. However, the familiar forms established through studies of

n are defamiliarized through expressive abstractions. proportional relationship to the human to the human proportion are defamiliarized throughArchitectures expressive abstractions. Architectures proportional relationship

bodytraditions, was established with classical traditions,appeal however renewed metaphors appeal to corporeal metaphors is evidently based established with classical however ‘this renewed to‘this corporeal is evidently based on a body in pieces, fragmented, deliberately torn apart and mutilated beyond recognition.’18 This may be a grotesque

in pieces, fragmented, deliberately torn apart and mutilated beyond recognition.’18 This may be a grotesque

precedent, but through extrapolating the imagery, there is an immediacy to the reflection of a deconstructing body; the

, but through extrapolating the imagery, there is an immediacy to the reflection of a deconstructing body; the uncompromising statement of Palach’s demise is materialised and emotively conveyed.

mising statement of Palach’s demise is materialised and emotively conveyed.

Uncanniness is subjective. Each individual witness forms meaning, interpreted with reference to unique human

Reoccurring responses include lucidity, deliverance and tension. ess is subjective. Eachexperience. individual witness forms meaning, interpreted with reference to unique human

e. Reoccurring responses include lucidity, deliverance and tension.

16 17 18

California College of the Arts. 2013 Mical, T. 2005. p. 121 Vidler, A. 1992. p. 69

California College of the Arts. 2013 09 Mical, T. 2005. p. 121 77 Vidler, A. 1992. p. 69

WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS | MArch STAGE 5 | 2018

2018 | MArch STAGE 5 | METHODOLOGY

3.0

3.0 METHOD METHOD

FIG 3.1. FIG PRELIMINARY TEST GROUP BEHAVIOURAL CHANGES IN RESPONSE TO LYNCH’S UNCANNY ARCHITECTURE. 3.1. PRELIMINARY TEST GROUP BEHAVIOURAL CHANGES IN RESPONSE TO LYNCH’S UNCANNY ARCHITECTURE.

An uncanny An uncanny design explores design explores hidden hidden and unusual and unusual ideas. Breaking ideas. Breaking conventions conventions and established and established boundaries, boundaries, and becoming and becoming strange.strange. Strangeness Strangeness can be an canunwanted be an unwanted or oppressive or oppressive aspect. aspect. Its inherent Its inherent foreignness foreignness results in results an aggressive in an aggressive rejection rejection from the from established. the established. With modernism, With modernism, architecture architecture and art and has become art has become the testing the testing groundground for the mass for theexposure mass exposure of the of the strange.strange. Partly ‘from Partlygoing ‘fromabroad, going abroad, and because and because of the faster of thechanges faster changes in the social, in the cultural social, cultural and technological and technological spheres… spheres… 35 [the] disturbing [the] disturbing otherness otherness is sometimes is sometimes enjoyed, enjoyed, often feared, often feared, or simply or accepted.’ simply accepted.’ There35isThere a broad is aspectrum broad spectrum on which on which

strangeness strangeness exists, from exists, the from abnormal the abnormal to the sublime. to the sublime. It can induce It can induce separation separation from reality, from and reality, evoke andaevoke complete a complete sense sense of alienation. of alienation.

This study Thisexamines study examines the psychological the psychological impact impact of the uncanny of the uncanny architecture architecture in avid in ynch’s avid “Twin ynch’sPeaks “Twin The Peakseturn”. The eturn”. Uncovering Uncovering how thehow ynchian the ynchian dialect, dialect, specifically specifically the representation the representation of buildings, of buildings, has become has become stylistically stylistically cemented cemented in in the artsthe andarts film. andsfilm. the narrative s the narrative of “Theofeturn” “The is eturn” synonymous is synonymous with mericana, with mericana, a seriesaof series case of studies case studies on recurrent on recurrent buildingbuilding typologies typologies are theare subject the subject of analysis. of analysis. Identifying Identifying the extent the extent of architectures of architectures contribution contribution towardstowards Lynch’sLynch’s uncanny uncanny style, and style, its and effect itson effect characters on characters and audiences. and audiences. This includes; This includes; the gasthe station, gas station, the hotel theand hotel theand stage. the stage.

