Raphael Selby Master of Architecture Portfolio by Raphael Selby

ACADEMIC PORTFOLIO

Raphael Tevel Selby 2015 2017 Master of Architecture MArch School of Architecture, Planning and Landscape Newcastle University

CO N T E N T S

Introduction

Critical Reflection References Project Overviews Themes & Strands

Heritage & Identity The City Existing Buildings & Appropriating Space Thesis Project Parque do Povo: Revisiting the Masterplan of Brasilia

Research - Heritage & Identity | The City Design Proposal - The City | Existing Buildings Linked Research Brazilian Brutalism

Research - Heritage & Identity | Existing Buildings Rematerializing Rotterdam Samba : Sombre

Design Proposal - Existing Buildings | The City Plan Rotterdam Port Expo 2030+

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Design Proposal - The City | Heritage & Identity Further Work

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Mapping ARB Criteria

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Row from top to bottom: Parque do Povo: Revisiting the Masterplan of Brasilia, Brazilian Brutalism, Samba : Sombre, Port Expo 2030+

C R I TI CAL R E F L E CT IO N

INTRODUCTION In curating my work undertaken for the MArch, the connections between the various projects can be seen by framing them in relation to the themes of: - - -

Heritage & Identity The City Existing Buildings & Appropriating Space

The focus of my work in Stage 6 has been on Brazilian Modernism – which began in 2nd Semester of Stage 5, in both initial work on Brazilian Brutalism in Linked Research, and the Rematerializing Rotterdam design project, through my analysis of a ghost building – the Brazilian Pavilion at the 1970 Osaka World Fair by Paulo Mendes da Rocha. My thesis project built on my research and understanding of Brazilian Architecture but changed direction away from Brutalism to Brasilia. 60 years on from Lucio Costa’s winning masterplan for Brazil’s new capital, my project critiqued the failures of the masterplan as well as Brazil’s evolving heritage and loss of identity, and proposed an urban park for the city, directly addressing the initial masterplan of Brasilia as an experimental preservation of the city. ARCHITECTURE AS PRESERVATION : PRESERVATION AS ARCHITECTURE The thesis studio interrogates the current architectural debate on the contemporary notion of heritage and preservation, and explores tools to work on the update, extension and reuse of existing buildings

from a contemporary approach to architecture. By approaching architectural works through their ‘value’ (cultural or political resonances) the distinction between architecture and (built) heritage, or more precisely between architecture and preservation, is blurred, as it understands that both architecture and preservation are means for the interpretation of our built environment. The book Preservation is Overtaking Us by Rem Koolhaas, and supplemented by Jorge OteroPailos, counters the preconceptions of ‘Preservation’ by explaining preservation as: ‘a progressive art form, an intellectual and design challenge of the very highest level.’ The ‘design challenge’ is to incubate new life within something which is seen to be fading or gone in ‘a forward-thinking celebration of life’. Therefore, preservation can be seen as a tool which continues the life of the building as opposed to restoring it to a previous moment or its original design. The question of preservation is not preserving everything but carefully selecting what has merit to be preserved. Preservation is best explained through the words of Evgenii Mikhailovskii: “the work of preservation did not involve changing architecture but changing the way architecture was perceived.” Preservation and architecture, therefore, can be conceptualised as an exercise of framing and reframing our built environment as they create meaningful and relevant understandings of it and contribute to envisage a better future. This is an understanding of both architecture and heritage as a process rather than Above: Preservation is Overtaking Us - book cover

as a revered object to be preserved, in which buildings – preserved or not – are always under a permanent transformation. It is the role of preservation, and therefore architecture to mediate between heritage and wider society. ARCHITECTURE : BUILDING From the concept that preservation changes the way we perceive architecture; the disconnection between ‘architecture’ and ‘building’ became of interest. Jorge Otero-Pailos explains that: “We usually assume that the architecture of a building begins with the design of the “original” architect. But when you look at a building over time, you see that architecture can emerge within the building at different moments.” Buildings which have stood for centuries may only have ‘architecture’ for a generation before natural or cultural changes destroy it; or inversely buildings lacking ‘architecture’ may have it installed through ‘creative agency’ or a change of use. EXPERIMENTAL PRESERVATION The words experimental and preservation have, until recently, been kept safely distant from each other. Experiment suggests the dangerous possibility of failure, something to avoid when working on valuable historical and cultural objects. To experiment on such objects is to risk altering the very qualities that make them valuable. However, contemporary practitioners defend the need to experiment as necessary for advancing the knowledge of objects, and indeed for protecting their future. The word preservation is no less problematic. It has come to be associated with a sort of deference to the past over the needs of the present that subjugates contemporary action, normalising and confining it via legal regulations and thwarting alternatives to the status quo.

