ACADEMIC PORTFOLIO_MArch_2020-2022 by qianru li

Academic Portfolio / Qianru Li Masters of Architecture 2020-2022 1

MArch 1

Semester 1

Design Studio C

Architecture Technology Research (ATR)

Semester 2

Design Studio D

Study on Contemporary Architecture Theory (SCAT)

Semester 1

Design Studio A

Architectural Management, Practice and Law (AMPL)

Semester 2

Design Studio H

Design Report

MArch 2

AA QL

[DES] 1/6

Navigator

COURSE NAME

Synopsis

01:

Assienment Brief

02:

Graduate Attributes

Learning Outcomes

Course Timeframe

Project

ARB General Criteria

Group/Individual Work

Drawing Annotation

Technology Research/ 2021

Architectural Technology Research MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

INDEX

Graduate Attributes

ARB General Criteria

GA2.1 ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;

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

GA2. 2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; GA2. 3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; GA2. 4 critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; GA2. 5 understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; GA2. 6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; GA2. 7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

GC 2 The graduate will have knowledge of: .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC 3 The graduate will have knowledge of: .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, interms of their conceptualisation and representation. GC 4 The graduate will have knowledge of: .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC 7 The graduate will have an understanding of: .1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation. GC 8 The graduate will have an understanding of: .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. GC 9 The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project. GC 10 The graduate will have the skills to: .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC 5 The graduate will have an understanding of: .1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit in to their local context. GC 6 The graduate will have an understanding of: .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities.

[MArch 1] Studio C ISLAND TERRITORIES VII: Island Temporalities |Havana, Cuba

Synopsis The first semester of the programme seeks to open out concepts, themes and concerns that will help inform, structure and frame a process of exploration, analysis, inquiry and the articulation and testing of an initial response to the conditions of insularity and uncertainty as they are manifest in architecture and the landscape.

MOVE 01: REGISTER Draw from the Storm

From the start, the investigations of this semester will take place through a process of drawing and making. In this, we intend to avoid the conventional distinction between analysis and proposition where design is most often relegated to the role of problem solving or mere illustration. Instead, we will engage with design as a tool that draws out the unexpected layers of the historical, cultural and environmental context in which architecture operates. Our investigations will play out at the scale of the detail and the scale of the city.

MOVE 02: SURVEY Chimera and the Plane Table

The work developed through move 01 Register – what we draw from the storm, move 02 Survey –Chimera and the Plane Table and move 03 Inhabit – Chamber lock (i).

MOVE 03: INHABIT Chamber Lock [LO1] The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. [LO2] The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. [LO3] A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

6 QL

[MArch 1] Studio C ISLAND TERRITORIES VII: Island Temporalities |Havana, Cuba

The Palimpsest Landscape: Unpacking the collections of the Palacio de los Capitanes Generales The Palimpsest Landscape is a collection of workshops for the study, conservation, fabrication and display of ceramic artefacts from the collections of the Palacio de los Capitanes Generales, now a museum in Old Havana, Cuba. Offered to the Plaza de Armas, a formal garden square in the foreground of the Palacio, the Palimpsest engages with the fabric and contents of the museum building through a process of architectural smuggling whereby artefacts are removed from the Palacio one by one, transported across an elevated bridge, through a wall into a landscape of concrete, steel and brick.

MOVE 01: REGISTER Draw from the Storm

The artefacts in the museum are practically and conceptually caged, held at a distance, caught within a particular cultural and historical reading. Liberated from this condition by the Palimpsest they become available to new interpretations. The buildings of Havana are in a state of collapse, often held in place by seemingly precarious scaffolding systems. In a critical reinterpretation of this the Palimpsest deploys a structural language of steel rib walls locked into concrete envelopes held above an undulating concrete landscape and brick kiln. Study and restoration take place within the discrete envelopes, artefacts are displayed on fine steel armatures in shadow spaces throughout. In the open air workshop new ceramics are formed and dried, glazed in the adjacent enclosed workshop and fired in the brick kiln.

MOVE 02: SURVEY Chimera and the Plane Table

Spatially, materially and environmentally the architecture of the Palimpsest makes visible the unseen or obscured histories of the collection. Erased messages are rewritten in here.

MOVE 03: INHABIT Chamber Lock

Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

7 QL

[DES C] 2/8

MOVE 01: REGISTER Draw from the Storm

/ DEVICE Instead of investigating violent physical storm, i document series of images that potentially indicate the happening of a gentel storm across the inland city i live, in both artificial and natural way. Several small devices are made to convey and experiment the idea of how could microscale movement gradually generate larger differences. In this way differing scenarios might correspond to different fragments that i extracted from the city. For instance, focus on the industrial area of my hometown, several typologies of infrastructure could be defined. Similar narrative structure could be implemented within the analysis of urban system: Overwhelmed part could be recognized and demolished in a short time, while some accumulations in the hidden corners could weave together and trigger a gentle storm.

Document storm in a slow city

SLOW STORM Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

8 QL

MOVE 02: SURVEY

/ Chimera I am Cuba. Once, Christopher Columbus landed here. He wrote in his diary: “This is the most beautiful land ever seen by human eyes.” Thank you, Sr Columbus. When you saw me for the first time, I was singing and laughing. I waved the fronds of my palms to greet your sails. I thought your ships brought happiness. I am Cuba. Ships took my sugar, and left me tears. Strange thing... sugar, Sr Columbus. It contains so many tears, but it i s sweet.. - Soy Cuba

Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

9 QL

[DES C] 3/8

"There is no doubt that the nature that surrounds us here is implacable, terrible, despite its beauty. But those who live in the midst of it consider it less bad, more treatable, than the frights and shocks, the cold cruelties, the ever-renewed threats of the world there. Here, plagues, possible ailments, natural dangers, are accepted in advance: they are part of an Order that has its rigors. Creation is not something fun, and everyone instinctively admits it, accepting the role assigned to each one in the vast tragedy of creation." - Alejo Carpentier, The Lost Steps

Hurricane-Wind-Dust-Water-Humidity

THE WORLD OF HAVANA Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

10 QL

10m

[MOVE 02] CHIMERA Front Elevation

PALACIO DE LOS CAPITANES GENERALES

Elevations

PALACIO DE LOS CAPITANES GENERALES Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

11 QL

[DES C] 6/8

MOVE 02: SURVEY Wind Misregistration The process began with the composition of images from within the General’s Palace. When everything visible on the plan was overlayed and traced, a new ‘strange’ plan emerged, representing how the wind would affect the surface. The erosion of the Chimera by Havana’s powerful winds became more and more apparent overtime, beginning to alter the Chimera’s plan-view forms. A series of photographs capturing the movement of the flag on the roof of the palace register the wind speed and orientation. Overlaying these movements over the floor plan, allowed for a warping and distorting technique which twists walls, extends its footprint and misregisters over and over. Acoustic Wall A clip taken from the film ‘Soy Cuba’ became the basis of the Plane Table acoustic survey. In order to map out where the sound will disturb the structure of the palace, the sound weave graph of the clip has been overlayed on top of the chimera plan. Entire scene has a range of the tones which are measured by the sound pressure. Within each sound moment in the clip one value has been picked to represent it on the survey drawing.

Document storm in Havana

WIND&ACOUSTIC MANIPULATION Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

12 QL

MOVE 02: SURVEY Game Each card has assigned value ranging from Level 1-3, of which numbers are based on the scale of the selected fragments. The level determines how much damage will be caused to the chimera once impacted by the fragment piece.

Stills From Short Film

FRAGMENT DISRUPTIONS Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

13 QL

MOVE 02: SURVEY /Plane Table Collide the Wind Misregistration with the Acoustic wall upon the Plaza Armas, then a conceptual remapping of The Captian General's Palace is formed.

THE PRE-GAME

IN MID-PLAY

THE PLANE TABLE

THE PRE-GAME IN MID-PLAY THE PLANE TABLE MIGRATION

MIGR ATION

Undisrupted Chimera Disrupted Chimera Exploded Components The New Chimera Landscape

Disrupted Chimera

THE PLANE TABLE Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

14 QL

Regarding to the climate conditions in Havana, the courtyard plays a key role as a passive cooling strategy in the warm humid climate of the city. The indoor airflow pattern is controlled through the composition between envelope opening and the courtyard of the building. This allows for natural ventilation in order to minimize indoor overheating conditions.

Document wind within chimera

THE PLANE TABLE Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

15 QL

[DES C] 5/8

Disrupted Chimera

THE PLANE TABLE Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

16 QL

MOVE 03: INHABIT

Collective Ateliers: -

La Plaza Danzante El Refugio de la Musica El Escritorio de Habana The Palimpsest Landscape

[MOVE 03] INHABIT South-East Isometric

COLLECTIVE CHAMBERS IN SITU Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

17 QL

MOVE 03: INHABIT Chamber Lock

Palimpsest of Antique Havana

CHAMBER LOCK Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

18 QL

[DES C] 7/8

pulling out layers

Excavate the overlapping

Breathing space for caged artefacts that commonly be exhibited in the Palacio De Los Capitanes Generales Musuem. Rescue them out from the tourism flooding and highlight their significance of documenting the history of Havana.

Carved into Landscape

When all the Artefacts are moved out, then how to define the original Chimera? Erased messages are be rewritten in here.

[MOVE 03] INHABIT Aeiral View

CHAMBER LOCK Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

19 QL

[DES C] 8/8

1. Meshed Platform with tracks 2. Portable staircase 3. Sketching Space & Observing Waterlevel 4. Storage shelf for Artefacts

when people walking along the landscape ramp, they can stay in a sheltered semi-open space for resting. The walls has down to the water level and mesh platform enable the tides to leave tracing marks on walls.

[MOVE 03] INHABIT First Floor Plan(+ 3.95M)

CHAMBER LOCK Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

20 QL

1. Isolating Display Case 2. Staircase strenching out to the General Palace 3. Storage shelf for Artefacts

Scholar can take one piece of artefact to th isolating room for careful observation and documentation.

[MOVE 03] INHABIT Second Floor Plan (+ 7.56M)

CHAMBER LOCK Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

21 QL

[MOVE 03] INHABIT Sectional Perspective (North-East)

CHAMBER NESTLED INTO CHAOS Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

22 QL

1. Meshed Platform with tracks 2. Portable Staircase 3. Sketching Space & Observing Waterlevel 4. Storage shelf for Artefacts 5. Isolating Display Case

[MOVE 03] INHABIT Cross Section

CHAMBER NESTLED INTO CHAOS Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

23 QL

[MOVE 03] INHABIT Axometric Explosion

STRUCTURE & MATERAIL Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

24 QL

Rather than being not disturbed by weathering distraction, those wall are coming all the way down the ground, in this way, they are registering the water, humidity and changes.

[MOVE 03] INHABIT Perspective view

PALIMPSEST OF ANTIQUE HAVANA Desgin Studio/ 2020

Design Studio C MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

25 QL

[MArch 1] ARCHITECTURAL TECHNOLOGY RESEARCH

Synopsis The complexity of the design and construction process and constantly evolving technology mean that for every new project the architect becomes a practitioner–researcher. There is growing need for a deeper relationship between practice and academia, particularly regarding research and its application in practice. The complexity of projects demands that research becomes an important aspect of the design process.

01: GENERIC STUDY Working in pairs develop research projects that respond to a question or concern arising from the Climate Emergency. Innovation is often seen as panacea. This project asks you to consider innovative approaches for sustainable architecture and built environment. The aim is to carry out a study that provides an insight or new understanding on a topic. It is a research project on an aspect of contemporary technology, in response to a well-defined research question. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world.

The course runs throughout Semester 1 with students undertaking research projects in contemporary architectural technology and environmental issues in small groups. Students develop and research an architectural theme in response to the Climate Emergency, and then explore this in the context of the design studio.Output from research projects will be prepared and presented as a digital resource to be shared with all students on the M.Arch programme. This creates an array of research in materials, environmental design and approaches to designing and constructing the built environment.

[LO1] An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, (eg. sustainable design).

02: CONTEXT STUDY

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

Successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio. The Contextual Study addresses a research question relevant to the context of the design studio. This may be framed by emergent issues around the specific environment of the studio context or broader issues affecting it.

[LO3] An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. [LO4] An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

Technology Research/ 2020

Architectural Technology Research MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

26 QL

[MArch 1] ARCHITECTURAL TECHNOLOGY RESEARCH

[ GENERIC STUDY] An investigation into lightweight structures and materials suited to providing post-disaster shelter while achieving a low ecological impact

The concept of temporary transitional housing in postdisaster area is mainly about shelters internationally. In 1982, the United Nations Disaster Relief Coordinator (UNDRO) issued the report "Shelter after Disaster", which comprehensively discussed the issues of disaster response and shelters. In this guide, how to solve the problem of temporary transitional resettlement is the main content. Ten years later, the United Nations High Commission for Refugees (UNHCR) reiterated the same point that what is needed is a comprehensive shelter strategy. Both of these statements show that the post-disaster shelter problem remained unsolved at the end of the 20th century (Kronenburg, 2014). The post-disaster temporary settlement problem has always been a recurring international problem and requires economical and practical solutions.

[LO1] An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, (eg. sustainable design). [LO2] An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

Technology Research/ 2020

Architectural Technology Research MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

27 QL

Architectural Technology Research (2020-2021)[SS1-SEM1]

Generic Study

Architectural Technology Research (2020-2021)[SS1-SEM1]

2.2 Evaluation of new ecological materials

1.2 Advantages of portable lightweight housing in disaster area

Evaluation Criteria

However, the demountable and portable structure that can be used shortly after the disaster has long been regarded as a real avenue for development by architects. There are many benefits for this type of building to be used in postdisaster housing.

Contemporary trends in architecture are centred around environmentally friendly solutions that make use of renewable and eco-friendly materials and have a low builtin energy factor (kJ/kg) – in other words, materials whose production and processing are simple and energy-saving.

On one hand, there are some advantages in assembly and transportation. Portable buildings are pre-fabricated, so it can be quickly built on site, saving time and hassle. In addition, using lightweight frame materials can also simplify the construction process. Besides, portable buildings can be relocated to meet any specific requirements, whether need to move them to a new spot on an existing site, or even new premises entirely (Flintham Cabins). What's more, these kinds of buildings typically do not require a foundation, which means a flat surface is usually enough. Furthermore, portable buildings are small in size and suitable for transportation on narrow roads.

Great significance is attached to the whole life cycle of a building, which consists of three stages: construction, use and demolition (Chang, S. E. &Shinozuka M., 1996).What is essential is that a building material should only have the slightest possible impact on the natural environment after its demolition(Moldan, B., Janoušková, S. &Hák T., 2012).

Fig 10. Life cycle phases according to EN(European Norm) 15978

Tran s

po tio n

p o r ta ti o n

o p e r a t i o n Raw material performances Sourcing & Construction Pocessing & Re-use

Assembling

& Recyling

Generic Study

Chapter 2. New ecological material for portable architecture

------ Sarah Nash & Caroline Zickgraft, 2020

D O N AT E ( / D O N AT E )

When those affected residents and local communities were transported into the basketball court, they can assemble those paper partitions by their own within a short period of time.

In the past decade, more than 268 million people worldwide have been affected by 394 major natural events. With the increasing number and intensity of natural disaster, post disaster sheltering design is tightly associated with community security in the long run (Guha-Sapir, et al.,2012). Temporary housing is no longer purely satisfy the fundamental demands of spatial providing, but also the sustainability of its material and ecological effect that might be achieved. /

Additionally, the amount of affected people would be firstly reported to the Shigeru Office, and then staffs there would calculate the accurate numbers of materials needed and do the packages that will be delivered to the displacementcourt.