79 19

35 Grabes H. Grabes 2008.H. p. 2008. 6 p. 6

WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS | MArch STAGE 5 | 2018

3.2. LYNCH DIRECTS THEROUX AS DIRECTOR ADAM KESHER IN MULHOLLAND FIG 3.2. FIG LYNCH DIRECTS JUSTIN JUSTIN THEROUX AS DIRECTOR ADAM KESHER IN MULHOLLAND DRIVE. DRIVE.

e have ecome havetocome expect to expect the strangeness the strangeness of avant-garde of avant-garde art… what art…seems what truly seems strange truly strange is the distinction is the distinction between between the the 36 familiarfamiliar and that and which thatiswhich just off is just enough off enough to raiseto suspicion.’ raise suspicion.’ ynch36has ynch championed has championed “strange-making” “strange-making” in cinema, in cinema, but but

is notoriously is notoriously aloof when aloofquestioned when questioned about its about meaning. its meaning. This avoids This discrediting avoids discrediting any viewers any viewers interpretations, interpretations, and tiesand ties into theinto dream the logic dreamoflogic conveying of conveying the repressed, the repressed, to potentially to potentially unlock unlock responses responses the viewer the would viewer otherwise would otherwise not feel.not feel.

ollowing ollowing secondary secondary research, research, findingsfindings have been haveverified been verified throughthrough interviews interviews with two with field two experts. field experts. r nna r atharina nna atharina Schaffner, Schaffner, a university a university reader in reader comparative in comparative literature literature with published with published works on works ynch, onand ynch,r Helen and r Helen ri es, ariconsultant es, a consultant clinical clinical & forensic & forensic psychologist psychologist within within the HS. the ollowing HS. ollowing these interviews these interviews a seriesa of series screen of screen tests have testsbeen have been 37 37 conducted conducted on bothoninitiated both initiated and uninitiated and uninitiated parties parties of architecture of architecture and filmand students film students and professionals. and professionals. Consisting Consisting of of

scene compilations scene compilations from ynch’s from catalogue ynch’s catalogue of work,oftowork, establish to establish a senseaof sense the uncanny, of the uncanny, and then and from then“The from eturn”, “The eturn”, presenting presenting the typologies the typologies to be assessed. to be assessed. Their responses Their responses recorded, recorded, and uniformly and uniformly catalogued. catalogued. Participants Participants were then were then questioned questioned after each after scene, each using scene,ausing positive a positive and negative and negative effect schedule, effect schedule, gaininggaining an instinctual an instinctual response. response. oth groups oth groups have been havecompared, been compared, and theand experts the experts consulted consulted on the findings. on the findings.

36 37

36Ibid. p. 8Ibid. p. 8 37Individuals Individuals who arewho familiar are with familiar andwith seekand outseek David outLynch’s David work. Lynch’s work.

80 20

2018 | MArch STAGE 5 | THE GAS STATION - CASE STUDY

4.1

4.1 THESTATION GAS STATION THE GAS

4.1.1. THE WOODSMAN CONGREGATE THE GAS STATION, LOCATED OF A WOODED ROAD INPEAKS. TWIN PEAKS. FIG 4.1.1.FIG THE WOODSMAN CONGREGATE AT THE AT GAS STATION, LOCATED OFF OF OFF A WOODED ROAD IN TWIN