Experimental preservationists question the longstanding identity of preservation with the governmental protection of cultural objects and the largely unquestioned narrative that preservation bureaucracies always act for the common good. Experimental Preservation does not attempt to speak for culture but rather to solicit a cultural response, by also looking at intangible heritage: not just the physical building but the people it has inspired and their system of social relations. HERITAGE & IDENTITY “Heritage is not history. People do not write, read or relate heritage. Heritage is, rather, curated and conserved, possessed and performed.” Cosgrove, D. ‘Heritage and History: A Venetian Geography Lesson’ (2003)

Through influential readings, in particular Heritage and History by Denis Cosgrove, I have understood heritage as fragments that are curated to form a whole, and therefore it is the job of the architect to connect built heritage to the socio-political and economic needs of the present and aims for the future. Through my research into Brazilian Architecture and Heritage, this understanding became particularly poignant as Modern Brazilian Architecture, in terms of heritage, was directly involved in the shaping theoretical perspectives on the history of preservation. This is shown by The Ministry of Education and Health, in Rio de Janeiro, by Lucio Costa being the first Modern building to be listed in 1938, only one year after preservation laws were introduced in Brazil. Rem Koolhaas explains the connection between preservation and modernity: “Preservation is intrinsically linked with modernity as the whole idea of modernisation raises the question of what must be kept from the past.” The concept of modernity is key to Brazil as it allows Brazilians to shape their own heritage from the imposed

Above: The Ministry of Education and Health, Lucio Costa, Rio de Janeiro, 1936-1943

(received order) of the colonial past towards a (produced order) of an architecture of their own. “The core of the modern concept: the aspiration to a wider level of critical questioning and freedom and the consequent longing for more effective and active participation in the improvement and development of the world: to move from a received order cosmovision to a to-be-produced order.” Zein, R.V. ‘Constructing Identity in Contemporary Architecture’ (2009)

THE CITY The work of Paulo Mendes da Rocha has been very influential throughout the MArch, both his architectural works and his discourse on the role of the architect. Public space is very important in his work and through his architecture, he is driven to facilitate a city for everybody. He is also aware that in creating architecture, the act of building something, regardless of size or scale, results in building the city, and causes spatial transformations. A student and collaborator of Mendes da Rocha, Milton Braga of MMBB explains that the construction of the egalitarian and socially just city was a major aspiration of the modernist project, however, it still remains the greatest contemporary urban challenge. EXISTING BUILDINGS & APPROPRIATING SPACE It was only by the 1970s when it became common for buildings to be adapted and re-activated for uses for which they were not originally designed. However, this re-appropriation is a substantial part of contemporary architectural practice, as it becomes more common for buildings to outlast their designed use. Adaptive re-use of existing buildings may even add richness and depth to the original architecture. Working with existing buildings relates to the discourse of the ‘as found’ and the ‘ordinary everyday life’ which is central to the work of the

Smithsons – where stripping back to the ordinary captured the true essence of materials. The appreciation of the everyday is shared by Paulo Mendes da Rocha in his critique of the unnecessary use of new and expensive technologies and materials, for the purpose of showing off. He believes that the best architectural techniques are not spectacular, but strive to best facilitate “our lives and our daily performance.” The appropriation of space as opposed to a building is found in the public realm and closely linked to ideas of the city. Often temporary or timebased activities can change the way people perceive and use space. CONCLUSION & SITUATING MYSELF WITHIN ARCHITECTURAL PRACTICE It is very difficult to define what the role of the architect is but what has become very apparent through my research and own design work is that architecture must be understood at various scales and ‘successful’ architecture is able to bring together and synthesise from the city-scale to the human scale. The architect is not only responsible for their building, but they must take upon themselves the responsibility of how their architecture impacts the city – in connecting with existing infrastructure and being accessible to local communities. The design work and research with historical buildings and preservation have encouraged me to view how creative adaptions to existing buildings in order to change how we perceive the architecture can be very successful in transforming how people use and appreciate space. My MArch studies have shaped my architectural interests on the influence of modern architecture in contemporary design; and the role of architecture in providing citizens with the right to the city. These are the interests I hope to continue pursuing while working in practice and realising them in built projects.