During the past time, consideration of environmental impacts caused by post disaster responses have been constantly ignored. The fact that environmental damages could contribute to natural disaster deserve higher attention (Prinz, G.S. &Nussbaumer, A., 2014). According to the investigation by Albadra, Coley and Hart( 2019 ), there is only sixty published academic paper have focused on the discourse of temporary shelters since 1980, while only 15% of those were emphasizing the life cycle sustainability of temporary shelters and its influences on environment.

Disaster

Architectural Technology Research (2020-2021)[SS1-SEM1]

Introduced by architect ShigeruBan, which invents efficient way of instructing the affeted population to assemble shelter themselves. As a result, the labour cost can be reduced significantly.

”In this worldview, the ecological threat isn’t ecological at all – it’s human.”

Fig 9. Climate Refugee

2 5

3 4

Images on the right can be referred as Figure 15-19, in numerical order, From left to right, up and down. (Noghchi, 2020)

Workflow of assembling shelter: 1. Pre-fabricated components are transported from the factory to the office by truck 2. Sorting components with different dimensions into groups of unit needed. 3. Packages are sent to the displacement court, distributed to all dwellers. 4. Basic unit can be assembled on site within short time by dwellers, and each one is equipped with a cardboard bed. 5. Diverse compositions are arranged within displacement court.

Fig 13: sketches of joint detail

Displacement

Fig 14: Instruction for assembling

Technology Research/ 2020

Architectural Technology Research MArch 1 / Semester 1

There are some advantages in assembly and transportation. Portable buildings are prefabricated, so it can be quickly built on site, saving time and hassle. In addition, using lightweight frame materials can also simplify the construction process. Besides, portable buildings can be relocated to meet any specific requirements, whether need to move them to a new spot on an existing site, or even new premises entirely.

Generic Study

Paper Patitioning System(PPS)

“And that is the crux of such reports: it’s not the changes in climate and the floods, heatwaves, extreme weather events, droughts and forest fires that are to be feared. The object of fear is the ‘Other’, people forced to flee their homes as a result of these changes who travel to ‘our’ shores.“

CLIMATE DISPLACEMENT IN THE NEWS

The demountable and portable structure that can be used shortly after the disaster has long been regarded as a real avenue for development by architects. There are many benefits for this type of building to be used in postdisaster housing.

② Construction & Assembling

2.1 Background of Climate Emergency & Sustainable Design

HOME (/) THE PROBLEM (/WHY) SPOTLIGHT (/SPOTLIGHT) PERSPECTIVES (/PERSPECTIVES) OUR WORK REPORTS & POLICY BRIEFS (/REPORTS) A D V O C A C Y A C T I O N S ( / A D V O C A C Y- A C T I O N S ) EXPERTISE (/EXPERTISE) ABOUT US A P P R OAC H ( / O U R -WO R K- 1 ) WHO WE ARE (/OUR-TEAM) MEDIA (/MEDIA) G E T I N V O LV E D JOIN US (/JOINUS) EVENTS (/EVENTS)

Abstract

Tra

Fig 3. Manual of emergency shelters

Architectural Technology Research (2020-2021)[SS1-SEM1]

01: GENERIC STUDY

After the temporary building completes its mission, the building materials become permanent elements, which puts forward higher ecological requirements for the construction of temporary building materials(Alshawawreh, L. et al., 2020). Therefore, the building materials in temporary buildings would be evaluated from four aspects, including raw material sourcing/ processing, product manufacturing, operation process and recycling after use as well.

rta

On the other hand, there are some economic benefits. This is because these kinds of buildings are constructed in factories, rather than onsite, enabling manufacturers to keep costs low (Schlager Group, 2017). They are also recyclable, which means that they are ecologically friendly, as well as economically viable. One of the main benefits that lightweight construction can provide your home is effective housing solutions in all climate zones. Lightweight materials typically have low thermal mass and are able to either store passive heat or keep homes cooler easier. Besides, portable buildings can save energy because there is no mains power required.

Climate Change

[ATR] 2/8

Generic Study

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

28 QL

Architectural Technology Research Architectural Technology Research Architectural Technology Architectural Technology ResearchResearch (2020-2021)[SS1-SEM1] (2020-2021)[SS1-SEM1] (2020-2021)[SS1-SEM1] (2020-2021)[SS1-SEM1]

GenericGeneric Study Generic Study Study Generic Study

3.2The The Foundation Floor 3.2Foundation The Foundation & Floor 3.2 The Foundation & Floor 3.2 &&Floor

Assembling Procedure: Assembling Procedure: Assembling Procedure: Assembling Procedure:

Pipe Anchoring: Pipe Anchoring: Pipe PipeAnchoring: Anchoring:

01: GENERIC STUDY

01 Find flat ground 01 ground Find flat ground 01flat Find flat 01 Find ground Envelop system/ load-bearing Envelopload-bearing system/ load-bearing Envelopsystem/ system/ Envelop load-bearing

02 Plinth 02 Plinth02 Plinth 02 Plinth

05 Pipe Anchoring 05 Pipe Anchoring 05 Pipe Anchoring 05 Pipe Anchoring

Fixing of cross bauonet nodes Fixingbauonet of cross bauonet nodes Fixing of of cross cross Fixing bauonet nodes nodes Modeling simulation/ Case study

1) Arrange plastic beer crates to form a rectangle shape, base on this, the 1) Arrange plastic beertocrates torectangle form a rectangle shape, base on this, the Arrange plastic beer crates form shape, base on this, 1)1)Arrange crates tocould form rectangle shape, base onground. this, the the upperplastic part ofbeer the building beaalifted up higher than the upper part of the building could be lifted up higher than the ground. upper partofofthe building could belifted lifted up higher higher than the upper building up the ground. ground. 2) Beerpart crates inthe the middlecould solve be the insufficient spanthan of plywood flooring. 2) Beerincrates in the solve middle the insufficient of plywood flooring. Beer crates thethe middle thesolve insufficient span of span plywood Thecrates floor in takes formsolve of sandwiching layersspan of plywood splintflooring. and 2)2)3) Beer the middle the insufficient of plywood flooring. 3) The floor takes the form of sandwiching layers of plywood splint and The floor takesthe theform form sandwiching layers of ofresistance. plywood splint paper tubes, which canofof achieve better bending 3)3)The floor takes sandwiching layers plywood splint and and paperwhich tubes,can which can achieve better bending resistance. paper tubes, achieve better bending resistance. 4) Seal the layers with wooden splint, align those cross bayonet nodes paper 4) tubes, which can with achieve better bending resistance. Seal the layers wooden splint, align those cross bayonet 4) Seal thethe layers with wooden splint, align those cross bayonet nodes nodes along floor and install the envelope pipe system. 4) Seal the layers withfloor wooden splint,the align those cross along andthe install envelope pipe bayonet system. nodes along the floorthe and install envelope pipe system. along the floor and install the envelope pipe system.

The superior properties of ecological materials, such as bamboo, paper and wood, enable them well applied in the construction of temporary buildings, especiall for post-disaster relief design. After comparing these three materials based on the needs for post-disaster shelters, we found that the structure made of paper is more suitable for post-disaster portable buildings: • Spatial composition flexibility • Recyclability • Operability on site (Assembling) Therefore, we choose the Paper-Log House by Shigeru Ban in 1995 as a case to explore how lightweight structure integrate paper material into relief design.

03 Plywood Panel 03 Plywood Panel 03 Plywood Panel 03 Plywood Panel

04 Paper Tube 108mm Paper Tube 108mm 04 Paper04 Tube 108mm 04 Paper Tube 108mm

Fig 23: Fixing of Foundation, Flooring and Wall Fig 23: Fixing of Foundation, Flooring Fig 23: Fixing of Foundation, Flooring and Wall and Wall Fig 23: Fixing of Foundation, Flooring and Wall https://www.flickr.com/photos/nachetz/6075942304/in/photostream/lightbox/

Technology Research/ 2020

https://www.flickr.com/photos/nachetz/6075942304/in/photostream/lightbox/ https://www.flickr.com/photos/nachetz/6075942304/in/photostream/lightbox/ https://www.flickr.com/photos/nachetz/6075942304/in/photostream/lightbox/ / GA / GC

Architectural Technology Research MArch 1 / Semester 1

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

13 13 13 Individual Group

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Architectural Technology Research (2020-2021)[SS1-SEM1]

Generic Study

Shigeru Ban: analysis | Paper Log Houses September 1995, Nag… | Flickr

3.3 Load-bearing paper tube system

Shigeru Ban: analysis | Paper Log Houses September 1995, Nag… | Flickr

3.3 Load-bearing paper tube system

ogy Research ]

Fig 24: Lateral Side of Paper-Log House (window) Fig 25: Entrance of Paper - Log House (Door)

2 Fig 26: Perspective View from exterior1(Ventilation) 5

Fig 27: Perspective View from interior (Lighting) 3 4 Fig 28: Cross Section of Paper- Log House

Fig 24: Lateral Side of Paper-Log House (window) Fig 25: Entrance of Paper - Log House (Door) Fig 26: Perspective View from exterior (Ventilation) 01: GENERIC STUDY

Fig 27: Perspective View from interior (Lighting) Fig 28: Cross Section of Paper- Log House

Generic Study

Modeling simulation

Assembling Procedure:

Shigeru Ban: analysis | Paper Log Houses September 1995, Nag… | Flickr

g paper tube system

1) The paper tube is fabricated, and no further Assembling processing is required in the construction site. 1

After comparing these three materials based

Fig 26: Perspective View from exterior (Ventilation) Fig 27: Perspective View from interior (Lighting) Fig 28: Cross Section of Paper- Log House

node directly to ensure 2) Insert the bayonet Therefore, we choose the Paper-Log House by Shigeru Ban in 1995 as a case to explore a wall, andbayonet, paper 3) The aligned tubes will formthat the tubes and thepaper cross how lightweight structure integrate material into relief design. waterproof sponge tape should put in between bayonet are nailed together with screw outside with self-adhesives. the tubes.

Assembling Procedure: 1) The paper tube is fabricated, and no further processing is required in the construction site. 2) Insert the bayonet node directly to ensure that the bayonet, paper tubes and the cross bayonet are nailed together with screw outside the tubes.

01 02 03 04

Beer Crates (Plinth) Plywood Panel (Flooring) Paper Tube Vertical Laminated Wood Board

05 06 07 08

Vertical Laminated Wood with cross waits Laminated Wood Panel for tube headers Paper Tube Wall with sealant on joints Horizontal Steel Rod Reinforcement

Technology Research/ 2020

Vertical Laminated Wood with cross waits Laminated Wood Panel for tube headers Paper Tube Wall with sealant on joints Horizontal Steel Rod Reinforcement

4) Doors and windows are made of plywood with wood keel. A pull-in screw is implanted The aligned tubes within tubes to deal with tension 3) and maintain the sturcture stability. waterproof sponge tape

4) Doors and windows are made of plywood with wood keel. A pull-in screw is implanted within tubes to deal with tension and maintain the sturcture stability.

01 02 Architectural Technology Research 03 MArch 1 / Semester 1 04

Procedure:

the needs for post-disaster shelters, we ensure 2) Insert the bayonet node directly paper tube ison fabricated, and no further 1) toThe found that the structure made of paper that the bayonet, paper tubes and the cross is more suitable for post-disaster portable processing is required in the construction site. buildings: bayonet are nailed together with screw outside • Spatial composition flexibility • Recyclability the tubes. • Operability on site (Assembling)

Fig 24: Lateral Side of Paper-Log House (window) Fig 25: Entrance of Paper - Log House (Door)

05 01 Beer Crates (Plinth) The aligned will form a wall, and 06 023)Plywood Paneltubes (Flooring) waterproof sponge tape should put in between 07 03with Paper Tube self-adhesives. 08 04 Vertical Laminated Wood Board

The superior properties of ecological materials, such as bamboo, paper and wood, enable them well applied in the construction of temporary buildings, especiall for post-disaster relief design.

Beer Crates (Plinth) 14 Plywood Panel /(Flooring) GA 2.1 2.2 2.3 2.4 2.5 2.6 2.7 Paper Tube Vertical Laminated Wood Board

05 06 07 08

Vertical Laminated Wood with cross waits Laminated Wood / GC Panel for tube headers 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 Paper Tube Wall with joints 1.2 2.2 3.2 4.2sealant 5.2 6.2 7.2 on 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3 Horizontal Steel Rod Reinforcement

with self-adhesives.

will form a wall, and should put in between

4) Doors14and windows are made of plywood with wood keel. A pull-in screw is implanted within tubes to deal with tension and maintain the sturcture stability. Individual Group

[ATR] 5/8

[MArch 1] ARCHITECTURAL TECHNOLOGY RESEARCH

[CONTEXT STUDY] An Investigation into Paper Tube Joint Design for Post-Disaster Areas

After studying various paper buildings of Shigeru Ban, we found that paper tubes are very lightweight and ecological material with strengths of low cost and convenient to transport, while enabling people to quickly build on their own. The paper tubes can be assambled into a whole structure, a wall or a furniture. so it is a material that can provide flexibility and achieve multifunctional program. In this study, we focus on combinations of paper tube joints. By testing their strength, construction speed, and ease of disassembly of paper tube joints with different connection methods, we could obtain a comprehensive summary and review of joints that fit in various contexts. Diverse tools are collected to help us make and test these joints. We attempt to use nylon rope for lashing, hot melt glue for gluing and a portable dynamometer to test the strength of joints. All these tools are assumed to be easily available in post-disaster areas. Besides, these tools do not require much specislized knowledge for users, so dwellers could build shelter themselves.

Model- testing under qurantine situation in the COVID-19 period.

Technology Research/ 2020

Architectural Technology Research MArch 1 / Semester 1

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Individual Group

31 QL

[ ATR ] 6/8

02: CONTEXT STUDY Research Question: Can advances in Paper tube Joints facilitate the Self-built Relif Housing for Post-disaster Area?

Fig 1. Post-disaster shelter

Fig 2. Single module Abstract The problem of temporary housing in postdisaster areas is a recurring international problem. People in the post-disaster areas need temporary shelters that can be quickly built. In the choice of construction materials, transportation costs, ease of construction and the cost of the materials themselves need to be considered. Therefore, we want to find a building material that is most convenient to obtain and can meet these characteristics in this situation. Based on the results of our generic study, we have found that lightweight ecological materials are very suitable. Lightweight ecological materials such as bamboo, wood and paper are easily available, cheap and cheap to transport. After a natural disaster, people can use these materials to quickly build their own shelter, and they are also very easy to recycle.

Fig 4. Bamboo Joints Techniques (2007)

Technology Research/ 2020

Fig 5. Pre-fabricated joint in Paper-Log House (1995)

Architectural Technology Research MArch 1 / Semester 1

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Among these temporary buildings constructed with lightweight ecological materials, Shigeru Ban's paper structure temporary buildings gave us a lot of inspiration. And we also found that paper is a material that much cheaper and easier to build for post-disaster temporary construction than wood and bamboo. So we chose paper tubes as the main material of this study.

Fig 3. Lightweight ecological building

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

32 QL

[ATR] 8/8

Lashing

01.

Paper tubes could be tied together by using various traditional lashing knots: square lashing, round lashing, diagonal lashing and tripod lashing. Extra pegs or braces can be added to enhance the structure. we catergorized those testings by four potential compositions of two tubes: T-shape, X-shape, parallel and end-to-end. Drilled Lashing is one of the simplest joint. The lashing is finished with a clove hitch around the upright and a square knot.

06.

Doweling Two peices of wooden dowels are inter-locked within the tubes. Precise scale of holes should be calculated for the drilling work.

02.