In the United States, gas station represents the everyday. Conventionally in a singular structure, In the United States, the gasthe station spatiallyspatially represents the everyday. Conventionally housedhoused in a singular structure, with with a canopy sheltering fuel pumps. The modest form externalises ideals of functionality, e ciency, as fortification. a canopy sheltering fuel pumps. The modest form externalises ideals of functionality, e ciency, as well as as well fortification. Although are sometimes andtoopen to any roadmotorist. weary motorist. the surface, out of sight, Although they arethey sometimes isolatedisolated and open any road weary HiddenHidden beneathbeneath the surface, out of sight, are storage tankswith filled with gasoline, the volatile substance the occupiers facility occupiers attend to or n seek. n experience are storage tanks filled gasoline, the volatile substance that thethat facility attend to or seek. experience entrenched intoroutine, daily routine, as to become an unconscious The typology represents the awareness of an unseen entrenched into daily as to become an unconscious act. Theact. typology represents the awareness of an unseen influence. ylansuggests Trigg suggests is aintrinsic more intrinsic relationship between the bodies of the human influence. ScholarScholar ylan Trigg there isthere a more relationship between the bodies of the human and and providing a pivotal frame of observation a gas station vehicle,vehicle, providing a pivotal frame of observation in usinginausing gas station self becomes embodied in the and disembodied from the surrounding architecture… this detached attention, ‘The self‘The becomes embodied in the car andcar disembodied from the surrounding architecture… this detached attention, out through the border of the windshield, a heightened involvement the 39world.’39 played played out through the border of the windshield, marks amarks heightened involvement with thewith world.’ The passive act of refuelling, facilitates a reprieve, for greater perceptions. This considers the typology a “quasi-nonThe passive act of refuelling, facilitates a reprieve, for greater perceptions. This considers the typology a “quasi-non40 40 point that facilities a journey from two “places”, representing theneed urban‘ofneed ‘of accessibility over proximity’. place”, place”, a point athat facilities a journey from two “places”, representing the urban accessibility over proximity’.

In a ynchian construct, gas station is functionally elevated, presenting its historical significance and aofsense of transit In a ynchian construct, the gasthe station is functionally elevated, presenting its historical significance and a sense transit between alsoof states between places places but alsobut states mind.of mind.

39 40

81 23

39 Trigg, D.Trigg, 2012.D. p. 2012. 137 p. 137 40 Unlu, O. Unlu, p. 1 2017.O. p. 2017. 1

WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS | MArch STAGE 5 | 2018

FIG 4.1.2. PHASES OF INHABITATION, THE ELEVATION OF A RELIC. FIG 4.1.2. PHASES OF INHABITATION, THE ELEVATION OF A RELIC.

gas station is a gateway which uses ‘Lynch his characters… of need… to disassociate The gasThe station is a gateway which ‘Lynch touses split to hissplit characters… visited visited only at only timesatoftimes need… to disassociate thefrom bodythe from the cocoon of observation it provided… the station itself visually and spatially provides the comfort of the body cocoon of observation it provided… the station itself visually and spatially provides the comfort of 41 familiarity whilst instilling an inherent creepiness of something begrudgingly relied41upon.’ The abundant presence of familiarity whilst instilling an inherent creepiness of something begrudgingly relied upon.’ The abundant presence of

gas stations in the realsuggests world suggests its designation as site-less architecture, in response to demand. gas stations in the real world its designation as site-less architecture, situatedsituated in response to demand. It is thisIt is this omnipresent that is reframed and perceived as ethereal or uncanny. omnipresent quality quality that is reframed and perceived as ethereal or uncanny.

Like adolescent to parent, the motorist is reliant gas station for sustenance and support, their activities Like adolescent to parent, the motorist is reliant on the on gasthe station for sustenance and support, their activities intermittently monitored at regular checkpoints. Its presence both familiar and comforting. However, the abstract intermittently monitored at regular checkpoints. Its presence is bothisfamiliar and comforting. However, the abstract nature of the architecture, presents the opportunity for escape, transcending and overcoming the conventions imposed nature of the architecture, presents the opportunity for escape, transcending and overcoming the conventions imposed from the within the fabric. urban Through fabric. Through the woods, amongst theistrees, ynch’s gas station expressing from within urban the woods, amongst the trees, whereis where ynch’s gas station resides resides expressing the boundaries between cities, organic and man-made and between the boundaries between cities, organic and man-made matter matter and between realities.realities. In the to return Twin the Peaks, gas station or “convenience is generic single timber storey timber In the return TwintoPeaks, gasthe station or “convenience store”, store”, is generic in form.in form. single storey rustic rustic of modest size. With horizontally orientated cladding, a chamfered fuelcanopy pump canopy and a weathered buildingbuilding of modest size. With horizontally orientated timber timber cladding, a chamfered fuel pump and a weathered steel external stair leading the roof The space. The building is a remnant of 1940’s America, time marked steel external stair leading to the to roof space. building is a remnant of 1940’s America, ‘a time ‘amarked by newby new highways and cars, aofspirit of growth and athat belief the impossible could become a reality…most havevictim fallen victim highways and cars, a spirit growth and a belief thethat impossible could become a reality…most have fallen 42 42 age, but hold theofstory of a bygone of changing times and communities.’ The aesthetic and character to age, to but hold the story a bygone era, of era, changing times and communities.’ The aesthetic and character of the of the