Above: Public space outside the Brazilian Museum of Sculpture (MuBE), Paulo Mendes da Rocha, Sao Paulo, 1986-1995

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R E F E R E N CE S

Literature The New Brutalism: Ethic or Aesthetic? - Reyner Banham The Modernist City - James Holston Preservation is Overtaking Us - Rem Koolhaas Heritage and History: A Venetian Geography Lesson - Denis Cosgrove Imagine a Metropolis - Patricia Van Ulzen Without Rhetoric - Alison and Peter Smithson docomomo Brasil Brutalist Connections docomomo 14th International Conference Imagine a Metropolis - Patricia Van Ulzen Architects & Practice Paulo Mendes da Rocha Vilanova Artigas Jorge Otero-Pailos Alison and Peter Smithson Metro Arquitetos SPBR Arquitetos MMBB Roberto Burle Marx

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BRAZILI AN BRUTALI SM

Studio: International Brutalisms Linked Research Tutor: Dr Stephen Parnell Stage 5 & 6 Feb 2016 - Jan 2017 Various Locations in Brazil The dissertation aims to discover the essence of Brazilian Brutalism through an analysis of essential characteristics of the buildings researched. The term Brutalism has been used to refer to a widespread selection of modern architecture from the 1950s to the 1980s. The study argues that Brutalism in Brazil, although similar in aesthetics to other Brutalisms around the world, is native to the country. Field work in Brazil, which included visiting the buildings and interviewing key academics and architects, was crucial in providing the data required for the analysis of the buildings and their architectural qualities. By observing, documenting, photographing and drawing the buildings first-hand an analysis of three ‘essential characteristics’, namely the ground plane, monumentality and natural light - argues for the essence of Brazilian Brutalism.

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SAMBA : SOMBRE Studio: Another Architecture Rematerializing Rotterdam 5.2 Tutor: Dr Stephen Parnell Stage 5 Feb 2016 - May 2016 Rotterdam, Netherlands The Centre for Brazilian Culture is driven from the understanding of Brutalism as a set of binaries, through the analysis of a Brutalist Ghost – The Brazilian Pavilion at the 1970 Osaka World Expo. The initial investigation into ‘Brazilian Brutalism’ and my understanding of the style being inherently Brazilian with regards to its socio-economic climate led me to research connections between Brazil and Holland, in order to ground my understanding of Brutalism within the site. During the 17th century half of Brazil was under Dutch rule with the governor promoting emigration through arts and science. This basis of a cultural exchange formed the beginnings of a program to inject the site with Brazilian culture, with the programme of Carnival as the celebratory manifestation of it.

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PORT EXPO 2030+ Studio: Metropolitan Imaginaries Plan Rotterdam 5.1 Tutor: James Craig Stage 5 Oct 2015 - Dec 2015 Rotterdam, Netherlands With the Port of Rotterdam’s dependence on unrenewable raw materials, this thesis aims to facilitate a testing ground to investigate a sustainable future for the Port of Rotterdam and therefore, the City of Rotterdam through proposing the future for the port as a multi-disciplinary hub for 3D printing.

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ESSENTIAL C HARAC TERISTIC S OF PAULI STA B RUTALI SM DOCOMOMO Sao Paulo 5th Seminar Conference Paper Oct 2017 Sao Paulo, Brazil This paper allowed me to ground my Thesis Project within the practicalities of a built project. As well as the report a wider lecture series provided me with a greater understanding of the context of the architect and the construction industry.

PROFESSI ONAL PRAC TI C E REPORT Architecture & Construction: Process & Management Report Stage 6 Apr 2017 Brasilia, Brazil This report allowed me to ground my Thesis Project within the practicalities of a built project. As well as the report a wider lecture series provided me with a greater understanding of the context of the architect and the construction industry.

MANORS TESTING GROUND Reprogram 24 Hour Competition Design Competition Team Member: Rebecca Wise Oct 2016 Newcastle, UK The rapid decline of the conventional car has left in its wake vacant concrete shells, mausoleums to the age of Carchitecture. Spaces of abandonment litter the city, plots of 2500 x 5000 mm, reminiscent of mechanical forms long gone. The age of disillusionment with the human scale has neglected the very essence of what makes a city: the people.

PL AC E I N PROGRESS NCL Charrette Design Installation Stage 6 Oct 2016 Whitley Bay, UK e project brief was delivered by artists from 22 Th SHEDS, for a week long design project to propose and create a public intervention/installation in Whitley Bay to spark discussions around the regeneration of the area. The intervention acts as a critique on the large-scale, expensive regeneration of Whitley Bay - drawing attention to people and to the human scale.

IN WHAT WAY IS THE FAVEL A A HETEROTOPIA? Tools for Thinking Essay Tutor: Dr Zeynep Kezer Stage 5 Jan 2016 Rio de Janeiro, Brazil This paper looks to discuss to what extent the favelas of Complex Cantagalo and Pavão-Pavãozinho, situated in Rio de Janeiro’s affluent Zona Sul (South Zone), are heterotopic.