Gluing

02: CONTEXT STUDY

Different kinds of glue can be used to interfill or fill the gap between linkage of two profiles. For Example, Cold-press glue, Hot-melt adhesive and Natura adhesive(mixture of corn starch and water)

Research Question: Can advances in Paper tube Joints facilitate the Self-built Relif Housing for Post-disaster Area?

07.

Nesting on one end of paper tube can be cut with slots to let the sections clamp onto the inner paper tube pole. In this way, the length of tube will be extended, and more flexible adjustments can be made.

03.

01. 02. 03. 04. 05. 06. 07. 08. 09. 10.

08.

04.

Methodology By taking an hands-on approach, it is a study of the potential of using paper tubes as a support structure for post-disaster shelter. Leaning heavily on Shigeru Ban's work it went from a discussion of existing prototypes through to the manufacture of and then strength testing jointing techniques. Under the pandemic situation, we tends to think more creatively in a focussed manner about how to assess this technology in a domestic rather than a laboratory environment.

Japanese Square Lashing T-shape Lashing Parallel Lashing Doweling Gluing Nesting Doweling with Lashing Lashing with Gluing Nesting with Lashing Nesting with Gluing

We use some tools to help us make and test these joints. We mainly used nylon rope for lashing, hot melt glue for gluing and a portable dynamometer to test the strength of joints. All these tools are easy to access in post-disaster areas. Besides, these tools are also very convenient for people to use, so they can build shelter themselves

09.

And then evaluate those testing by four criteria: Time and Cost; Ease of Workability (Building & Disassembling); Deformation Resistance; Quality and Aesthetic.

05.

10.

Technology Research/ 2020

Architectural Technology Research MArch 1 / Semester 1

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Individual Group

33 QL

[ ATR ] 6/8

Conclusive Comparisons & Evaluation

4.2 Ease of Workability (making and disambling)

4.2 Ease of Workability Lashing with Gluing

With regard to this pandemic situation, much difficulties have emerged when doing the cutting and hole-making work because of limited access to facilities. However, this also inspires us to use possible handy materials, which set more common dialogue with post-disaster scenario.

It is easy to make a hole on paper tubes but it is a bit difficult to thread the nylon rope through the hole. Gluing is a very fast way to reinforce the joint. We used hot melt glue gun for gluing, which means electricity is needed. However, in post disaster areas, electricity is not always work everywhere. Therefore, the glue will change in pracice.

Fig 32. Lashing with Gluing (2020)

Nesting with Lashing When doing the nesting work, four slots are cutting through on the end of one pole and certain material were removed. As for the paper tube, it is quite difficult to quick chop off the fibres and make the edges neat and clean (Figure 33). Fig 31. Precise shaped-cutting (2020)

02: CONTEXT STUDY

Doweling with Lashing The main difficulties is, when cutting holes and making the dowel and wedge that fit to each other, much efforts are put into to ensure the tube is in place. Certain errors or inconsistenty is inevitable due to visual observation and estimation.

Research Question: Can advances in Paper tube Joints facilitate the Self-built Relif Housing for Post-disaster Area?

Nesting with Gluing It is not an easy thing to cut the paper tube. After one paper tube is inserted into another, it causes a slight distortion, making the joint look not very smooth. Besides, the paper tubes with glue are difficult to recycle.

Possible discrepancy might exist for our scale-down testing components. In real construction, difficulties could be multiplied.

Evaluation

Fig 33. Making & Testing of Nesting with Lashing Joint (2020)

Fig 30. Dissambling after deformation test (2020)

evaluate those testing by four criteria: Time and Cost; Ease of Workability (Building & Disassembling); Deformation Resistance; Quality and Aesthetic. Conclusive Comparisons & Evaluation

Conclusive Comparisons & Evaluation

4.3 Deformation Resistance

Lashing with Gluing

Based on previous study, paper tubes have relatively lower resistance to compression forces, when compared with tension and bending. Different testing methods are adopted accordingly to these three Joints.

When the value of portable dynamometer reaches 0.45 kg, the T-shape joint has a great deformation. The glue begins to crack and there is a sight loosening on the connection. When the value of portable dynamometer reaches 0.41 kg, the parallel joint has a great deformation in the parallel direction. When the value of portable dynamometer reaches 1.6 kg, the parallel joint has a great deformation in the vertical direction. The glue is almost completely cracked and the joint is loosened seriously.

Doweling with Lashing

Fig 34. Deformation test of Nesting with Lashing Joint (2020)

when the value of portable dynamometer reaches 4.5 kg, the joint begins to distorted slightly. When applying 22kg forces to the joint, the joint overally remain stable except slight loose.

Nesting with Lashing

when the value of portable dynamometer reaches 8.6 kg, the joint begins to distorted quite obviously. And the inner pole is gradually fell out and disconnected.

36 36

Fig 36. Deformation tests of Lashing with Gluing Joint (2020)

Fig 37. Deformation test of Nesting with Gluing Joint (2020)

Nesting with Gluing When the value of portable dynamometer reaches 1.91 kg, the joint has a great deformation. The glue in the hole almost cracked and the connection is very loose. Fig 35. Deformation test of Nesting with Lashing Joint (2020)

Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

34 QL

High

Low

4.5 Conclusive Evaluation Chart Doweling with Lashing

Lashing with Gluing

Nesting with Lashing

Nesting with Gluing

02: CONTEXT STUDY Research Question: Can advances in Paper tube Joints facilitate the Self-built Relif Housing for Post-disaster Area?

Joint Details

Conclusion After conducting a series of tests on the paper tube structure joints, we found that these four kinds of joints have different advantages. Therefore, when applying these four joints, different situations should be considered, such as regional context and various environmental factors. Furthermore, it is worth to consider using this type of material's advances on a Broader Context.

Time

Cost

￡5

￡4.4

￡4.2

Ease of Self-building

Deformation Resistance

Quality and Aesthetic

Technology Research/ 2020

Architectural Technology Research MArch 1 / Semester 1

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Individual Group

35 QL

[MArch 1] Studio D ISLAND TERRITORIES VII: Island Temporalities |CUBA, Havana

Synopsis Arriving in the second semester of the programme, we move from the world of detail, the habitable, of looking in and seeing out in the Chimera and the Parterre, to the cultural landscape of the Field, the meaningful and complex architectural assemblage of the Gate and the material and structural specificity of the Lock. In the second semester you are invited to discover and represent the Field of your thesis – the greater material, cultural, environmental, historical and conceptual terrain of your work – to offer a Gate to that Field as an architecture of the median scale that operates as both a discrete proposition in and of itself and as an example of the language of the larger thesis. Within this Gate you are asked to situate a Lock as a micro architecture, an expression of your architectural thesis at the scale of the detail.

MOVE 04: FIELD Mapping

Over the course of its evolution it will capture, draw out and configure the real and imagined concerns of your island territory. As the Field develops and thickens, we will begin to speculate about possible new programmatic concerns that can be read into the Field and test them against the rituals and routines of the city or landscape of your thesis.

The Lock, a microarchitecture offered to the Gate with all the complexity and agency of a lock that opens a gate, will describe a spatial architecture able to communicate the material, structural and environmental protocols of the thesis at the scale of human occupation. A strategy for sustainability will resonate across the Lock, the Gate and the Field at appropriate levels of resolution.

MOVE 05: GATE Chimera and the Plane Table

While the work of the Field becomes more speculative and begins to articulate a new spatial grain, a programmatic proposition and an engagement with the physical realities of your island territory, we would like you to explore, and indeed initiate, some of the experiential consequences of this speculation.

MOVE 06: LOCK

[LO1] The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

As an architectural metaphor, the Lock is an architecture within an architecture, a condensing, compression and enfolding of architectural elements to form something that may be caught between the scale of a room and the scale of a piece of furniture. As such it is a potential vehicle for the exploration of material, constructional and structural assembly as a prototype or exemplar of a highly particular and specified tectonic language.

[LO2] The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. [LO3] A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work. [LO4] A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

36 QL

[DES C] 1/8

[MArch 1] Studio D ISLAND TERRITORIES VII: Island Temporalities |CUBA, Havana

MOVE 04: FIELD Draw from the Storm

MOVE 05: GATE Chimera and the Plane Table

Spatially, materially and environmentally the architecture of the Palimpsest makes visible the unseen or obscured histories of the collection. Erased messages are rewritten in here.

MOVE 06: LOCK Chamber Lock

Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

37 QL

Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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Individual Group

38 QL

1 Malecon 2A Castillo de la Real Fuerza 4C El Palacio de Los Capitanes Generales

Collective Ateliers: 2B 2D 3B 3D

La Plaza Danzante El Refugio de la Musica El Escritorio de Habana The Palimpsest Landscape

Aeiral View

COLLECTIVE CHAMBERS IN SITU Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

39 QL

MOVE 04: FIELD FIELDS Mapping is seen here as a form of speculation as much at it is a form of analysis. It does not seek to pin down a singular reading - one truth. Instead, it seeks, to open out and layer reality upon reality. It will form a cartograph that has a thickness, one that can hold multiple concerns and, rather than arranging these concerns into a conventional hierarchy, allows them to exist as a field of multiple influences. Adrian Hawker and Victoria Clare Bernie

"The Palimpsest Landscape"

[MOVE 05] GATE Master Plan

COLLECTIVE QUARRY FIELD Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

40 QL

MOVE 05: GATE

Gates are moments of extraordinary intensity that go beyond the pragmatic concerns of function and programme. They are thresholds that allow a transition from the spatial and sensorial orders of the outside, public domain toward a new arrangement of spatial and environmental conditioning. They don’t just allow access to something new, they prepare us for something new. The Gate transforms us, it prepares us, it allows us to move from one condition to another without jarring. A Gate, therefore, often slows us down, requires us to tarry and prolongs the moment of ingress.

[MOVE 05] GATE Roof Plan (+ 11.0M)

UNPACKING THE COLLECTION Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

41 QL

[MOVE 05] GATE Ground Floor Plan (+ 2.80M)

UNPACKING THE COLLECTION Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

42 QL

[MOVE 05] GATE First Floor Plan (+ 7.56M)

UNPACKING THE COLLECTION Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

43 QL

[MOVE 05] GATE Second Floor Plan (+ 11.3M)

UNPACKING THE COLLECTION Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

44 QL

[MOVE 05] GATE Basement Plan (- 2.60M)

UNPACKING THE COLLECTION Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

45 QL

[MOVE 05] GATE Cross Section (A-A’)

NESTLED IN TO CHAOS Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

46 QL

[MOVE 05] GATE Perspective Section (B-B’)

NESTLED IN TO CHAOS Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

47 QL

MOVE 06: LOCK As an architectural metaphor, the Lock is an architecture within an architecture, a condensing, compression and enfolding of architectural elements to form something that may be caught between the scale of a room and the scale of a piece of furniture. As such it is a potential vehicle for the exploration of material, constructional and structural assembly as a prototype or exemplar of a highly particular and specified tectonic language.

[MOVE 06] LOCK Isolated from the collectivefield

NESTLED IN TO CHAOS Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

48 QL

[01] PLOTTING ROOM Plan & Perspective

[01] PLOTTING ROOM PLAN & PERSPECTIVE

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

49 QL

[01] PLOTTING ROOM Exploded Axonometric

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

50 QL

Scholar can take one piece of artefact from the Museum to this isolating room for close-up observation and documentation.

[02] ARCHIVE ROOM PLAN & PERSPECTIVE

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

51 QL

[02] ARCHIVE ROOM Exploded Axonometric

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

52 QL

[03] SCHOLAR’S STUDY PLAN & PERSPECTIVE

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

53 QL

[03] SCHOLAR’S STUDY Exploded Axonometric

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

54 QL

[04] CERAMIC WORKSHOP ISOLATED PERSPECTIVE VIEW

BEFORE THE BLACK CHAMBER ESCAPE Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

55 QL

Circulation: 1. Clay Kneading & Making 2. Ceramic vase & trinket being painted and glazed after cooling down 3. Fire-glazing Kiln 4. Cooling down shelves in the shadow spaces

The water collecting system can be regarded as environmentally considered. Espcially during the season of high precipitation, rainwater could be collected and go through simple purification process. In this way, the workshop undeneath is also be supported.

[04] CERAMIC WORKSHOP Isolated Exploded Axonometric

NEW INVENTION OF ARTEFACTS Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

56 QL

[04] CERAMIC WORKSHOP PLAN & PERSPECTIVE

LOCKED-IN Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

57 QL

[ 02 ] GATE

PALIMPSEST LANDSCAPE

Cross Section (A-A’) Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC

NESTLED IN TO CHAOS

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

58 QL

Desgin Studio/ 2021

Design Studio D MArch 1 / Semester 2

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2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

59 QL

[MArch 1] STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

Synopsis Contemporary architectural theory scrutinises the interaction between design and the cultural, intellectual, political, social and economic contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating – as well as critiquing – design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (philosophy, political theory, cultural studies, anthropology, science and technology studies, media studies, semiotics, visual theory, literary theory, etc.), and this is reflected in the organisation of the SCAT course.

01: Reading Journal The reading journal (course diary) records your ongoing critical reflections and responses to the weekly readings and seminar discussions. You should report on these and elaborate upon the significance of some aspects of the readings for contemporary architecture and/or urbanism. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

02: Essay [LO1] A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame. (ARB Criteria: 2.1, 3.1, 4.1)

An illustrated essay (approximately 3,000 words + abstract + references + captions) that explores an issue of your choice, arising from the seminars and readings. The essay is not intended to be a comprehensive analysis or overview of the material covered in the seminar option, but rather an investigation of a specific topic connected to it that interests you.

[LO2] An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture. (ARB Criteria: 2.2, 3.1, 3.2) [LO3] An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media. (ARB Criteria: 2.2)

Architectural Contemporart Theory/ 2021

SCAT MArch 1 / Semester 2

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Individual Group

The glazing facades along the corridors use modern technology to avoid excessive sunlight and overheat for the interior space and exhibits, providing an ideal penetration of lighting inside the venue. On the one hand, those transparent walls enable visitors to see the Parthenon Temple 300 meters outside the venue and the whole city of Athens as well. It weaves antique atmosphere of Athens with mild and quiet technological intervention. “This imagined event would not mark the re-establishment of a dissociated whole, but the presentation of a novelty. The last time these objects were in ensemble, they were elements in a building in decay. They were not yet inscribed in a discourse of aesthetics and not defined as autonomous works of art. ” 1 Regarding to the debate over the repatriation of the Elgin Marbles, Mari Lending has stated that it could be counterintuitive to direct apply the comment of “decontextualization”, which is defined by Quatremère, to this situation. The ‘Imaginary Parthenon’ conceived by the design of new Acropolis Museum could be regarded as an attempt to restate art with historic and unique meaning through conservation and curatorial practice. In the meanwhile, to what extent could museum reproduce history is examined. And this will certainly become an authoritative precedent for repatriation claims for Western museums. Although it could be argued that, displaying those archival materials like sculptures within the context Theory/ of the Acropolis Architectural Contemporart 2021 can SCAT deliver a comprehensible exhibiting scene, we still can perceive MArch 1 / Semester 2 the coherent narrative through the absence on display. At this point, Mari Lending brings in the reflection on the Altes

1. Giuliana Bruno, “Architects Of Time: Reel Images From Warhol To Tsai Ming-Liang”, Log, 2, 2004, 85.

Real Space, Reel Time

Within the work by the filmmaker Tsai Ming-Liang, spectators can observe that all the scenes setting is focus on the internal rhythm of urban life, and the cinema can represent place, or to be more specifically, it can be seen as a subjective space, a mental state--an atmosphere. As noted by Giuliana Bruno, the film dwells in hollow space, and in this way, it tackles a very architectural issue. It explores architecture's generative void. It is very the cinema that dares to look at architecture at its ‘zero degree’ and builds stories out of its bare bone. “As in real life, in this reel life things always leak. Holes are always there. One can never really fill them in and perhaps should not even try, for one never knows what is actually hidden in a hole.” 1

Giuliana Bruno Architects of Time: Reel Images from Warhol To Tsai Ming-LiangAthens

The crux concept and highlight of the new Acropolis Museum is the glazing corridor overlooking the site of the archaeological excavation, providing visitors with mesmerizing experience of returning to past period and antique site.