typology is evocative, new opportunities, travel opportunities, a growth in industry, era of automobile abundance typology is evocative, of newof travel a growth in industry, and anand era an of automobile abundance and and 43 43 dependence in America. As as referring these historical milestones, the heightened abstraction Twin Peak’s dependence in America. As well as well referring to thesetohistorical milestones, the heightened abstraction of Twinof Peak’s

gas station narrative prominence as aofplace of supernatural enlightenment. as embodying the growth gas station bestowsbestows narrative prominence as a place supernatural enlightenment. As well As as well embodying the growth spirt associated the typology, it introduces perceptions to ultimately with that worlds of spirt of associated with thewith typology, it introduces foreignforeign sensualsensual perceptions to ultimately engageengage with worlds arethat are otherwise unintelligible. otherwise unintelligible. 41 42 43

41 Consbruck, Consbruck, R. 2010. R. p. 2010. 45 p. 45 42 Kirk, J. 2015. Kirk, p. J. 2015. 150 p. 150 43 Jakle, J. & Jakle, J. & Sculle, Sculle, . . p.. 18 . p. 18

82 24

2018 | MArch STAGE 5 | CONCLUSIONS

5.2

OVERALL CONCLUSION

WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS | MArch STAGE 5 | 2018

Architect and theorist Rem Koolhaas writes ‘the most important thing about architecture is arriving in new worlds, 5.2 OVERALL CONCLUSION rather than returning to old ones.’96 hether they feature factories or freeways, the worlds built and filmed by ynch are undeniably new. oth architecture and space radiates presence, through utilising ynchian filmic techniques with Architect and theorist Koolhaas writes ‘the most architecture is arrivingtypologies in new worlds, invariably spatial Rem functions. The elevation of important industrialthing and about historically provocative has been a prominent rather than returning to old ones.’96

hether they feature factories or freeways, the worlds built and filmed by ynch

aesthetic throughout ynch’s filmography. Uprooting the romanticised memories of a post-war

are undeniably new. oth architecture and space radiates presence, through utilising ynchian filmic techniques with

merica and the

collective subconscious anxieties of future consequence.

invariably spatial functions. The elevation of industrial and historically provocative typologies has been a prominent aesthetic throughout ynch’s filmography. Uprooting the romanticised memories of a post-war

merica and the

collective subconscious anxieties of future consequence.

ynch intensifies the prominence of the hotel, providing a forum for asserting dominant resolutions. lthough hotels

aspire to be the homely respites between new travels and experiences in strange or familiar places. There is an unhomely ynch intensifies the prominence of the hotel, providing a forum for asserting dominant resolutions. lthough hotels

connotation of over-adornments, be it elitist functions for squalid conclaves or secret societies.

aspire to be the homely respites between new travels and experiences in strange or familiar places. There is an unhomely

The physical stage in TwinbePeaks e ciency oformodern media consumption. Elevating its function to connotation of over-adornments, it elitistchallenges functions forthe squalid conclaves secret societies. preserve its historical significance as a communal experience, and the associated subliminal social anxieties.

The physical stage in Twin Peaks challenges the e ciency of modern media consumption. Elevating its function to

hilst

the liminal conditions that ashave always experience, existed in and such elicit strongsocial emotional responses through unique preserve its historical significance a communal thevenues associated subliminal anxieties. hilst theinterpretations liminal conditions have alwaysand existed in such conventions. venues elicit strong emotional responses through unique of that visual culture abstracted interpretations of visual culture and abstracted conventions.