AURAL DYNAMIC S NCL Charrette Design Installation Stage 5 Oct 2015 Newcastle, UK Led jointly by an architect and composer, the studio was an interdisciplinary investigation between space and sound - creating both a space and an aural tapestry that are interdependent and profoundly symbiotic. Our group was assigned timber as a material and saxophone as our instrument. We designed a structure that could be interacted with creating a ‘call & reply’ with the musician.

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H ER ITAG E & I D EN T IT Y

Parque do Povo: Revisiting the Masterplan of Brasilia (Thesis Project) My project stemmed from a mapping of Brazilian History against its evolving heritage and identity. In doing so I concluded that Brazilian Heritage had not been curated well with particular focus on a recent disparity between a push towards globalisation and international recognition and a disconnection between the ruling class and wider society, manifesting as country-wide protests. The case study of the EstĂĄdio Nacional ManĂŠ Garrincha, in Brasilia, was a symbol of this disparity and brought me into the discussion on the history of Brasilia. Brasilia can be seen as the defining move politically, architecturally and with relation to heritage from old traditions towards modernity and development.

Brazilian Brutalism (Linked Research) Heritage and Identity were key themes through my research into Brutalism in the context of Brazil. It became clear through original texts and interviews that although similar in aesthetic to other Brutalisms, Brazilian Brutalism was native to the country. This was mainly due to it proposing a new national architecture that was linked to a social and political manifesto â&#x20AC;&#x201C; led by Vilanova Artigas.

Port Expo 2030+ (Plan Rotterdam) The Plan Rotterdam Project read Rotterdam as a city which does not identify with its past and instead relies on its future to define itself. The Port of Rotterdam is intrinsically linked to the success of the city and due to the projected decline of industry, the design looked to future forecasts for the port that could create an identity for the city.

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T H E CIT Y Parque do Povo: Revisiting the Masterplan of Brasilia (Thesis Project) It is this tension between the proposed Brasilia and its reality today, which I explored in my thesis. Brasilia is a city of urban fragments, which has created isolated urban islands only accessible by the car. Although separating the functions of work, residence, recreation, and traffic produced organizational clarity in the city’s plan, it also reduced their use of urban space to a commuter shuttle between work and residence – without the outdoor public life of other Brazilian cities. My design references back to Lucio Costa’s masterplan which proposed a strip of orchards and horticulture for the city, but was never realised. Therefore, my proposal of an urban park for the city is an experimental preservation of Brasilia making it desirable and accessible to the pedestrian.

Samba : Sombre (Rematerializing Rotterdam) The soon to be abandoned Meelfabriek Latenstein, in Rotterdam-Zuid, envisages industry moving away from the city replaced by a cultural centre. The south of Rotterdam is home to various marginalised communities of diverse nationalities, therefore the new cultural centre, although based on Brazilian culture, provides a public space for the various communities to converge and share.

Port Expo 2030+ (Plan Rotterdam) The project began by analysing a key metropolitan fragment of Rotterdam (The Port), through visiting the city as well as a key reading of Imagine a Metropolis by Patricia Van Ulzen, and isolating it in order to highlight its characteristics. The 12 individual fragments were brought together, situated in the Maashaven basin, Rotterdam-Zuid, and with reference to future proposals for the site and inspiration from OMA’s Pare de La Villette proposal, we arrived at a self-contained island of Rotterdam’s metropolitan fragments, with each fragment being allocated a ‘strip’ on the site. The ‘strip’ is important to our masterplan as it maximises the boundary relationship; emphasising the similarities and differences between each fragment and its interpretation as a built form. It is this island masterplan of a hyper-dense metropolis which creates a dialogue with the existing city.

In What Way is the Favela a Heterotopia? (Tools for Thinking) The essay analysed the favela as a heterotopia and its relationship with the formal city, through looking at various characteristics which accumulate to create heterotopic space. Through the research of the relationship between the Favelas of Cantagalo and Pavão–Pavãozinho and the city of Rio de Janeiro, what became interesting was the complex relationship and inter-dependency between the formal and the informal.

Manors Testing Ground (Design Competition) The brief of the competition was to re-appropriate a car park within Newcastle. Cars were never necessary in cities, and in many respects, they worked against the fundamental purpose of cities: to bring many people together in a space where social, cultural and economic synergies could develop. Our proposal re-appropriated the building and the very car park space as typologies of human-scale activities.

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Samba : Sombre Tell-the-Tale Detail 1:10

E X IST IN G B UI LDIN G S & AP P R O P R IAT IN G SPACE Samba : Sombre (Rematerializing Rotterdam) The design studio questioned how to deal with an existing building with the brief of the project, to envisage industry moving out from the city and therefore re-appropriating the use of the host building, Meelfabriek Latenstein. The critical-historical methodology - to appreciate and interpret a ghost building encouraged an architectural language of binaries, in order to make a statement of the new against the old, with the colourful programme and new interventions to contrast against the rough, ‘as found’ aesthetic of the existing flour mill.