Mari Lending Negotiating absence: Bernard Tschumi’s new Acropolis Museum in Athens

The Absence on Display

01: Journal Extracts [ UNPACKING LOG]

Abstract “Log is no eclogue, no pastoral poem… but a chronology of sorts, a record of some observations made in our time.” With this declaration, Cynthia Davidson opens the second issue of Log. Davidson’s statement, a proclamation of being-with in time, enshrines the call for contributions to the journal as methodology and mission statement: to record “observations, speculations, and ideas on architecture and the city at this point in our time and space.” Now approaching its 50th issue, observation and speculation remain the focus of Log; each issue gathers short written reflections presented in such a way as to “resist the seductive power of the image in media.” Unpacking Log will look at Log as an index of architectural ideas, as a cross-section of thinking captured at various points in time since its first issue in 2003 (around the time identified as the beginning of a decline in architectural theorisation).

Between the void of real life and reel time, film could function as a medium that displaces narrative within architecture and delivers an implicit resonance with a particular space for spectators. Cinematic discourse relating to space, involving what the space contributes and conveys in the film, narrative, camera movement, scene scheduling, the characters, and even the audiences’ imagination. And all these aspects have influence on composition and representation of cinematic spaces.

While ostensibly an ‘open’ journal centred on ‘observations on architecture and the contemporary city’, Log is a frame through which theoretical concerns are expressed, and convergent and divergent trajectories into and through broader architectural theoretical discourse might be traced.

Unlimited expansion of lens and the atmosphere rendered by environment could stimulate imagination and memory outside screen, while storing and releasing the sentiment in a different dimension. For instance, when depicting a scene of peeking, artist edit and reconstruct the perception of spaces by narrowing down and winding the viewports. In this way, certain emotion will cumulatively be enriched when fear, exhilaration, anxiety, sympathy, all these sensations be injected into the space, forming a reel space of multidimensional vitality. Contradictory, at this point, Bruno has discussed the concept / GA / GC of 2.1 2.2 2.3 2.4 2.5by2.6 2.7 ‘zero degree’ referring to several filmmaker's’ practices. As 3.1 for 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.1 2.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 Hiroshi Sugimoto, he chose to document his hyperreal wandering 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3 by taking series of theaters’ pictures that render film 1.3 as "light" architecture. These pictures are conceived at the crossroads

Individual Group

Reflecting on contemporary architects’ practice and design attitude, the hierarchy of material have experienced diverse challenges and doubts. This could be explained as overrated normal materials as superior materials and introduce conventional materials from other industries with new applications in architecture. Rather than radically criticizing that of phenomenon imply material itself is not be well-respect, Adrain Forty has shift the focus of discussion in more in-depth realm of prevailing digital fabrication. The contradiction lies in the application of advance technology in architecture design. It enables the shift of the focus of laboring from repetitive processing work to more intellectual work that produce innovative variations and possibilities. As noted by architect and theorist Gottfried Semper, “the appearance of a work of art should make us forget the means and the materials by which and through which it appears and works.” By liberating architects’ creation from it, the refining technical Contemporart perfection Architectural can make crucial contribution toTheory/ achieve2021 material’s SCAT superior values. Contradictorily, architectural design under the MArch 1 / Semester 2 influence of modernization is tends to be like assembly line production. Regulating production and modular fabrication might stifle the creativity and innovation stimulus.

“If architecture is, among other things, an ensemble of concepts and practices that regulate the fabrication of buildings, then architecture could be bracketed before buildings are constructed or reconstructed. This bracketing might comprise a metropolitan form of ‘architecture without architects’—a kind of building usually discovered on the fringes of global modernity.” 1

“The museal struggle over competing ambitions (for that is what fuels the issue) reaches beyond the realms of patron and public to animate a contention between the domains of architecture and display.” 1 The architectural exhibition strips architecture of its agency as a material intervention in the physical world. At the 12th Architecture Biennale in Venice, diverse experiments of exhibition forms and performing methods challenge how architecture is displayed and represented.

Over the previous decades, the declining Detroit has been trapped in interlaced urban issues: hollowing out of downtown area; the collapse of the auto industry; the fragmenting distribution of abandoned land. Regarding those vacant land areas, an indeterminated “Unreal Estate” is discussed by historian of architecture Andrew Herscher, 'The city of unreal estate is a city of apparent vacancy, emptiness and abandonment. And yet, to a gaze that sees not much left, what’s left over assumes new significance. Remnants, traces, bits and pieces, odds and ends: all these can assume a newly vivid materiality and accommodate a newly expanded set of use values.'

In a short essay titled "Mirror of Dreams", architect Jean-Louis Cohen analyzed that architecture display itself. Referring to the early museum design, the Neues Museum done by architect Friedrich August Stüler, has generated a visual interaction between its explicit supporting members and invisible structure. In this regard, museum began to be considered as a site of exhibition, to wit, a site of the of architecture.6 By introducing stemlike vertical dividers to outstand its structural features, Stüler has claimed the idea that architecture displays itself by means of its own design.

Referring to what Herscher documented in the collection of unsolicited construction, it is not hard to tell the tendency of alienating the profession from daily life may result in unexpected residents’ intentions and aesthetic preference. It indicates diversity of architectural practice without high demand for professional and expertise. Take one example being outlined within the category of Unsolicited Construction called ‘Full Scale Design Lab’, it was established as a platform for catalyzing experimental intervention against traditional architectural thinking and making method. This Lab to some extent has discloses the horizons of thinking about architecture as a discipline or profession. Whilst / GAyet the participatory from diverse respect is encouraged, / GC 2.1 2.2 2.3 2.4 2.5 2.6 2.7 1.1 those unprofessional practice toward unreal estate shows 1.2 and poses a potential that, engaging people to complete their 1.3 individual conception preference and imagination could offer a refreshing perspective to think about architecture. Those

Reflections on Curating Architecture

Mari Lending Negotiating absence: Bernard Tschumi’s new Acropolis Museum in Athens

Morris, William. ‘The Influence f Building Materials Upon rchitecture’, in The Collected Works of William Morris. Vol. 22, 91–405.

As contemporary technology progress rapidly in various industrial and scientific fields, their social-economic aspects become increasingly crucial, with the effect that products are being produced in significant quantity, especially in the industry of construction and architecture. It poses skeptical attitude toward the authentic of the progress brought up by the so-called "modernization" in architecture field since the eighteenth century. Under this circumstance, the argument that modernization equals progress may encounter contradictory voice.

Unsolicited Structure, Leave it to the Imagination

Andrew Herscher Unsolicited Constructions: Accidental Architecture / Blotting

Semper, Gottfried. Style in the echnical and Tectonic Arts; or, ractical Aesthetics. anslated by H. F. Mallgrave and M. obinson. Los Angeles: Getty, 2004.

“There is an old debate as to whether it is the business of architecture to bring out material – to draw attention to it – or whether, on the contrary, architecture should make material disappear, so as to allow other concerns to come forward.” 1

Adrian Forty Forget material

Forty, Adrian. "Forget Material." Expanding Fields of Architectural iscourse and Practice: Curated Works from the P.E.A.R. Journal, dited by Butcher Matthew and ’Shea Megan, 357-61.

Forget Material, or Bring it Out ?

Since then, museums were conceived as displays of architecture and therefore the significance of architecture is manifestoed by their own rather than depending on how valuable those residing archival materials are. And this might also give us a hint to comprehend what he claimed in the text: curation could be regarded as a therapeutic tool to achieve reconciliation for his splitting self between architect and historian. 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

As Kurt Forster claims in the text, the genius valuable part of Individual curating architecture Group is displaying itself. Curation is a move of thinking output, not just a mehod to deliver messages or display artworks. Seeing curation as a separate discipline would stimulate new architecture scheme by establishing curating architecture

Curating Architecture is a Metaphor

4. Cynthia Davidson, Front Matter, Log, no. 20 (2010): 3-4.

“curating architecture is neither editing nor other forms of museum display - painting, sculpture - but is in need of a discourse of its own”, as what Cynthia Davidson states and provokes in the Log.4 Insofar as the history of curating architecture in the modern and contemporary periods has not yet been written or systematically documented. We still could reflect on those numerous practices of diverse exhibitions nowadays. Curation is a move of thinking output, not just a mehod to deliver messages or display artworks. In constrast to Philip Johnson's statement as recognizing curating as merely a branch of architecture, seeing curation as a separate discipline would stimulate new architecture scheme by establishing curating architecture discourse. Just as what Cynthia Davidson provoked on Log 20: Curating Architecture, raising the awareness to restate the crucial position of curation between architecture representation and creation is a positive response to current proliferation of exhibition practices, especially in the field of architecture. 4 In a short essay titled "Mirror of Dreams", architect Jean-Louis Cohen analysed that architecture display itself.5 Similarly, Forster has claimed that, curation could be regarded as a therapeutic tool to achieve reconciliation for his splitting self between architect and historian. Similarly, can we draw any inference from it to be more specifically define Olafur Eliasson's practices?

Friedrich August Stüler, Neues Museum, Berlin, 1843-55. Detail of bowstring girders and wall bracket, Room of the Niobides, Second Floor. Photo from????

5. Cohen, Jean-Louis. "Mirror of Dreams." Log, no. 20 (2010): 49-53. 6. Forster, Kurt W. "Show Me: Arguments For an Architecture Of Display." Log, no. 20 (2010): 55-64.

Referring to the early museum design, the Neues Museum done by architect Friedrich August Stüler, has generated a visual interaction between its explicit supporting members and invisible structure. In this regard, museum began to be considered as a site of exhibition, to wit, a site of the of architecture.6 By introducing stemlike vertical dividers to outstand its structural features, Stüler has claimed the idea that architecture displays itself by means of its own design. Since then, museums were conceived as displays 10. Forster, Kurt W. "Show Me: of architecture and therefore the significance ofArguments architecture is For an Architecture Of manifestated by their own rather than depending on howLog, valuable Display." no. 20 (2010): 64. those residing archival materials are. Another respect to explain the necessity of regaining the concerns back to architecure of display is the potential self-transformation of it own. 16

02: Essay Extracts Retrospective towards Curating Architecture

Curating Content, Estrangement with architecture Curation should be regarded as an individual entity to stir up new potentials for architectural discourse rather than a simply representative method serving for architecture. Apart from constructing literal structure for the exhibition, the curation commonly arranges documents including drawings, images, physical models and relevant videos to represent those projects. However, these architectural representations, rather than the idea that any building itself should be displayed. Referring to another project by Olafur Eliasson in 2008, called 'The Riverbed', by crafting a landscape within the Louisiana Museum of Modern Art in Denmark, the artist evokes a primal sense of freedom. The boundaries between the natural world and the manmade was blurred by a raw and powerful intervention into the building. By subverting original mind-set of behaviour and thinking linked to museums, Eliasson utilized the void of the landscape to filter any instruction or information. visitors could acquire pure freedom of reflection and illusion through this sensory experience. 1 . To m R a v e n s c r o f t , " O l a f u r

The Riverbed project generates visual effectEliasson's that makes visitors first building is a castleperceive the building differently. Because the upset fjord," likeinstallation office in a Danish 4, 2018,with https://www. Dezeen, June the normality of the floor in museum. It confuses people dezeen.com/2018/06/04/olafur1built . To m walls R a v e n s care roft, "Olafur the illusion to recognize whether those artificial eliasson-fjordenhus-office-vejleEliasson's first building is a castlegrowing from the ground, or the landscape came later. like office in a Danish fjord," fjord-denmark-architecture/

Dezeen, June 4, 2018, https://www. dezeen.com/2018/06/04/olafureliasson-fjordenhus-office-vejlefjord-denmark-architecture/

“The installation is temporary and is bounded by the exhibition space, implied no reproduction or representation by means other than those customarily employed in architecture itself,” 10 18

2. "Fjordenhus,2009-2018", Olafur Eliasoon Studio, access May 7, 2021 2. "Fjordenhus,2009-2018", Olafur https://olafureliasson.net/archive/ Eliasoon Studio, access May 7, 2021 artwork/WEK107304/fjordenhus

https://olafureliasson.net/archive/ artwork/WEK107304/fjordenhus

Architectural Contemporart Theory/ 2021

SCAT MArch 1 / Semester 2

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3 . To m R a v e n s c r o f t , " O l a f u r

To m Rbuilding a v e n s c r oisf ta, castle"Olafur Eliasson's first 2.1 2.2 2.3 2.4 2.5 2.63 .2.7

Eliasson's building isfjord," a castlelike office in first a Danish office in a Danish fjord," June 4, 2018, https://www. Dezeen,like Dezeen, June 4, 2018, https://www. dezeen.com/2018/06/04/olafurdezeen.com/2018/06/04/olafureliasson-fjordenhus-office-vejleeliasson-fjordenhus-office-vejlefjord-denmark-architecture/

Abstract

'Fjordenhus' / Olafur Eliasson/ 2018 Retrospective towards Curating Archiecture

Retrospective towards Curating Archiecture Rising out of the water, ‘Fjordenhus’ forges a striking new connection between Vejle Fjord and the city centre of Vejle in Denmark. The building honours its unique setting in a radical way. It is placed directly in the water, aiming to create an efficient 1 Rising outbetween of the water, forges a striking new relation itself ‘Fjordenhus’ and its environment.

The emerging of ambiguous definition between artist, curator and architect, implicitly indicate one potential: Whether the blurred border between activity of curation and practice of architecture could stimulate new form of practice? Professor Barry Bergdoll set up a series of lectures to establish discourse over the topic: the modernity of the architecture exhibition.23 He has pointed out that, it would be experimental to gradually dissolve the architect's right of interpretation of architecture, and thus change nature of the relationship between art and architecture, specifically through the medium of curation. Both curators and ‘star' architects are used to create the topicality of architecture. However, architecture should not be overexplained, but to be experienced. What Olafur Eliasson has been achieved during the past dacades is not a discrete artistic practice collection, but instead an indicative sign unveiling the complicated relationship between making of culture and its transformation.

connection between Vejle Fjord and the city centre of Vejle in Denmark. The building honours its unique setting in a radical ‘Fjordenhus’ is the first architecture project that entirely designed way. It is placed directly in the water, aiming to create an efficient and completed by Studio Olafur Eliasson, whom commonly shows 1 relation between itself and its environment.

up as an artist to elaborate with other architects to achieve ‘Fjordenhus’ is the first architecture designed architecture projects. Apartproject from that his entirely precedent attempts of and completed by Studio Olafur Eliasson, whom commonly shows conceiving visual experiences and narratives within designated up as an artist to elaborate with other architects to achieve environment, Olafur Eliasson put forward this exhibition by architecture projects. Apart from his precedent attempts of making this piece of art display itself. within designated conceiving visual experiences and narratives

As curation can be verifies as catalyst stimulating the renovation and self-reflection within the field of architecture, on the other way round, should we expect how would the practice of exhibiting be redefined when curating architecture is gaining its own discourse in the forthcoming years, we shall have to wait and see.

environment, Olafur Eliasson put forward this exhibition by making this piece of art display After gained the trust anditself. delivered the consistent envision

with the client, Eliasson starts his first architecture practice with his After gained the trust and delivered the consistent envision with partner Sebastian Behmann in a Danish fjord.2 He expressed his the client, Eliasson starts his first architecture practice with his design Sebastian attitude toward project in the interview: 2 He expressed partner Behmannthis in acastle-like Danish fjord. his design attitude toward this castle-like project in the interview:

GC "This/allowed us to turn years of research – on perception, "This allowed turn of research –the on11.1 perception, 1.1 2.1 us 3.1to4.1 5.1years 6.1nature, 7.1 8.1 9.1 physical movement, light, and10.1 experience of space physical movement, nature, and8.2 the9.2 experience 1.2 2.2 3.2light, 4.2 5.2 6.2 7.2 10.2 11.2 of space – into a building thatat isonce at once a total work of art and a fully – into a building total of art11.3 and a fully 1.3 2.3that 3.3 is 4.3 5.3 6.3a 7.3 8.3work 9.3 10.3 3 functional architectural structure." 3 functional architectural structure."