Lynch exhibits the passivity of voyeurism in each of the studied typologies through ‘extreme and overt exhibitionism,

unveiling what is observed and by who.’97 Perhaps as a reference to the inherently voyeuristic cinematic structure of his

influences98, or maybe a legitimisation of analysing spectatorship to identify the audiences own repressed fascinations.

Although DavidDavid Lynch Lynch is not an architect, he challenges preconceptions of the built environment and environment the modern Although is not an architect, he challenges preconceptions of the built and the modern functions of space. Encouraging the reassessment and recreation of the familiar forms that occur in everyday life.

functions of space. Encouraging the reassessment and recreation of the familiar forms that occur in everyday life.

Confronting the peculiarities of the urban, suburban and rural landscapes. The phenomena of spectatorship and the

appropriation of past spaces in present times, truly represents the Lynchian architecture of the uncanny.

96 97 98

raafland, . & e Haan, J. 1996. p. Ibid. 2015. p. 25 Stevens, H. 2004

8446

2017 | STAGE 1 | PRACTICE WORKS

PRACTICE WORKS RESIDENTIAL NEW BUILDS & EXTENSIONS A series of urban residential developments, with varying budgets and scales. Delivered as the principal designer and as part of a team.

2015 - 17 / Practice Works Practical Experience Stage 1 Practice: Red Squirrel Architects Ltd Directors: Miles Griffies Carl Johansen-Ward

The following works represent a selection of projects from my stage 1 year out as a Part 1 Architectural Assistant at Red Squirrel Architects. RSA are an RIBA chartered practice based in South East London. Established in 2007 by directors Miles Griffies and Carl Johansen-Ward. As a relatively young practice, RSA deliver progressive contemporary architecture that is contextually and environmentally responsive. Building upon experience with projects ranging in scale and complexity from high specification private houses, to larger scale arts buildings, housing, schools and offices. Working principally on residential projects at all stages of work– learning about the practical application of conceptual developments. To refining proposals with client and consultant input, developing the built fabric and constructs that materialise

the developed design. As well as project procurement and contractual administration of construction works. The first major refurbishment and extension project, Tyrwhitt Road, is a 3-storey villa, extensively reconfigured to future-proof the living space. A large conservatory at the rear was demolished, allowing for an open-plan kitchen and dining extension. Flowing into the existing drawing room, through a series of folding glazed screens and pocket doors with automated blinds to create an intimate living space. A ribbon of ‘frameless’ horizontal glazing at high level around the perimeter wall on 3 sides with an upper glazed tier punctured through the centre of the roof plane fills the extension with natural light, penetrating the existing drawing room. Externally, the extension is clad in riven welsh slate tiles complementing the zinc roof cladding.

The second major project, Mirror House, the rescue of a poorly designed bungalow; from claustrophobic and underwhelming to an operative, striking two storey house. Extended at the rear to re-establish a strong connection between the internal and external spaces by introducing stepped levels. The volume of the rear extension is carefully considered to provide shelter via a cantilevered canopy on one side; and a taller pyramidal form on the other. Windows are carved into the angles of this geometry to accentuate the expressive forms. The walls of the extension are clad in mirror which reflects the densely planted surrounding landscape and tree foliage. The whole of the rear extension is then separated from the existing house via a structurally glazed link. Providing a soft transition between elevated areas.

PRACTICE WORKS | STAGE 1 | 2016

2.0 Progressive contemporary architecture, that is both contextually and environmentally responsive. With the practical application of conceptual developments and constructs that materialise the developed and technical design.