Parque do Povo: Revisiting the Masterplan of Brasilia (Thesis Project) The focus of the project is the appropriation of unused space and the derelict Parque da Cidade surrounding the Estádio Nacional Mané Garrincha, as an urban park for the city which also includes infrastructure for water purification. However, the project does also react to the stadium left derelict from the 2014 FIFA World Cup. By condensing the wider site programme of the park within the stadium, the building is re-appropriated using the imagery of abandoned stadia overgrown by vegetation, in order to make the structure permeable and accessible to be appropriated by Brasilienses.

Brazilian Brutalism (Linked Research) The subject of my research were the existing buildings themselves. Prof. Ruth Verde Zein, states in her book Brutalist Connections that: “In architecture, perhaps the most important documents are the buildings themselves – and they too, are patiently waiting for our reflections. They are mute but indefatigable, and no one will ever be able to exhaust their potential: at any time a fresh look will extract other perceptions and devise new ideas.” It became very clear that due to their age (50 or 60 years old), decisions have to be made with regards to their future in order to retain their architectural qualities, as opposed to thoughtless alterations which ‘decharacterise’ them.

Manors Testing Ground (Design Competition) The re-appropriation of a manors Car Park to a ‘civic car park’ as an example of potential interventions throughout the city. By respecting the structure of the building, as well as the geometry of the parking space, we explored architectural interventions within these parameters. This manifested itself in three ways: adaption of existing building elements, division of internal spaces, and addition of new features.

Place in Progress (NCL Charrette) The intervention at Whitley Bay is a repeated human-scale intervention which changes the landscapes, and allows the local users to change the way they use it too. The intervention also acts as a critique on the large-scale, expensive regeneration of Whitley Bay - drawing attention to people and the human scale.

PAR Q U E DO P OVO: R E V I S ITI N G TH E M AS T ER P L A N OF B R ASI L I A Studio: Building Upon Building Thesis Project Tutors: Dr Josep-Maria Garcia-Fuentes & Aldric Rodriguez Iborra Stage 6 Oct 2016 - Jun 2017 Brasilia, Brazil My thesis explores Brazilian Heritage through its history and evolving identity. By focusing on Brazil’s relatively recent push towards globalisation and international recognition I argue that the Brazilian population has been neglected and has become disconnected from the ruling class. With the site of the Estadio Nacional Mane Garrincha, in Brasilia, as a symbol of Brazil’s globalisation efforts and waste – due to it being the 2nd most expensive stadium in the world – and after just 15 hours of hosting football, it is no longer needed for regular matches, with its external space becoming a bus depot. 60 years after Lucio Costa’s winning masterplan, Brasilia is a city of urban fragments designed for the car, and therefore in order to appropriate the stadium the site needs to become accessible and desirable to the pedestrian. To the south of the Stadium, Roberto Burle Marx, designed Parque da Cidade, in 1978, however 10 years after the project he exclaimed that the park had nothing to do with his design and today, it’s in a state of dereliction. By highlighting the 3 failed projects of: the Stadium, the Park and the fragmented city itself, my proposal becomes an experimental preservation of Brasilia by building upon Lucio Costa’s original masterplan and improving what he calls ‘the bucolic scale’ - the connection between the city’s green space and its architecture.

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G R OUP RESEARC H & DEFINI TIONS

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T IM E L IN E OF BRAZILI AN HISTORY

Mapping Brazil’s History against its national identity, highlights its evolving heritage.

MODERNISATION AND CREATING ‘OWN’ ARCHITECTURE

IMPOSED & ‘FOREIGN’ IDENTITY

The question of preservation arose in Brazil at the start of the 20th century, led by the intellectual and artistic avant-garde who were concerned with the identification, conservation and restoration of monuments from the country’s colonial past – with the view of building upon it a Brazilian Cultural heritage focused towards modernization.

The first form of ‘National Identity’ arose in Brazil at the beginning of the 19th century where the European explorations constructed a fashionable romantic imagery of ‘tropical exuberance of natural resources’ which reinforced the earlier vision of an ‘untouchable paradise’ from the first explorations in the 16th century. However, this is an externally-born concept, conditioned by a European perception of Brazil, which was still accepted after Independence. The romantic and imprecise heritage is ‘foreign’ and not one which represents an ‘own’ identity.

With the founding of the Institute of Historic and Artistic Heritage, the architect Lucio Costa played a key role in defining the country’s identity by directly tying together the narrative plot and the version of national architecture built up until then – which can be seen by the first modern building to be listed in 1946, the Ministry of Education and Health which he designed.