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‘Model Room’ :

Dover, Taylor. "Reality Drivers: fur Eliasson and Sebastian hmann." Log, no. 43 (2018): 78-

ral-shaped piece of art installed he building of 'Fjordenhus',it ts dynamic light and shadow on interior walls during sunday.

Dover, Taylor. "Reality Drivers: fur Eliasson and Sebastian hmann." Log, no. 43 (2018): 78-

Olafur Eliasson, Martin-Gropius-Bau, Berlin, 2003

Curating Architecture Responds to Context

As for Eliasson's practices, Geometry is constantly regarded as critical lens through which to evaluate the world. "It’s very interesting to observe an overlay between what you see and what you hear and to use these principles to actually experience and explore new shapes and forms. I think this is an old interest in design and architecture – the idea of music and geometry as fundamental to form-finding and design", as he said. 14 The spiral-shaped piece of art installed in the building is intend to simulate the dynamics of sea vortex. When the sunlight passes through the geometrically shaped glazing, it casts dynamic light and shadow on the interior walls. This vibrant use of geometry could also be spotted from its plans. What' more, as the building is sitting in the water, the form of its facade also echoes to that: how the facade and windows were given shape is inspired by the water’s rippling movement and its mirroring effects. 15 And a specific type of window has been introduced into it to navigate between the inside and outside, then a space of its own between them was formed.

Curating Architecture pioritize experience Serpentine Gallery Pavilion 2007. by Olafur Eliasson and Kjetil Thorsen. Installation view at Kensington Gardens, London, UK, 2007.

18. EXHIBITING ARCHITECTURE: THE PRAXIS QUESTIONNAIRE FOR ARCHITECTURAL CURATORS, AARON BETSKY, JEFFREY KIPNIS, Jeff, FRÉDÉRIC MIGAYROU, TERENCE RILEY and JOSEPH ROSA, PRAXIS: Journal of Writing + Building, No. 7, Untitled Number Seven (2005), pp. 106-119

All these features are part of the explaination he claim the project ‘Fjordenhus’ is site-specific. Apart from the geometrical design rationale behind that, more hints might be given by his attempt of prioritizing the experience of people. Eliasson and Behmann have investigated what types of surface andlevels spaces Two geometries plans over different of 'Fjordenhus' activate and impact people's senses, and what types can deliver a pacifying or even numbing effect to their perception. In this way, they relate the logic of form-finding not only to the outer look of the building, but also tightly with the psychology of how people 20perceive and acknowledge their own presence within the space. By stilling this idea into the whole design process, visitors are enabled to shape their understands towards the space and the feeling of engagement is enhanced. Architectural Contemporart Theory/ 2021 SCAT Central to Eliasson's work is the visitor’s physical experience MArch 1 / Semester 2 of moving through spaces with diverse sensations linger on thier mind. This significant design principle has been discussed during his talk with Kurt Forster in 2010. One issue that has been

"Wunderkammer, looking up close, small spatial experiments."

Similarly but not identically, this pavilion proposed by Olafur Eliasson and architect Kjetil Thorsen from Snøhetta for the Serpentine Gallery also received judgement like being ambiguously defined. The centre space is intended to create a forum for events and the promise of open discussion while a ramp rises gently creating a promenade up through the pavilion for the visitor. Being half-exposed and half-enclosed building, this project seems to be sitting in between the a piece of art and sculpturelike building.

‘Your Black Horizon’ Pavilion:

Olafur Eliasson & David Adjaye, 51st Biennale di Venezia, Venice, 2005

"Illuminated, optical device, walking through."

Inside the Horizon :

Lighting Installation in Fondation Louis Vuitton, Olafur Eliasson, Paris, 2014

The term ‘pavilion’ has a mixed history regarding the dialectics of use and uselessness, temporariness and fixity, sociability and elitism. As it commonly refer to free-standing or temporarily attached structure used solely to realize social engagements or viewing things. Historically, pavilions are places of display resembling. Different from theaters, stadium or museums, thier independence from other building and feature of temporality make them embrace new values in contemporary art. 18

"horizon, illuminated, walking through."

Contact :

Exhibition in Fondation Louis Vuitton, Olafur Eliasson, Paris, 2014-2015

It could be argued that the Serpentine series are liberated from original definition of pavilion due to its pure focus on display of itself as a design object. Regarding to Eliasson's pavilion, it can be present as an elaboration with architect to develop the building as a display piece.

"light intensity, destabilisation, landscape."

By brings together its functions as a place for display with a place from which to view. With regard to the realm of perception, Olafur Eliasson explained the design rationale behind its form: A circle can be perceived as an ellipse when the viewer sees from 22

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[MArch 1] Studio A ISLAND TERRITORIES VII: Island Temporalities|Mont-Saint-Michel, France

Synopsis Semester 1 will follow the narrative sequence of a shipwreck in the Bay of Mont-Saint-Michel. Students will be asked to identify and dismantle a Vessel from their existing Thesis [Integrated Pathway] and reassemble within a critically identified housing in the complex architectural chimera of the island of Mont-Saint-Michel. Through drawing, construct and archival research a particular representation of Mont-Saint-Michel will develop, a discrete understanding of land and water, rock and abbey that will act as a map and a guide for Fieldwork in Week 5 and beyond. Transformed through re-drawing and remaking, both the architecture of the Vessel and the architecture of the abbey island will change as the housing and that which is housed become a dwelling, a House of Estrangement as a small, highly developed and finely detailed architecture. A point from which to articulate a language of structure and environment in detail for the Integrated Pathway students.

MOVE 01: SHIPWRECKING Dismantling the Vessel Vessel is the thesis work to date.The rich and articulate architectures that have been conceived and derived for one of the eight island territories associated with the Chimera of Havana. The proposal are vessels in that they are directly spatial but they are also vessels in that they carry the concepts, ideas, sensibilities, attitudes and poetic narratives of the thesis.

The House of Estrangement looks back to the Bay and the littoral landscape, the Scapeland, of Semester 2’s investigations.

MOVE 02: SCAPELAND Seeding Island

[LO1] A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (eg. the built, social, historical, technological, urban and environmental contexts). [LO2] A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants. [LO3] An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies. [LO4] A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

Desgin Studio/ 2021

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[MArch 1] Studio A ISLAND TERRITORIES VII: Island Temporalities |Mont-Saint-Michel, France

Scripting the Bay in Mont-Saint-Michel : an attempt to document perpetural tidal tracings The Palimpsest Landscape is a collection of workshops for the study, conservation, fabrication and display of ceramic artefacts from the collections of the Palacio de los Capitanes Generales, now a museum in Old Havana, Cuba. Offered to the Plaza de Armas, a formal garden square in the foreground of the Palacio, the Palimpsest engages with the fabric and contents of the museum building through a process of architectural smuggling whereby artefacts are removed from the Palacio one by one, transported across an elevated bridge, through a wall into a landscape of concrete, steel and brick. The artefacts in the museum are practically and conceptually caged, held at a distance, caught within a particular cultural and historical reading. Liberated from this condition by the Palimpsest they become available to new interpretations. The buildings of Havana are in a state of collapse, often held in place by seemingly precarious scaffolding systems. In a critical reinterpretation of this the Palimpsest deploys a structural language of steel rib walls locked into concrete envelopes held above an undulating concrete landscape and brick kiln. Study and restoration take place within the discrete envelopes, artefacts are displayed on fine steel armatures in shadow spaces throughout. In the open air workshop new ceramics are formed and dried, glazed in the adjacent enclosed workshop and fired in the brick kiln. Spatially, materially and environmentally the architecture of the Palimpsest makes visible the unseen or obscured histories of the collection. Erased messages are rewritten in here.

Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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MOVE 01: SHIPWRECKING

/ Identify and Dismantle Vessel Vessel is an interesting word in English because it can denote a ship but its emphasis is on the ship’s containment, what it holds, and is therefore a directly spatial. But Vessel doesn’t really have a singular scale. It is a receptacle, it receives; it is a container, it contains; and it is a holder, it holds. It is therefore architectural. In this way, Vessel, which is extracted from the Chimera of Havana, could be seen like New intervene that acts as map and inventory, guide and offer lens to document the commune of Mont-Saint -Michel. It would situating itself in the abbey island as a speculative foothold.

[01] PLOTTING THE FIELD Master Plan

NAVIGATING THE BAY Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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[01] PLOTTING THE FIELD Tide-Marsh- Humidity-Polders

NAVIGATING THE BAY Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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[02] UNFOLDING THE SEQUENCE OF SHIPWRECK Collaged Section

NAVIGATING THE BAY Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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The drawing sand tray acts as map and inventory, guide and lens to document the commune of Mont-Saint -Michel, rescale the marshed landscape on the bay with visitors’ footprint within this isolating room -Salle des Chevaliers, for closeup observation and documentation. Bridges are setting above the drawing sand tray as channels for the scripttor to plot the field and navigate the bay around the Mont-Saint-Michel.

[03] SITUATING THE VESSEL IN THE LANDSCAPE Aerial View

DISMANTLING THE VESSEL Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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[03] SITUATING THE VESSEL IN THE LANDSCAPE Aerial View

DISMANTLING THE VESSEL Desgin Studio/ 2021

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cantilevered ramp toobserve the tidal traces and its viration of landscape on the bay.

Storage space for wet clothing and muddy boots when ‘scriptor’ comes up from the bay.

Shower space and resting area when the ‘scriptor’ finish the landscaping drawing.

Walking upon the sand&mud tray suspended by the grided column

[03] SITUATING THE VESSEL IN THE LANDSCAPE A'

Plan

Desgin Studio/ 2021

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[03] SITUATING THE VESSEL IN THE LANDSCAPE Long Section A-A’

DISMANTLING THE VESSEL Desgin Studio/ 2021

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New invention within the Scriptorium act as a mirror that re-script the tidal bay and landscape and exihibit them inside the Abbey.

[ 03 ] SITUATING THE VESSEL IN THE LANDSCAPE Aerial View

DISMANTLING THE VESSEL Desgin Studio/ 2021

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[ 04 ] NEW INVENTION WITHIN THE SCRIPTORIUM Long Section A-A’

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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[ 05 ] TRACING, RESCALE THE LANDSCAPE Perspectice Section

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

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C' B'

[ 06 ] INHABITATION Plan

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

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[ 06 ] INHABITATION perspective section B-B’

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

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[ 06 ] INHABITATION perspective view

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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[ 06 ] INHABITATION cross section c- c’

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

Design Studio A MArch 2 / Semester 1

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By setting new layer of glazing facade to the corridor, the Knight’s Hall is still partly insulated as internal space while the rest of spaces are open to environmental condition and climate . [ 06 ] INHABITATION perspective view

HOUSE OF ESTRANGEMENT Desgin Studio/ 2021

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[MArch 2] ARCHITECTURAL MANAGEMENT,PRACTICE AND LAW 01: Regulatory Drawings Produce two curated drawings studying and describing how a critically selected precedent responds to aspects of the Planning, Building Regulations, Equality Act and/or Construction Design and Management (CDM) regulatory frameworks.1 Explore how these frameworks impact and shape the design of these precedents, or how these precedents work to change, amend or overturn these frameworks.

Synopsis The course is organised around a series of core lectures offered by academics, policy experts, architectural practitioners and other professionals operating in the built environment. It encourages the development of these research competencies, and asks students to turn these skills toward making informed judgements on current architectural debates, discussions and policy decisions. Through this course, we will explore some of the themes identified by the RIBA, in addition to discussing financial and managerial concerns affecting architectural practice. A lecture series will introduce questions around regulations, the climate crisis, architectural activism, the profession, procurement, gender, fees and representation. In combination, these talks span the more definitive, legislative aspects of architectural practice, and present discussions circulating around the profession that are impacting the role and responsibilities of the architect, the structure of practices, and the position of architects in relation to environmental and social concerns. In this way, the course aims to both develop students’ understanding of what it is to be, and what is expected of, an architect, and yet problematise. Professional issues and structures will be introduced, and challenged.

02: Course Report Prepare a Course Report summarising, critiquing, questioning and exploring the range of topics explored through the lecture series. Course Report is intended to engage with the full breadth of themes and topics described by contributors. Through this report you are to present a series of short reflections on the key course content. It contains a response to one of the contractual situations explored through the Contract Workshops and a response to each of the four structuring themes of lectures.

The course encourages students to be aware of, and work toward, the expectations of the RIBA framework, and at the same time to develop their capacity for making informed judgements around issues affecting architecture, the profession, and their professional futures, so that ultimately they may contribute to debates and discussions about those futures.

03: Critical Contemporary Practice(s) Essay Research and write a critical essay exploring one of the areas of contemporary practice described in the lectures which structure this course. This essay should be framed by your interests in response to the course content. Suggested questions or topics have been prepared to guide you in identifying a subject which might form the basis of such an essay; these are included with the lecture synopses at the end of this syllabus. These topics align with the lectures. You may take one of these questions directly, exploring and developing it through your work, or form your own questions or topics in response to the themes discussed.

[LO1] An understanding of practice management and codes of professional conduct in the context of the construction industry. (ARB Criteria: 6.1,6.2, 11.1, 11.3) [LO2] An understanding of the roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. (ARB Criteria: 6.2, 10.1, 10.2, 11.1, 11.2) [LO3] An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects. (ARB Criteria: 4.3, 10.3, 11.1)

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Individual Group

Transformación de la Tate Modern / Blavatnik Building

The Construction (Design and Management) Regulations 2015

Planning

Resin Dowel Component

Elastomerric Bush Component Elastomerric Plug Component

Building Information: Excavation

Bankside, Hopton Street, London, SE1 9TG

The construction of the basement was carried out with due consideration for the safety of the site perimeter and construction personnel, and attempts were made to minimise the impact on the surrounding traffic and environment. According to CDM 2015 Regulations 22(3), suitable and sufficient steps must be taken to prevent any person, work equipment, or any accumulation of material from falling into any excavation. Also, settlement was a crucial issue for the construction team, especially with the Turbine Hall glass roof, because the Switch House shares its foundations with the existing Turbine Hall and the new building's tower oversailing the Switch House. The foundations were tied together with a lot of effort in the construction of the new building's base design. Because the Switch House piles were built prior to any deconstruction on site, access was prohibited at this time. (related to CDM 2015 Regulations 20(1) )

Completion: 2009.1- 2016.12 Main Client: Trustees of Tate Modern Architect: Herzog & de Meuron Contractor: Mace Group Structural Engineers: Ramboll UK CDM Coordinator: Cyril Sweett Project Management: Gardiner & Theobald Llp Planning Manager: Deloitte Real Estate Fire Engineer: ARUP Fire Mechanical&Electrical Engineer: Max Fordham Llp Quantity surveyor: Aecom

Node diagram for brick to wall connection1

The masonry for the facade was chosen with care to ensure its long-term performance and behaviour. Three rounds of testing were performed on the brickwork. The bricks requested were 215mm square and 69mm high engineering bricks with varied colours to match the existing structure. The brick pattern is based on a Flemish bond, which is similarly comparable to the previous structure, with bricks piled in pairs and prebonded with polymerised mortar to create a 215 x 215 x 145mm high block with the header bricks deleted to create a 'perforated' screen of bricks.