2017 | STAGE 1 | STONDON PARK

(1)

(2) (1) Rear Extension Ground Floor Plan (2) Rear Extension Key Junction Details

PRACTICE WORKS | STAGE 1 | 2016

(3)

(4) (3) Rear Elevation Photograph (4) Rear Extension Kitchen Photograph

2017 | STAGE 1 | STONDON PARK

PRACTICE WORKS | STAGE 1 | 2016

(2)

(3) (2) Rear Extension Internal Elevations (3) Rear and Dormer Extension Longitudinal Section

2017 | STAGE 1 | MIRROR HOUSE

(1)

(2) (1) Extension From Rear Garden Photograph (2) Extension Kitchen Photograph

PRACTICE WORKS | STAGE 1 | 2016

(3)

(4) (3) Modified House & Rear Extension First Floor Plans (4) Modified House & Rear Extension Ground Floor Plans

2017 | STAGE 1 | MIRROR HOUSE

PRACTICE WORKS | STAGE 1 | 2016

(2) Glazed Link Photograph

2017 | STAGE 1 | MIRROR HOUSE

(1)

(2)

(1) Modified House & Rear Extension Rear Elevation (2) Modified House & Rear Extension Side Elevation

PRACTICE WORKS | STAGE 1 | 2016

(3)

(4) (2) Feature Fireplace Photograph (3) Informal Living Space Towards Rear Garden Photograph

2017 | STAGE 1 | COLLEGE GREEN

(1)

(2) (1) Rear Extension Elevation Photograph (2) Rear Extension Kitchen Photograph

PRACTICE WORKS | STAGE 1 | 2016

(3)

(4) (3) Rear Extension & Existing House Ground Floor Plan (4) Rear Extension Lateral Section

2017 | STAGE 1 | COLLEGE GREEN

(1) Corten Steel Panel & Black Stained Timber Photograph

PRACTICE WORKS | STAGE 1 | 2016

100

2017 | STAGE 1 | TYRWHITT ROAD

(1) Rear Extension Lateral Section

101

PRACTICE WORKS | STAGE 1 | 2016

(2)

(3) (2) Rear Extension Elevation Photograph (3) Rear Extension Kitchen Photograph

102

2017 | STAGE 1 | TYRWHITT ROAD

103

PRACTICE WORKS | STAGE 1 | 2016

(2) Rear Extension Garden Towards Main House Photograph

104

2017 | STAGE 1 | TYRWHITT ROAD

(1)

(2) (1) Garden Mirror Tree House Photograph (2) Garden Seated Brick Planters Photograph

105

PRACTICE WORKS | STAGE 1 | 2016

(3) Garden Landscaping Plan

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2017 | STAGE 1 | PROFILE

PROFILE OBJECTIVE Part II Architectural Assistant with three years industry experience seeking to join a progressive and ambitious architectural practice. I am pursuing a role which will support the further development of my career, to become an experienced RIBA registered Architect.

Orhan Kemal Unlu Address: 151 Farmfield Road, Bromley, Kent, BR1 4NE Mobile: 07925936457 Email: orhanunlu@live.co.uk References: Mr Michael Holms Coats Design Tutor michael@trolleystudio.co.uk 0203 330 0060 Mr Michael Richards MArch Programme Director M.Richards@kent.ac.uk +44 (0)1227 823587 Mr Miles Griffies RSA, Director miles@redsquirrelarchitects.com +44(0)208 699 6766 Mr Carl Johansen Ward RSA, Director carl@redsquirrelarchitects.com +44(0)798 118 3673

107

Ambitious Part II Architectural Assistant with extensive UK based experience, a strong understanding of building tectonics through iterative, hands-on designing and making. Interests in alternative manifestations of space, testing the implications of intervening within urban and rural landscapes. Skilled conceptual and technical designer, working on highspecification residential projects. Very strong production management, rigorous, energetic engagement with complex, characterful and progressive ideas. Over my Part 1 work placement; I demonstrated initiative by actively engaging with emerging software and systems, and independently researching practice management procedures. This resulted in implementing a new visualisation production process; and establishing end of stage reports and project checklists specific to smaller new builds. I spent the week before my first work day, learning to use the practices CAD software. This allowed me to quickly become proficient