IMPACT OF MILITARY REGIME The military coup in 1964 divided the country and had a significant effect on Brazilian Identity. By the end of the regime in the late 80s. The country’s architecture and relationship to the oppressive regime resulted in buildings from the 50s and 60s suffering from poor maintenance and obsolescence; the city of Brasilia symbolised the authoritarian reputation; and accomplishments in the 70s were a symbol of state bureaucracy and waste. ACKNOWLEDGING INTANGIBLE HERITAGE At the end of the 20th Century there was an increased understanding of the country’s intangible heritage which included arts and customs from Brazil’s misrepresented and marginalised communities. The elites who had controlled heritage to enforce their own regimes began to acknowledge Brazil’s diverse cultures and their role in constructing an inclusive identity.

GLOBALISATION & INTERNATIONAL RECOGNITION With a growing economy and the BRIC thesis of Brazil being a top 4 world economy by 2050, the country pushed towards globalisation, culminating in successful bids to host the FIFA World Cup in 2014 and Olympic Games in 2016. CURRENT ECONOMIC & POLITICAL INSTABILITY The push towards globalisation and international recognition took attention away from national issues, creating dissatisfaction and disconnection between the ruling class and the wider population. Recent economic and political instability has culminated in country wide protests with millions of demonstrators. Brazil’s fragmented Heritage has not been curated in a sophisticated way and the cracks that are showing relate to the current alienation of the population and lack of a National identity.

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1. IMPOSED ‘FOREIGN’ NATIONAL IDENTITY “ The first images of a ‘national identity’ also originate then, at the beginning of the 19th century. The scientific expeditions that had then explored Brazil helped to construct a then fashionable romantic imagery of the tropical exuberance of our natural resources which, through the kind of ‘scientific’ approach popular at the time, reinforced the visions of an ‘untouchable paradise’ already created by European voyagers since the first explorations of the New Continent. ” "Praia de Botafogo" (1868), Nicolau Facchinetti

Ruth Verde Zein, Constructing Identity in Contemporary Architecture, p.44

2. MODERNISATION TOWARDS ‘OWN’ NATIONAL IDENTITY

Ministry of Education and Health, Lucio Costa, 1945, Rio de Janeiro ~ (first modern building to be listed 1946)

3. IMPACT OF MILITARY REGIME ON NATIONAL IDENTITY “ The mythological works of architecture from the 1950s and 1960s, due to lack of maintenance and obsolescence, became ruins of modernity. Brasilia, a city created during the democratic period but matured during the military regime, is confounded with the authoritarian reputation of the period. The accomplishments in 1970 became ruins of modernity due to their magnificence and monumentalism and were seen as the symbol of the state bureaucracy and waste. ” Hugo Segawa, Architecture of Brazil: 1900-1990, p.239

4. ACKNOWLEDGING INTANGIBLE CULTURE AS HERITAGE

Images from UNESCO’s list of Brazilian Intangible Cultural Heritage

5. PUSH TOWARDS GLOBALISATION & INTERNATIONAL RECOGNITION “ In fact, we are tired of being ‘regional’, ‘typical’, ‘tropical’: we want to be ‘universal’, ‘globalized’ again. Nevertheless, there is no contradiction between this and the desire to remain ‘Brazilian’ – meaning ‘Modern’. ” Ruth Verde Zein, Constructing Identity in Contemporary Architecture, p.41 Brazil announced as host of 2014 FIFA World Cup

6. ECONOMIC/POLITICAL INSTABILITY & LOSS OF IDENTITY “ ...it is usual for a dominant group to use its power to push its own heritage to the fore, minimizing or even denying the significance of subordinate groups as it crafts a national identity in its own image. The degree of disconnection between the upper and lower echelons of society is, however, not usually so accentuated as it is in Brazil. In this context, it is not surprising that ordinary people do not pay much attention to protecting cultural property that is perceived as foreign, and unrelated to themselves. ” Pedro Paulo A. Funari, Destruction and Conservation of Cultural Property, p.96

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E STADIO N ACIONAL MANE GARRINC HA: A SY M BOL OF BRAZI L’S GLOBALISATION E F F O RTS & WASTE The new stadium in Brasilia was the 2nd most expensive stadium in the world – and after just 15 hours of hosting football, it is no longer in needed for regular matches, with its external space becoming a bus depot. The loss of social interaction from its designed use could argue a loss of its architecture The collage uses the Estadio Nacional Mane Garrincha as a symbol of

Brazil’s globalisation efforts and by constructing informal settlements within it questions the country’s need to focus its efforts towards its ignored and marginalised society as opposed to increasing the social inequality within Brazil. Questions should be raised on the stadium’s future use - re-appropraition of the structure as an extension of the public space for the city and its citizens.