The Construction (Design and Management) Regulations 2015 - 20. Demolition or dismantling (1) The demolition or dismantling of a structure must be planned and carried out in such a manner as to prevent danger or, where it is not practicable to prevent it, to reduce danger to as low a level as is reasonably practicable.

Internal Area: 23,600 m²

Brick connection node diagram2

01: Regulatory Drawings

The Blavatnik Building is proposed as an extensive volume of Tate Modern. Compared with the first proposal approved in 2006 consisted of stacked boxes with a textured glass facade, The final proposal is similar in massing and scale to an extension approved in December 2008 but there are significant changes with regards to the external materials and the internal organisation. The latest proposals incorporate the former oil tanks below the south-west lawn into the gallery and the change from glaze cladding to a more energy-efficient brick latticework. Its chain mail brick façade is a key modificitation that allows the museum to bridge the gap between contextual and iconic elements.

Core construction The concrete frame of the tower has been meticulously coordinated with the remaining underground structure of the oil tanks and terrace to build a link with the raw character of the existing industrial architecture, which is braced by its two internal cores. Both reinforced concrete and steelframed construction are used in the primary structural plan. To achieve the visually appealing finish that was so important, the two massive internal reinforced concrete cores were basically conceived and constructed in jump form as solid boxes, with localisec apertures and exposed surfaces.

Key Policy: London Policy (2011) The London Policy in 2011 provides a london City-wide strategic planning guidance for any future development. There are several sections that are particularly relevant in the analysis of the modified approach to materiality taken by the final proposal:

Abstract

Policy 7.6: Architecture Architecture should make a positive contribution to a coherent public realm, streetscape and wider cityscape. It should incorporate the highest quality materials and design appropriate to its context.

The Blavatnik Building is proposed as an extensive volume of Tate Modern.Compared with the first proposal approved in 2006 consisted of stacked boxes with a textured glass facade, The final proposal is similar in massing and scale to an extension approved in December 2008 but there are significant changes with regards to the external materials and the internal organisation. The latest proposals incorporate the former oil tanks below the south-west lawn into the gallery and the change from glaze cladding to a more energy-efficient brick latticework. Its chain mail brick façade is a key modificitation that allows the museum to bridge the gap between contextual and iconic elements.

Policy 7.8: Heritage assets and archaeology London’s heritage assets and historic environment, including listed buildings, registered historic parks and gardens and other natural and historic landscapes, conservation areas, World Heritage Sites, registered battlefields, scheduled monuments, archaeological remains and memorials should be identified, so that the desirability of sustaining and enhancing their significance and of utilising their positive role in place shaping can be taken into account. Precast components

London Borough of Southwark Unitary Development Plan (1995)

Corbels play an important role in the design. Precast panels, which are supported by the building's interior perimeter framework and floor beams, give support for the corbels and brickwork while also acting as a therma and moisture barrier. The corbels support the brickwork skin and provide a technique for lowering genera frame tolerances as an interface to the more precise brickwork by sitting in vacant header locations in the masonry.

The Bankside power station was a sigficant listed building, and London Borough of Southwark Unitary Development Plan provides guidance to ensure that the character of listed buildings is preserved. Policy RE.4.6: Proposals Affecting Listed Buildings External alterations or extensions to listed buildings or works within the curtilage of such buildings must respect the architectural or historic references of the building and be sympathetic to the character and appearance of the building or of any group of buildings of which it forms a part.

Residents of a luxury property on London's South Bank are bringing their case to the UK Supreme Court after losing a court struggle to keep part of the tenth-floor observation platform at Tate Modern open. Owners of four apartments in the Neo Bankside tower, which is adjacent to the museum, previously alleged in court that "hundreds of thousands of people" to Tate Modern were peering into their houses through the gallery's Blavatnik building's viewing area. When the residents lost the final round of their legal struggle with the gallery at the Court of Appeal early last year, the matter was thrown out of court. An act of 1832 secured city residents' right to natural sunlight. Residents might sue for damages or seek an order to stop construction if new constructions threatened to block light in their homes.

Scaffolding & Bricklaying In this project, five different types of brickwork were used to ensure a balance of cost, end result and safety. At the lower floors, solid brickwork was used. Offset blocks at each stage produce the correct overall slope for the sloping brickwork. The multiple courses of the vertical facade are similarly sloped in and out of the wall plane to create a texture similar to that of the sloping facade. The scaffolding was also worked with during construction, improving on the traditional vertical configuration to produce a sloping scaffold that met the requirements of the CDM 2015 Regulations 17(4) and 19(1) for this project.

Section A-A' 1:500

Prescription Act 1832 Section 3 of the 1832 Act provides as follows: "When the access and use of light to and for any dwelling house, workshop, or other building shall have been actually enjoyed therewith for the full period of 20 years without interruption, the right thereto shall be deemed absolute and indefeasible, any local usage or custom to the contrary notwithstanding, unless it shall appear that the same was enjoyed by some consent or agreement expressly made or given for that purpose by deed or writing."

Site Plan

The Construction (Design and Management) Regulations 2015 - 17. Safe places of construction work (4) A construction site must, so far as is reasonably practicable, have sufficient working space and be arranged so that it is suitable for any person who is working or who is likely to work there, taking account of any necessary work equipment likely to be used there. The Construction (Design and Management) Regulations 2015 - 19. Stability of structures (1) All practicable steps must be taken, where necessary to prevent danger to any person, to ensure that any new or existing structure does not collapse if, due to the carrying out of construction work, it(a)may become unstable; or (b)is in a temporary state of weakness or instability.

1:1500

Traffic & Vehicles The architects and construction team carried out thorough research prior to construction to ensure that the process would run smoothly, including consideration of the surrounding traffic. During the construction process, there was little disruption to traffic on the surrounding site and the large equipment used in the construction process worked safely within the site, in compliance with CDM 2015 Regulations 27(1) and 28(3). The Construction (Design and Management) Regulations 2015 - 27. Traffic routes (1) A construction site must be organised in such a way that, so far as is reasonably practicable, pedestrians and vehicles can move without risks to health or safety. The Construction (Design and Management) Regulations 2015 - 28. Vehicles (3) A vehicle being used for the purposes of construction work must, when being driven, operated or towed, be(a)driven, operated or towed in such a manner as is safe in the circumstances; and (b)loaded in such a way that it can be driven, operated or towed safely. Zeyu Liu, Qianru Li & Cecilia Sun MArch 2

Section B-B' 1:500 Zeyu Liu, Qianru Li & Cecilia Sun MArch 2

Management & Practice/ 2021

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

Dear Client:

Appendix

I hope this email finds you well in these unprecedented times. In terms of two requests that have been mentioned, I will respond them one by one with following explanations.

[ Standard Building Contract With Quantities for use in Scotland ] Definition of Variations 5.1 The term ‘Variation’ means: the alteration or modification of the design, quality or quantity of the Works including: 1. the addition, omission or substitution of any work; 2. the alteration of the kind or standard of any of the materials or goods to be used in the Works; 3. the removal from the site of any work executed or Site Materials other than work, materials or goods which are not in accordance with this Contract.

1. Replace the timber paneling in one of the offices with the same tiles as fitted by the contractor in other spaces. I totally understand your demand of changing finishes to reduce cost, but we will still need to reconfirm that in the 'Contract Bill' stated on our written contract. In term of the work executed by the contractor in accordance with instruction and contract, the expenditure of provisional sum should be discussed and agreed by you and the contractor. And the valuation of varied amount of work and material should be negotiated and agreed by you and the contractor by means of confirmed acceptance of a variation quotation.

A response to the contractual situation

Work not forming part of the Contract 2.7 In regard to any work not forming part of this Contract which the Employer requires to be carried out by the Employer himself or by any Employer’s Person: 1. where the Contract Documents provide the information necessary to enable the Contractor to carry out and complete the Works or each relevant Section in accordance with this Contract, the Contractor shall permit the execution of such work. 2. where the Contract Documents do not provide the information referred to in clause 2.7.1, the Employer may with the Contractor’s consent arrange for the execution of that work

2. Omitting the wallpaper work for meeting space and change it with painted plasterwork by your own decorator. Value Engineering

The plasterwork is the work not forming part of the contract. Considering that the timber paneling and wallpaper were bought already, the change of material might cost extra money. In terms of replacing the decorator for paint work with your preferred one, this is not the work that formulate contract as well. I might call the contractor to negotiate with it and it might relate to the consent to sub-contracting as well. The contractor will complete the original designed portion based on the contract and the subcontracting part will be further discussed. But again, it will not affect the contractor’s obligations under any other provision by the contract.

The client has contacted you requesting two changes to the scope of works, changing finishes with a view to reducing costs. They have requested that timber paneling in one of the offices be replaced with the same tiles as fitted by the contractor in other spaces. They would also like the wallpaper to be omitted in the meeting spaces in favour of painted plasterwork. They would like their own decorator to undertake this paintwork. What action do you need to take to implement the changes requested by the client?

Valuation of Variations and provisional sum work 5.2 1.The value of: 1. all Variations required by Architect/Contract Administrator’s instructions or subsequently sanctioned by him in writing; 2. all work which under these Conditions is to be treated as a Variation; 3. all work executed by the Contractor in accordance with Architect/Contract Administrator’s instructions as to the expenditure of Provisional Sums included in the Contract Bills or in the Employer’s Requirements; and 4. all work executed by the Contractor for which an Approximate Quantity has been included in the Contract Bills or in the Employer’s Requirements shall be such amount as is agreed by the Employer and the Contractor (whether by Confirmed Acceptance of a Variation Quotation or otherwise) or, where not agreed, the amount valued by the Quantity Surveyor (a ‘Valuation’).

Best regards, Group 6 Partnership 23

Management & Practice/ 2021

The format of this response should be relevant to the situation discussed. For example, an entry might take the form of a file note recording the decision-making process, a letter to a client or member of the design team outlining an appropriate course of action, or an email to a supervisor in the practice setting out your response to the situation. In whatever form, this document should record and summarise the circumstances guiding your decision, the events and dates that impact this decision, and the contractual clauses relevant to this decision.

Contract Sum and Adjustments Adjustment only under the Conditions 4.2 The Contract Sum shall not be adjusted or altered in any way other than in accordance with the express provisions of these Conditions and, subject to clause 2.14, any error in the computation of the Contract Sum is accepted by the Parties

Please feel free to contact me should you have any queries with regrads to the points above. And the detailed regulaation explanation is attached on the Appendix. I look forward to your reply as we're alway wish to come to an agreement and achieve a satisfying outcome of the project.

02: Course Report

AMPL MArch 2 / Semester 1

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/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

"Reality Test Grenfell"

Non-Gendered Tools for Spatial Production

Whilst the tragedy of Grenfell Tower Fire principally attributed to the combustible materials contained on its refurbishment cladding, it actually exposed many loopholes in the UK's building safety supervision mechanism, behind which there are many defects and hidden dangers such as building fire-control design, supervision and review, safety management.

Nowadays, a series of activities that undeniably highlighted 'gender inequality' is still knocking at the door in the creative and built-environment industry. Fast-forward ten years and architecture are more aware of the Non-Gendered Tools fordesigners Spatial Production need for gender equity in the architectural profession. More and more attention has drown to understand how Nowadays, a series of activities that undeniably highlighted the gender of a shapes the knocking bodies, identities and gender 'gender inequality' is still at the door in the of institutions that pass throughindustry. it. Conversely, architects creative and built-environment Fast-forward ten and designers have a lot designers to learn about how architecture is years and architecture are more aware of the constructed and challenges in order to bring positive need for gender equity ingender the architectural profession. discrimination orattention generalized sensibilities to More and more hasdifferences drown to of understand how practice. the gender of a shapes the bodies, identities and gender of institutions that pass through it. Conversely, architects For designers architecture, is tohow subvert gender and have athe lot challenge to learn about architecture is stereotypes of material the to behaviors that constructed and challengesspaces genderand in order bring positive take place within them. It calls on peopleoftosensibilities abandon the discrimination or generalized differences to "masculine" and "feminine" assumptions and understand practice. the impact of gender on our organisations, our decisions and architecture, our priorities. In sense, every of thegender design For thethis challenge is topart subvert process -- from to post-occupation evaluation stereotypes ofprocurement material spaces and the behaviors that -needs to within be reviewed questioned. Architects mustthe be take place them.and It calls on people to abandon gender-sensitive the lens ofassumptions gender provides approach "masculine" andas "feminine" and an understand to attentive and inventive design. themore impact of gender on our organisations, our decisions and our priorities. In this sense, every part of the design It should--be noted that the spatial creating tool, not simply process from procurement to post-occupation evaluation involves themselves, but to beArchitects viewed asmust part be of -- needs the to beplaces reviewed and questioned. architecture's historical, theoretical, sociological canon. gender-sensitive as the lens of genderand provides an approach They areattentive as muchand a part of the creating of architecture to more inventive design. as structures and places, and their subjective power and impact be properly defined, and It shouldshould be noted that the recorded, spatial creating tool,shared, not simply understood. As for architect, it isbut crucial raise awareness involves the places themselves, to betoviewed as part of of the impact of gendered tools on his creative processes architecture's historical, theoretical, and sociological canon. and as wellaaspart to embrace a desire to it. Theyoutputs, are as much of the creating of counteract architecture as structures and places, and their subjective power and impact should be properly recorded, defined, shared, and understood. As for architect, it is crucial to raise awareness of the impact of gendered tools on his creative processes Word Count: 262 and outputs, as well as to embrace a desire to counteract it.

It should be noted that Dame Judith Hackitt's 'Building a Safer Future Report' and Recommendations, which was issued in 2018 in the aftermath of the Grenfell Tower catastrophe, is an important attempt to imporve building and fire safety in high-rise residential structures.

Reflection on Lectures

A series of recommendations have been brought up: a new Joint Competent Authority made up of Local Authority Building Standards, fire and rescue authorities and the Health and Safety Executive to direct safety risk management; a mandatory incident reporting mechanism for dutyholders; a single regulatory route to manage building standards, provided through Local Authority Building Standards, with Approved Inspectors to develop local authority skills; a digital record for new higher-risk residential buildings covering design to construction phases and any changes during occupation, etc. All of them are indeed a call for an updating regulation framework. Along with those reflections aroused by the fire tragedy, there is a rising awareness of the shifting regulatory environment and quick changing agenda in the public and private sectors.

1. Lecture 1: Trial By Fire, Grenfell Tower and Fire-Safety Regulation in the UK. Liam Ross, ESALA.

However, until July of 2019, there still remained public and private sector residential buildings where work to remove and replace unsafe cladding had not begun. The Secretary of State for Housing, Communities and Local Government, James Brokenshire, declared that owners of social housing tower blocks with dangerous cladding who had not committed to rehabilitation by the end of 2019 would face enforcement action, however this deadline was missed.

2. Apps, Pete, Sophie Barnes and Luke Barratt. “The Paper Trail: the Failure of Building Regulations.” Shorthand Social. Available at: https://social.shorthand.com/ insidehousing/3CWytp9tQj/thepaper-trailthe-failure-of-buildingregulations. 3. Grenfell Tower fire and Hackitt Review of Building Regulations and Fire Safety, The health Foudation, June 2017

1. Lecture 11: Speaking of Architecural Practice: LOST VOICES, THE UNSPOKEN, LISTENING AND BEING HEARD, Suzanne Ewing. 2. Barton, Gem and Harriet Harriss. “Gendered, Non-Gendered,ReGendered Tools for Spatial Production.” Architecture and Culture, Volume 1. Speaking of Architecural 5, Lecture Issue 3:11: Styles of Queer Feminist Practice: VOICES, THE UNSPOKEN, PracticesLOST and Objects in Architecture, LISTENING HEARD, edited by AND KarinBEING Reisinger andSuzanne Meike Ewing. Shalk, (November, 2017): 475-486. 2. Barton, Gem and Harriet Harriss. “Gendered, Non-Gendered,ReGendered Tools for Spatial Production.” Architecture and Culture, Volume 5, Issue 3: Styles of Queer Feminist Practices and Objects in Architecture, edited by Karin Reisinger and Meike Shalk, (November, 2017): 475-486.