with the office standards and settle into the role as a key member of a five-person team, delivering information at all RIBA stages of work. Directly liaising with clients, consultants and contractors and independently resolving issues. I have good site experience and assisted in contractual administration duties. My responsibilities have recently grown; tasked with conducting and recording meetings to produce and distribute Site Notes, Architects Instructions and Certificates. It has been rewarding to expand my knowledge and confidence as a professional, and practically apply creative thinking, from developing bespoke details to resolving issues on site. During my Part 2 masters degree, I explored innovative ideas with the freedom of speculative work, creating projects that have new but real offers. With UK based sites, I directly unearthed and proposed the feasible reuse of the existing built fabric, with technically designed and justified interventions. Progressing designs with public engagement, in and

out of context. I effectively adopted emerging technologies, to improve my own production management and create striking installation work. Filmic and projection mapped presentations engaged beyond the still image, to yield prominent reactions to immersive content, serving as a catalyst for further development. By using traditional architectural presentation techniques skilfully, I developed a clear architectural language through an explanatory set of physical models and drawings. Effectively developing spatial planning, materiality, technical language and representation of character. As a conscientious individual, I am reliable and considerate. I am a confident leader, who can multi-task and handle pressure. I have excellent interpersonal skills as a keen team or independent worker. I thrive on challenges and am fuelled by my desire to gain knowledge and experience, towards becoming an exceptional Architect.

PROFILE | STAGE 1 | 2016

3.0

Skilled conceptual and technical designer, very strong production management, rigorous, energetic engagement with complex, characterful and progressive ideas. Work: July 2018 – Present

March 2018

Red Squirrel Architects Ltd

Part II Architectural Assistant

- Project Brief Development - Practice Procedures Review

- Design & Access Statements - RFI Support

Kent School of Architecture

Guest Lecturer

- Detailing and Joinery Design - Contract Admin Duties

- The Structural Adaptability of Steel Frame - Framing Architecture with Film Metrics July 2014 – September 2016

Red Squirrel Architects Ltd

Part I Architectural Assistant

- Feasibility & Site Survey

- Developed Design & Planning

- Technical Design & Tender

The University of Kent

MArch Architecture

Distinction

Education: September 2016 – July 2018

Research Modules:

September 2011 – July 2014

- AR647 Technology - AR540 Employability

- AR538 Cultural Context - AR602 Uncanny Architecture

The University of Kent

BA Architecture

2:1

Research & Design Modules

September 2009 – July 2011

September 2006 – July 2009

- AR506 Masterplanning - AR532 Landscape & Climate

- AR548 Modernisms - AR531 Form & Structure

The Ravensbourne School

Advanced Level Education

- EPQ: Modular Architecture A* - Media Studies B

- Product Design A - Art & Design B

The Ravensbourne School

Secondary Level Education

- Film Studies A - English Literature B

- A Grade (x8) B Grade (x4) Incl. Physics, Maths, Graphic Products

108

2017 | STAGE 1 | FILMOGRAPHY

(1) Inside The Devilâ&#x20AC;&#x2122;s House 2017

109

PROFILE | STAGE 1 | 2016

(2) From Turbulence To Terminus 2018

110

2017 | STAGE 1 | FILMOGRAPHY

(1) From Hamburg To Rostock 2018

111

PROFILE | STAGE 1 | 2016

(2) Summer Clouds 2018

112

2017 | STAGE 1 | PHOTOGRAPHY

(1) Biggin Hill Airshow Wingwalkers 2018

113

PROFILE | STAGE 1 | 2016

(2)

(3) (2) Biggin Hill Airshow Red Arrows 2018 (3) Portsmouth Passing 2018

114

2017 | STAGE 1 | PHOTOGRAPHY

(1) Hamburg Port 2017

115

PROFILE | STAGE 1 | 2016

(2)

(3) (2) Gut Garkau 2017 (3) LÃ¼beck 2017

116

2017 | STAGE 1 | PHOTOGRAPHY

(1) Hiroshima Peace Memorial Genbaku Dome 2016

117

PROFILE | STAGE 1 | 2016

(2)

(3) (2) Along The Philsopopher’s Path Kyoto 2016 (3) Senjō-kaku Itsukushima 2016

118

2017 | STAGE 1 | PHOTOGRAPHY

(1) The Hoo Peninsula Field Land Watcher 2017

119