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L UCIO COSTAâ&#x20AC;&#x2122;S ORI GI NAL M ASTERPL AN Brasilia can be seen as the defining move politically, architecturally and with relation to heritage from old traditions towards modernity and development. With Lucio Costaâ&#x20AC;&#x2122;s winning masterplan as the facilitator of the vision of the Modern Brazil. The intervention references back

to the original masterplan, and in particular the green space to the west of the pilot plan wings. This space was originally proposed by Costa as a strip of orchards and horticulture, however as Brasilia was built this was never realised, with the stadium built in the centre of the uninhabited and unused site.

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T E N SIO N B ETW EEN THE P O P UL AT IO N & THE RULI NG C L ASS The Estádio Nacional Mané Garrincha sits at the centre of the monumental and residential axes. The positioning of the stadium creates a dialogue with the National Congress which represents the ruling class of Brazil.

Country wide protests have shown the dissatisfaction of the Brazilian people against the corrupt ‘elite’ and in my thesis I look to see how architecture can mediate between the citizen and Brazilian Heritage.

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BR ASIL IA S EC TORS MAPPING Through mapping Brasilia’s existing building typologies, the segregation of building uses is apparent, as well as the Stadium’s connection between them as a nodal point.

1. Commercial 2. Education 3. Health 4. Public 5. Religious 6. Residential

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BR ASILI A MAPPING The road network dominates the landscape with the city designed around mobility by car. The wide roads create urban islands that are difficult to reach as a pedestrian. The public transport system relies almost exclusively on buses, with a very small metro system.

However planned expansions of the metro and two new light metro lines propose to improve accessibility for the citizens of Brasilia. 1. Contours 2. Urban Fabric 3. Public Space 4. Road Network 5. Transport Network

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SCAL E S OF B RASILI A While defending the Masterplan of Brasilia in 1961, Lucio Costa argued that its qualities should be gauged while considering three different configurations: a monumental scale, a social scale, and a residential scale. The architecture and abundance of space creates a monumental scale which reinforces the status of Brasilia as the capital city and Brazil’s status globally. The residential scale proposed a new way of living, completely different from that of other Brazilian cities – through the innovative proposal of the Superquadra.

The social scale is situated at the intersection of the two axes - where the bank, hotel, business and service sectors converge to form the city’s central section. In 1974 Costa retrospectively added a forth scale – the bucolic scale. Permeating the other three scales, it is composed of large open and green spaces that provide Brasilia with a city/ park aspect of juxtaposition between the monumental buildings and expansive free space. It is the Bucolic scale that is of particular importance to my proposal, and how it can become inhabited.

MONUMENTAL SCALE

RESIDENTIAL SCALE

SOCIAL SCALE

BUCOLIC SCALE

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2 014 F IFA WORLD C UP I N TERNAT IO NAL R E COGNIT IO N AND BR A Z I L’S NEGLEC T ED P OPUL AT IO N “ Brazilians have not benefited from the tournament. There has been no legacy for them. The World Cup still makes them angry. There is regret that we even staged it. ” Eduardo Paes ~ Mayor of Rio de Janeiro

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ISO L ATED B RASI LIA A CI T Y O F URB AN FRAGMENT S

“ Brasilia was structured based on the circulation of vehicles (...) The pedestrian is almost always disregarded, and the possibility of social interaction becomes extremely reduced. ” ‘Brasilia - the occupation of space ‘ ~ Rômulo José da Costa Ribeiro

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PAR QU E DA C I DADE PA R K OF NEGLEC T

“ Parque da Cidade was so transformed that the landscaper (Roberto Burle Marx) went as far as to say that the park had nothing to do with his project. ” ‘Brasilia Esqueceu Burle Marx’ ~ Heloisa Daddario

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BR ASIL IA WATER SHORTAGE As well as the problems of social inequality and ‘the right to the city’, another key issue in Brasilia is the availability of water. Recent rationing has been implemented in order to save water as the city’s reservoirs are below 50% capacity. Brasilia’s rainfall,

although high, is uneven throughout the year, with extreme wet and dry seasons. Therefore, retention and storage of water from the wet season is important to improve the living conditions for the population of Brasilia.

Newcastle upon Tyne, UK

Precipitation

Rio de Janeiro, Brazil

Average Precipitation per Month Brasilia, Brazil

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GE O M E T RY PREC EDENTS Lucio Costa’s masterplan of Brasilia as well as the very notion of superimposing a city on Brazil’s central plateau, creates a juxtaposition between the natural and manmade, with Costa’s use of geometry highlighting this idea. The triangle is very important to the masterplan as Praça dos Três Poderes (Three Powers Plaza) sits at the end of the Monumental Axis. The name

is derived from the presence of the three governmental powers around the plaza: the Executive, represented by the Palácio do Planalto (presidential office); the Legislative represented by the Congresso Nacional (National Congress); and the Judiciary, represented by the Supremo Tribunal Federal (Supreme Federal Court). With the plaza designed as a place where the three powers would meet harmoniously.