02: Course Report

One response to each of the four structuring themes of: Health and Life Safety (Lectures 1-4), Professional Practice (Lecture5-10), Ethics and Social Purpose (Lectures 1115), and Climate (Lectures 15-18). Within each theme you may choose the lecture which guides the reflection; this should be informed by your own interests and sense of the urgencies affecting contemporary architectural practice. These entries should not repeat the topic investigated through your essay, although the suggested essay topics may provide starting points for these reflections.

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Individual Group

Builidng as a system

Lean Thinking in Construction Industry

It's crucial to analyse the act of reusing within the building sector and its potential to minimise embodied carbon as both building industry and the government begin to take action in response to the Climate Emergency.

As McKinsey stated on the report, the productivity in the construction industry has basically flatlined for decades, which could affect the gaining of better margins to invest for further improvement. The process of construction production includes adding value activities and non-adding value activities. Value is defined as whether the building meets the needs of customers. Being inefficient to transform resources and information into buildings, non-value-adding activity takes up time, resources and space without producing buildings that satisify customer as well as increases construction costs without adding any value and resulting in losses.

Any reduction in embodied carbon is dependent on material consumption and the waste created not just during construction but also thereafter when maintenance and repair are necessary, espically for those buildings are planned to be retrofitted or demolished in future. Without creating new composite materials, materials in their individual components are able to be removed, recycled and reused. Rather of being demolished, the structure is envisioned as a future resource bank by its own. Architects have a significant impact on both operating CO2 emissions and emissions resulting from material specification decisions. While the policy situation may not exist at this time, we as part of the building industry may take unilateral moves. There are several design approaches have been mentioned in terms of reducing embodied carbon emissions in new buildings and in the process of renovating and refurbishing existing buildings as well. For instance, response to environmental conditions using locally sourced materials for the building; introduce exposed thermal mass for interior desigh to drive down operational energy requirements; utilize biomass boiler to generate renewable energy to reduce heating loads; design building components to be easily-disassembl, get high intensity resources-use products back into a supply chain meaningfully. All these aspects distilled into specification of material in building system.

1. Lecture 16: Responsible Specification, Craig Robertson, AHMM and Architects Declare. 2.The Carbon Footprint of Construction: The case for regulating embodied carbon in construction to significantly address the impact of the industry on the climate, ACAN

However, new regulations are necessary for those actions to be implemented most effectively. For evaluating specific impacts of materials and products used in new buildings and built assets, a construction industry standard known as a Whole Life-Cycle Carbon Assessment has arisen. Yet for the assessment to be better carried out from the voluntary phases, more effective leadership and support from government is needed.

02: Course Report

The notion of lean thinking is all around driving out waste from the creative design process. It involves doing more with less, providing customers with what they want, and meeting the customer’s needs as a specific price and at a specific time. According to the principles of lean thinking theory, construction production can be regarded as a process consisting of many sub-processes. Those processes take time, cost and value as basic elements. Resources (labor, materials and machinery) and information flow are the basic Evaluation criteria of applying lean thinking in construction. Lean Construction is about removing resources or information that impedes vaalue-adding activity. This means reorganizing work procedures so that some subprojects can proceed without waiting for other sub-projects to complete, or arranging for resources to be delivered directly to the construction site in the required order to reduce potential reprocessing and waste.

1. Lecture 10: Engaging Clients: Developing Value and Achieving Quality, Nigel Ostime. 2. Ostime, Nigel. “Lend them your ears” and “Walk a mile in their shoes.“ In Client and Architect: Developing the Essential Re l at i o n s h i p , 1 6 - 2 0 . L o n d o n : R I BA Journal, 2015. https://www.architecture. com/-/media/gathercontent/client-andarchitect- developing-the-essentialrelationship/additional-documents/

There are several strategies to apply in the construction management of architecture industry. For instance, the principle of ‘Just in Time’ is effective when applied in construction production, it could be of great beneficial to implement method of prefabrication or standardization of product.

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Individual Group

na, Yvonne Farrell and a. 2018. “Architecture, All Venice Biennale [Interview xhibition Directors Shelley vonne Farrell, of Grafton ropolis 37 (9): 128–31.

RIBA Royal Gold Medal: usively to Yvonne Farrell Means for the Practice to Win the Prestigious Medal.” 2019. Architects’ 14–16.

015. Video: Yvonne farrell education. The Architects'

2015. Video: Yvonne farrell education. The Architects'

Jonathan, and Marina ching/practice / Jonathan

as a crucial component for the continuity of tradition in architecture. Among those invited practitioners, many of them are active in teaching.The world of imagination merges and interlaces with the discussion of building and construction in this exhibition. Apart from being known as the new Pritzker winner, Grafton Architects have devoted a substantial amount of time and energy into architecture teaching for forty years. While being engaged in school teaching, they also run their own design office "in parallel". In these long periods of teaching and practicing, their identity has gradually transit from "architecture tutor" to "architect and architecture educator".2

Architectural Teaching is the "PARALLEL REALITY" Architect can be seen as translator who interpret people’s needs and desires into reality, and the school of architecture is the place that nurtures the next generations of architects, both theoretical and practical aspects, as Farrell Yvonne asserted.3 Architectural education is a way of distilling their experience and passing it on to future generations so that they can be cultivated in this culture. The profession of architecture should be expand to embrace all the other disciplines of environmental sustainability, of making, of crisis, changing people’s attitudes. What The school of architecture is doing is growing imagination, disciplined imagination.

The strong link between the teaching and practice of architecture could be regarded as a productive relationship. 2 Design studios in school offers the openness for discussion, and idea-exchanging sparks contingency ideas, which would contribute to an optimized design proposal. "Teaching is always a parallel reality," said Yvonne Farrell, “it’s a way of distilling our experience and gift it to other generations coming along so that they actually play a role in the growing 8. Colin Marrs, "Report: Universities not of that culture.”4 It's a bidirectional communication.

In 2013, The Royal Institute of Architects commissioned the Office for National Statistics to conduct a survey, which found that 80 percent of employers believe architectural education prioritizes theoretical knowledge over practical ability, and that more than half believe the curriculum does not reflect architecture in the modern world. Meanwhile, architecture students are concerned about being unprepared to dive into the reality of career with limited technical and professional skills.8 In this regard, these findings tend to imply a gap between academia and practice of architecture.

Since the 1958 RIBA Conference on Architecture Education, the tripartite structure framework for architect ’s development has been established and running intactly for over half decade. “Architecture education - a discussion of place and space, of cities and landscapes, a discipline that interacts with the world around us - was allowed to stall as a closed, inward-looking pursuit in the UK for more than 50 years.”(The guardian, Oliver Wainwright)11

10. Will Hunter, "Alternative Routes for Architecture," The Architectural Review, 28 SEPTEMBER 2012

Among their teaching content, they experiment diverse teaching and research orientations with their students. For instance, discovering relation between Design and Human Body perception, re-examining building paradigm of traditional design cases through the view of section study; evaluating historical building by deconstructing the rigid narrative, and Exploring potentials of architecture as artificial terrain and infrastructure.6

4 AMPL MArch 2 / Semester 1

Speaking of Architecture: Listening & Being Heard Abstract "If architecture is understood as a process and performance, more than product, how does this change our practices?" Given that the new winner of Pritzker Award- Grafton Architects have devoted to the architecture education for 40 years while managing their architecture office, the relationship between teaching and practice could be defined as productive one as they feed back on each other. However, in recent years, the inconsistency between the academia in school and practice of architecture in real life has been implied by mass media.

In June of 2021, ARB has been empowered legislatively by The Building Safety Act to inspect the training and development architects carry out throughout their careers.14 After been criticized by its stagnant and rigid mechanism, review and revision has been proposed to the ‘Partial qualification’ system. ARB (Architects Registration Board) has developed new framework for professional education, in which the significance of practice within the architectural education is emphasized while reflecting upon current breakage between the architecture profession and academia. A scheme for Continuing Professional Development (CPD) is being proposed to encourage architect to keep and improve their competence throughout their professional practices. 15

13. "The Architects Code: Standards of Professional However, further doubts raised by the mass media: Are Conduct and Practice," Architects Registration Board, Access February 6, 2022, https://arb.org. architecture schools housed within the state-controlled uk/wp-content/uploads/2016/05/Architectsuniversity system really the best place Code-2017.pdf to create the next generation of architects? Will their 1often-ossified 4 . " S c h e m e fo r C o nt i n u i n g Pro fe s s i o n a l Development structures allow enough flexibility to respond to the (CPD)," speedArchitects Registration Board, Access February 4, 2022, https://arb.org. uk/architect-information/maintaining-registration/ and scale of the changes in the outside world? Can the maintaining-competence/scheme-for-continuingsiloed nature of faculties offer collaborative experience professional-development-cpd/ and shared knowledge? And are established institutions15. Alan Kershaw, "Architects, Let's Talk about Professional Development (CPD)," with their fixed hierarchies and risk-averseContinuing bureaucracies filmed November 2021, Architect Registration really the right environment to inculcate the B o abuccaneering rd , v i d e o, htt ps : / / w w w.yo u t u b e . co m / watch?v=IrzqFSZ3Ers&t=36s commercial and creative opportunism that are the hallmark of emerging practices? 10

Teaching allows for meaningful exchange between students and architects by offering spaces and chances for conjecture and speculation, which is rarely happens in professional practise.5 It offers liberty to explore things that the architect 9. Stephen Hodder, "Common purpose," The RIBA Journal, January 1, 2014, https://www. is interested in, which is relevant to his practice but in a ribaj.com/intelligence/common-purpose level of freedom found only in a teaching context.

03: Critical Contemporary Practice(s) Essay

As the Architects Act 1997 (“the Act”) requires in its Section 13, the Architects Registration Board (“ARB”) should issue a Code laying down the standards of professional conduct and practice expected of persons registered as architects under the Act.12 In other word, architects should comply with the provision of the Code and conduct themselves by its standards. In the 2017 Code of Conduct, Architect is expected to maintain his professional competence and update his practice skill and professional knowledge constantly throughout his career. 13 In this regard, architects are responsible for educating themselves from time to time.

of-conduct-and-practice/

equipping architecture students for real world" Architects' Journal. February 2, 2015, https://www.architectsjournal. co . u k /a rc h i ve / re p o r t- u n i ve rs i t i e s not-equipping-architecture-studentsfor-real-world?blocktitle=Newsfeature&contentID=9529

It should be noted that Grafton Architects have paid

History and New Change of Framework since 1958s

In 2014, question over the institutional perspective has been brought forth by Stephen Hodder about the perceived gap. As he asserted in the RIBA Journal, ‘Partial qualification’ is perceived as failure, there is a lack of consensus on the balance of theory and practice, profession separated 11. is Oliver Wainwright, “ Towering folly: why architectural education in Britain is in need of from education, and there is a poor conversion of part 2 repair," May 30, 2013, https://www.theguardian. 9 com/artanddesign/architecture-design-blog/2013/ that, as graduates to registered architects. It is undeniable may/30/architectural-education-professionalfor current structure of architecture education courses in the UK, the architectural profession still plays a significant in 12."Architects role Code: Standards of Conduct and Practice," Architects Registration Board, Access developing practical and professional skillsFebruary needed in the 5, 2022,Access https://arb.org.uk/ architect-information/architects-code-standardsworkplace.

The working flows in office and school share some similar features, which stimulate various opinions over the same issue. In this regard, the overall design could be explored from multi-dimensional perspectives.

A meaningful dialogue between their teaching content and practice orientation could be spotted when they attempt to Management & Practice/ 2021 extract the experience from architectural practices and feed it back to school of architecure.

Gap between Architecture Profession and Academia

To reflect on it, this essay will also look across the history of framework for architects' development since1958 and its new changes introduced by ARB(Architects Registration Board). It emphasizes the significance of practice within the architectural education while reflected upon current breakage between the architecture profession and academia. In this regard, it might reveal more insightful views from the new scheme of Continuing Professional Development(CPD). It encourages architect to keep and improve their competence throughout their professional practices.

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Attempts to address the Gap In regard of Dame Judith Hackitt's 'Building a Safer Future Review', which was issued in 2018 in the aftermath of the Grenfell Tower catastrophe, great focus has put on improving building and fire safety regulatory environment. In this report, a series of recommendations indicating quick changing agenda in both public and private sectors have been brought up.16 As all of them are indeed a call for an updating regulation framework, it should be noted that the tendency of improved competence and regulatory oversight across the construction industry have been highlighted. To achieve that, the scheme for Continuing Professional Development sets expectations for architects to keep their professional competence by continued learning throughout their entire career. This scheme is aiming to stimulate a positive cycle of learning and developing for registered architect. To underpin the scheme for Continued Professional Development, several principles have been outlined. For instance, architects are encouraged to reflect, plan, act and evaluate on their learning activities in relation to their specific practice and development needs. In this way, the principle of “tailor-made” allows a flexible scheme to deliver a feasible outcome rather than a rigid regulatory framework. 17 Given that Grafton Architects teach architecture studio at University College Dublin while continuously devoted to their architectural practices, they asserted that it provides more opportunities to reflect on the relationship between modern architecture and education method. Teaching allows for meaningful exchange between students and architects by offering spaces and chances for conjecture and speculation, which is rarely happens in professional practice. It offers liberty to explore things that the architect is interested in, which is relevant to his practice but in a level of freedom found only in a teaching context. 18 As for the relationship of academia and practice, it seems that they have set up ‘Inbetween space’ to achieve the symbiosis of profession and education. Just as Stephen Hodder states, being aware of the synergistic relation between the profession and academia could drive the development of both. 19

or Continuing Professional PD)," Architects Registration ebruary 4, 2022, https://arb. t-information/maintainingmaintaining-competence/ o n t i n u i n g - p ro fe s s i o n a l d/

tects Code: Standards of duct and Practice," Architects rd, pp.1-7, Access February //arb.org.uk/wp-content/ 5/Architects-Code-2017.pdf

"Report: Universities not itecture students for real cts' Journal. February 2, /w w w.architectsjournal. e/report-universities-architecture-studentsld?blocktitle=NewsID=9529

der, "Common purpose," The nuary 1, 2014, https://www. ence/common-purpose

By establishing a more disciplinary mechanism, new incentive and method could be properly introduced through this new framework. A significant revision has been proposed to the professional qualification in October 2021: Apart from the singular tripartite structure (Part1, 2, 3), alternatives like a minimum six-year framework-four years’ full time university study plus two practical training or a minimum five-year framework with no practical training are advised. 21

In November 2021, a new education and professional development framework- The Way Ahead- has been launched. This document puts advance notice on health and life safety, the climate emergency and the professional ethics, this document sets out a new approach to architectural education and continuing professional development. In other word, it signifies new changes through producing a consistent criterion for both pre and post registration education and professional development. (RIBA, 2021) Three key components are involved in this plan: a single career-long standard, education themes and values for RIBA Part1 and Part 2 study and mandatory competence. In this way, to stay relevant and serve the demands of clients and society effectively, a standard of education and practice that reflects current ethical difficulties, environmental concerns, and up-todate knowledge requirements should be established for architects. 20

N ew D o c u m e nt- T h e Way A h e a d - Has been launched to integrate the architecture education and profession.

21. Stephen Hodder, "Common purpose," The RIBA Journal, January 1, 2014, https://www. ribaj.com/intelligence/common-purpose 22. Oliver Wainwright, “Towering folly: why architectural education in Britain is in need of repair ," The Guardian, May 30, 2013, https://www.theguardian.com/artanddesign/ architecture-design-blog /2013/may/30/ architectural-education-professional-courses 23. Will Hunter, "Alternative Routes for Architecture," The Architectural Review, S E P T E M B E R 2 8 , 2 0 1 2 , h t t p s : / / w w w. architectural-review.com/today/alternativeroutes-for-architecture?tkn=1

AMPL MArch 2 / Semester 1

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Unlike what has been implied by the mass media review, architecture education is not all locked away behind the closed doors of fusty institutions, conversely, it’s extraordinarily diverse. In attempt to engage with the profession regionally, nationally, and internationally, the school of architecture forge ahead with ambition of preparing future architects for the full spectrum of working in practice, which has changed drastically from the days when architects were educated as the ‘master' builders.

Additionally, social campaign and experiment for ‘Alternative Routes for Architecture’ could be seen as attempt to explore a reciprocal relationship between practice and architecture student. “a reinvented form of apprenticeship could provide a vital reciprocal relationship that benefits both the ‘teacher’ and the ‘taught’, and ultimately this would strengthen the profession as a whole”, as Will Hunter comments.23 The avant-garde approach has grown so institutionalized in many institutions that it would be ironic to utilize such antiinstitutional ethos to shift focus of profession on what such schools would likely regard as a regressive concentration on practice. Those proto-practice instead provides potentials to experiment and motive ideas in terms of architecture and urban issues. In return, those practice would be of benefit not only in architecture teaching, but further into the profession.

20. "The Way Ahead," RIBA Architecture, November 3, 2021, https://www.architecture. com/knowledge-and-resources/resourceslanding-page/the-way-ahead

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As an increasing number of architects come back to school as part-time tutors, just like Yvonne Farrell and Shelley McNamara, they bring not only up-to-date technical and industrial expertise to young architecture students, but also catalysts to forge refreshing discussions in a public realm of contemporary architectural industry.25

However, due to the extended three-part system, which is still based on the initial model, will take at least seven years to complete. Apart from being 24. time-consuming, Sergison, Jonathan, and Marina Aldrovandi. Teaching/practice Jonathan this system will place substantial financial burden /on Sergison ; Editing: Marina Aldrovandi. Switzerland: Park Books, 2018. architecture students. A recent report by Zürich, Oliver Wainwright “Women altogether, in Architecture Awards recommended abolishing the three-part 25. system 2018.” 2017. Architectural Review, no. (October): 75–82. and suggested shorter courses, as well as1445 allowing students 22 to study alongside paid work.

Word Count: 2230

In addition to those attempts mentioned above, which restore and enhance synergistic relationship between practice and academia, the school of architecture also put efforts on that.

6 Management & Practice/ 2021

To keep in step with that, universities are forging ever stronger relationships with practices to help develop the professional attitudes and attributes that will position graduates to make the most of the opportunities that real design office experience can provide. 24

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[MArch 1] Studio H ISLAND TERRITORIES VII: Island Temporalities|Mont-Saint-Michel, France

Synopsis The final semester of island territories vii provides space to bring the architectural design thesis, Island Temporalities: Mont- Saint-Michel, to a point of finely crafted resolution through a process of critical curation. On the one hand, it is a period of remembering and rearticulating the process of research that has informed the evolution of the thesis proposals to date. On the other, it is an opportunity to explore the full extent of the architectural consequences of this work through a structured period of representation. These concerns are not separate rather, they are vitally interconnected and we will treat them as such. Studio H and Studio D provide an opportunity to make visible the unique architectural language of your individual practice as it has evolved over the past semester(s) of thinking and making.

MOVE 01: SHIPWRECKING Dismantling the Vessel

Moving out to the greater landscape – the full, extended grain of the island abbey and the estuary, the salt marsh and the polders - the constructed land of the Commune. Here, the environmental fragility of the seemingly resilient island is made evident in the global figure of a rising sea level and the local impasse of sedimentary build up in the bay caused by causeway access disruption of natural processes and the adjacent cultivation of reclaimed land, salt marsh and, indeed, the sea itself. Human and nonhuman agents operate in the greater landscape of the island and as such the island temporalities studio, in its closing iteration, is invited to respond with a proposition at once conceptually and architecturally loaded with individual thesis concerns and, aware of and engaged with the very real and immediate concerns of the abbey island.

MOVE 02: SCAPELAND Seeding Island

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

Seeding Islands is the conceptual framework for this semester, a process germinating from the kernels of your House of Estrangement. The landscape of the Bay of Mont Saint Michel - from the inner grain of the abbey to the tapestry of polder fields - will be the territory into which these seeds are cast. Like the occupant of the house, this extended terrain, and the environment it creates and registers, should have always been in your field of vision, in your thoughts. Inevitably, it will have influenced the sensibility of the design.

[LO2] The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks. [LO3] A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques)

Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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[MArch 2] Studio H ISLAND TERRITORIES VII: Island Temporalities |Mont-Saint-Michel, France

Sanatorium La Manche The Sanatorium La Manche is situated in the polder landscape south of the Bay of Mont-Saint-Michel and west of the Couesnon Canal. Aligned to the Abbey mount the Sanatorium is a mirror island offering retreat and therapeutic treatments for a range of pulmonary conditions. As an architectural island in an agricultural landscape, the Sanatorium seeks to engage with the greater ecology of the Bay and its fragile ecosystem by connections with water, the water of the adjacent designed wetland and the canal beyond. In this way, the architecture operates as an eddy between the Couesnon Canal and the sea, channelling water through its walls, beneath its bridges and below its stair towers, flooding its internal lake, discharging back into the Canal and the Bay beyond. The Sanatorium is a form of de-polderisation in miniature whereby land reclaimed for farming is offered back to the sea through designed rupture. The architecture treats the human body and the ecosystem. By introducing water from the wetland into the Sanatorium it establishes an intimate relationship between body and water through therapeutic treatments: steam rooms, resistance hydrotherapies, aerobic exercises and aromatherapies and a designed landscape of internal views across, adjacent to and above water. An enclosing wall houses residential and therapeutic programmes, a rainwater treatment system and a singular elevated view to Mont-Saint-Michel. Bridges and reading towers animate the internal landscape, connecting and activating programme whilst creating viewpoints both internal and external. A laboratory and flower garden, library and acoustic performance space complete the programme.

Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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[ 06 ] INHABITATION cross section c- c’

HOUSE OF ESTRANGEMENT Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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salt-marsh/ Mont-Saint-Michel/ salt-marsh

polder/ village/ salt-marsh polder/ village/ barrage/ village/ polder

Couesnon canal/ stationnement/ village/ polder

polder/ village/ Couesnon canal/ village/ polder Offered to the Plaza de Armas, a formal garden square in the foreground of the Palacio, the Palimpsest engages the fabric and contents of the museum building through a process of architectural smuggling whereby artefacts are removed from the Palacio one by one, transported across an elevated bridge, through a wall into the landscape.

polder/ village/ Anse de Moidrey/ Couesnon canal/ village/ polder

polder/ village/ Couesnon canal/ polder

Polder Fields

LANDSCAPE MAPPING Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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1. Le Mont-Saint-Michel Courseway 2. Hydraulic modifications in the bay 3. Couesnon Canal 4. Barrage 5. Anse de Moidrey

The result of all these interventions was increased natural and manmade growth of the “polders,” the salt marshes that invade the bay and provide valuable agricultural land, together with accelerated sedimentation around the Mount itself.

Polder Fields

LANDSCAPE MAPPING Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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De-silting work at Mont-Saint- Michel remains the return to a maritime landscape. The combined forces of the sea and the Couesnon, the sediments will be driven off Mont-Saint-Michel and its surroundings will remain out of reach of the herbus. The modelling demonstrated the importance of the river draining in two channels out into the bay, so a structure to split the flow downstream from the barrage opening will be constructed.

Salt-marsh Landscape

DE-POLDERIZATION PROJECT Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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The buildup of silt was gradually reducing the parts of the bay that filled up with water at high tide, if nothing was done, the island would find itself permanently connected to the mainland by 2040, the destruction of its vulnerable ecosystem is inevitable.

Dredging work of the Couesnon ,formerly silted up stream of the Couesnon again functions as a water reservoir; at low tide, the stored water helps to reel sediments out of the bay into the sea.

Polders

LANDSCAPE MAPPING Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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MOVE 02: SCAPELAND

/ Field Table The ‘field’ of this new island will not only include the particularities of geography, terrain and environment but also the cultures, histories, biographies and mythologies of the place. The island should engage and respond to the geological, hydrological, climatic, temporal and seasonal realities of the extraordinary shifting world in which the island abbey exists. It should draw from the deep and equally complex narrative of human occupancy within this littoral zone. Such occupancy ranges from the expansive constructed land and cultivation of the polders that are defined by the inner rise of chestnut forests and outer fringe of salt marsh to the constructed mount of the abbey itself and its huddled, defended realm of hostel, house, inn and garden. In this way, Vessel, which is extracted from the Chimera of Havana, could be seen like New intervene that acts as map and inventory, guide and offer lens to document the commune of Mont-Saint -Michel. It would situating itself in the abbey island as a speculative foothold.

field drawing

HEADING TO THE LANDSCAPE TAPESTRY Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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MOVE 02: SCAPELAND Defining the Island

/ Mirro Island The ‘field’ of this new island will not only include the particularities of geography, terrain and environment but also the cultures, histories, biographies and mythologies of the place. The island should engage and respond to the geological, hydrological, climatic, temporal and seasonal realities of the extraordinary shifting world in which the island abbey exists. It should draw from the deep and equally complex narrative of human occupancy within this littoral zone. Such occupancy ranges from the expansive constructed land and cultivation of the polders that are defined by the inner rise of chestnut forests and outer fringe of salt marsh to the constructed mount of the abbey itself and its huddled, defended realm of hostel, house, inn and garden. In this way, Vessel, which is extracted from the Chimera of Havana, could be seen like New intervene that acts as map and inventory, guide and offer lens to document the commune of Mont-Saint -Michel. It would situating itself in the abbey island as a speculative foothold.

Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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Aerial view

MIRROR ISLAND Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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Perspective Section

MIRROR ISLAND Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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Perspective Section

MIRROR ISLAND Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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Perspective Section

MIRROR ISLAND Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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view collage

MIRROR ISLAND Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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[ Therapy ] the treatment of disease or disorders by remedial, rehabilitating, curative process speech therapy; the curative power or quality; the act, hobby, task, program, etc., that relieves tension

[ Bridge ] a structure that spans and provides channel between inside and outside; a device that connects human body and water below; a container that offers

Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

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MOVE 02: SCAPELAND Situate the Gate

/ Therapy Bridge From the Mont-Saint-Michel to the Anse de Moidrey wetland, bridges take people closer to the water, to the landscape. As a collection of therapeutic programs that tightly relate to the water has set along the wetland, bridges are introduced to establish the intimate relations between human body and water, as well as to reclaim the power of nature, environment.

Retreat wall - Therapy bridge - Reading tower

SANATORIUM LA MANCHE Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

105

Aerial View

HYDROTHERAPY BRIDGE Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

106

perspective view from patient’s room

HYDROTHERAPY BRIDGE Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

107

2 7

4 6

4000 2000

8000

4000 2000

8000

4000 2000

Promenade for aerobic exercise while offers views overlooking the inside and the outside polder landscape

8000

1. herbal cultivation 2. cloakroom 3. water walkway for aerobic exercise 4. aromatherapies room 5. physio space 6. staff room 7. swimming pool

[ Perambulate along Landscape ]

[ Aerobic program, Aromatherapy room ]

Roof plan

First Floor Plan - Water level

Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

108

6 2 3

4000 2000

8000

4000 2000

1. 2. 3. 4. 5. 6. 7.

8000

promenade for aerobic exercise resistance hydrotherapies bridge warm-up space cloakroom aromatherapies room medical staff office way to steamroom

[ Resistance Hydrotherapy ] Second Floor Plan - Ground level

PLANS

THERAPEUTIC PROGRAMS Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

109

1 2

1. looping perambulate for aerobic exercise 2. physio room 3. resistance hydrotherapies bridge 4. walkway system for aerobic exercise 5. aromatherapy room 6. herbal cultivation

Perspective Explosion

THERAPEUTIC PROGRAMS Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

110

From steam room to the swimming pool

THERAPEUTIC PROGRAMS Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

111

5 6 7 4

1. 2. 3. 4. 5. 6. 7.

promenade for aerobic exercise clock room steam room aisle to swimming pool patient's data archive medical staff office waterfront platform Desgin Studio/ 2022

Perspective sction

AEROBIC PROGRAM THERAPY Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

112

1. 2. 3. 4. 5. 6. 7.

promenade for aerobic exercise clock room steam room swimming pool patient's data archive medical staff office waterfront platform Desgin Studio/ 2022

Perspective Explosion

AEROBIC PROGRAM THERAPY Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

113

A. copper handrail alaska cedar oil finish floor joist adjusting bolt stainless steel

Detail A

corten-steel cladding panel polythene sheet vapour barrier horizontal wood batten& multi-layer thermal insulation laminated wood board

B. ready-madealuminum sash for steel frame double-glazed panels oil paint finish

1. walkway: copper handrail alaska cedar oil finish floor joist adjusting bolt stainless steel

Detail B

2. steel truss cantilever corten-steel cladding panel copper sheeting polythene sheet vapour barrier horizontal wood batten& multi-layer thermal insulation timber panel shelves laminated wood board 3. perforated aluminum plate RHS steel column timber panel double-glazed panels corten-steel cladding panel

Section A-A’

AEROBIC PROGRAM THERAPY Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

114

Interior view - patient’s data archive

AEROBIC PROGRAM THERAPY Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

115

Way to the steam room, swimming pool

AEROBIC PROGRAM THERAPY Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

116

Interior view - patient’s data archive

AEROBIC PROGRAM THERAPY Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

117

interior view of the bridge

RESISTANCE HYDROTHERAPY Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

118

1. 2. 3. 4. 5. 6. 7. 8.

Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

promenade for aerobic exercise water channel steam room staff room resistance hydrotherapy walkway herbal cultivation storage viewing platform facing the wetland

Interior view - patient’s data archive

AEROBIC PROGRAM THERAPY / GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

119

1. 2. 3. 4. 5. 6. 7. 8.

promenade for aerobic exercise water channel staff room stopover chamber for vehicle transporting resistance hydrotherapy walkway herbal cultivation storage viewing platform facing the wetland

Perspective section

AROMATHERAPIES PROGRAM Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

120

SANATORIUM LA MANCHE Desgin Studio/ 2022

Design Studio H MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

121

[DER] 1/2

[MArch 2] DESIGN REPORT

Synopsis This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail the final studio project the completed during the MArch Programme. The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. The design report is also a reflective document allowing the students to reflect not only on their finished project but also a key aspect of their methodology and practice. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object. Eloquently introduces an architectural design project or design thesis undertaken during the MArch Programme. Appropriately structure and present a comprehensive design report as a fully referenced academic document which demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design and reflects upon aspects of personal architectural practice.

[LO1] The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report. [LO2] Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture's professional and economic context. [LO3] The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.

Desgin Report/ 2022

Design Report MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

122

[DER] 2/2

Desgin Report/ 2022

Design Report MArch 2 / Semester 2

/ GA

2.1 2.2 2.3 2.4 2.5 2.6 2.7

/ GC 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Individual Group

123