TUPI-GUARANI PATTERNS Brazil’s acknowledgement of Intangible Heritage from its marginalised communities was a key step in creating a society where its Indigenous, African and European population are represented equally. The patterns of the Tupi-Guarani which are painted on the body to bring good luck, can be reinterpreted on the Landscape as means to denote spatial configurations and access routes in order to connect the urban fragments of Brasilia.

HÉLIO OITICICA The Work of Hélio Oiticica, best known for his participation in the Neo-Concrete Movement. His work sought to use phenomenology to create art that “expresses complex and human realities.” The focus on creating spatial relationships within the art pieces, including the example of ‘Metaesquema’ is interesting influence to adopt when dealing with the complex spatial relationships of a city such as Brasilia.

FRACTALS As well as creating a strong geometry, due to the variety of scales in the proposal from the city scale down to the human scale – fractal patterns could be used as a tool to create cohesion through the various scales.

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PAR K MASTERPL AN DE VELOPMENT Brasilia is a city of strong geometries which creates a dialogue between natural and artificial. The site masterplan looks to build upon this dichotomy with a strong geometric grid, broken up by existing buildings and natural characteristics of the site.

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PAR K MASTERPL AN The site for the landscape strategy proposes to reclaim the green space to the west of the Thoroughfare Axis. The site was originally proposed by Lucio Costa as: - Botanical Gardens, Zoological Gardens, Equestrian Society (which have been relocated to the outskirts). - Horticulture, Floriculture and orchard zones (which were never realised). - Sports Sector The proposed uses looked to utilise

open green space however due to an increase of population in the Federal District, the majority of the space was built upon, leaving vast areas of green space which are mostly unplanned and unsuccessful. The landscape strategy aims to connect the urban fragments, and in doing so create spaces which counter social segregation and reduce inequality of rights by mobilising the citizenry of Brasilia as pedestrians who are able to access their city by foot and by public transport.

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M ASTERPL AN WAT ER STRATEGY The water strategy looks to address the problems of availability of water in Brasilia. The strategy looks to maximise the collection of rainwater and surface runoff across the site.

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WAT E R PURI FICATION PROC ESS Through the network of streams, lakes, canals and constructed wetlands, the collected water is purified naturally through processes of phytoremediation, where the purified water is used within the park and stored in underground reservoirs to be used in the city during the dry season.

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P L AN TS FOR WATER P UR IF ICATION PROC ESS The following plants can be used in a process of phytoremediation, to purify the surface water runoff across the site. The plant types include: shrubs,

grasses, emergent grasses, emergent plants,submerged plants and floating plants, all native to the cerrado and the Federal District.

02.

Plant Typologies: Native plants to be used in the process of water purification

Arnica-brasiliera

Folha-moeda

Capim-prateado

Capim-andrequicé

Capim-flechinha

Paspalum

Cruz-de-malta

Mayaca

Orquídea

Hygrophila

Aguapé

Aguapé-da-flor-branca

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M ASTERPL AN V E G E TATI ON STRATEGY The vegetation within the park is focused on two concerns: the preservation of protected trees to the Federal District; and native plants that are involved in the water purification process.

Forested areas protect the eastern edge from the prevailing wind and areas of forested space and open grassland create moments of enclosure and release throughout the site.

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1 2 P R OT E CTED TREE SPEC I ES OF T H E F EDERAL DI STRIC T On the 17th June 1993, the Government of the Federal District passed Decree Law No. 14,783 - for the protection of 12 species of trees

which constitute the Ecological Heritage of the Federal District. The trees are to be used throughout the site in the various vegetation strategies.

01. Tree Typologies: Protected Trees of Brasiliaâ&#x20AC;&#x2122;s Ecological Heritage

Aroeira

Buriti

Cagaiteira

Copaíba

Embiriçu

Gomeira

Ipê

Pau-doce

Jacarandá

Pequi

Peroba

Sucupira-Branca

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M ASTERPL AN CIRC UL ATION The masterplan grid creates a circulation network across the park. The primary circulation connects the site from north to south in the form of a linear spine, consisting of paths, elevated walkways and habitable pavilions and structures. The secondary circulation consists of smaller footpaths, creating connections between the grid and primary circulation

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E DGE B OUNDARY STRATEGY The ‘edge’ is important in the appropriation of space in Brazil, one of the most famous are the kiosks of Copacabana beach, however these informal spaces are found at street corners throughout Brazilian cities as key spaces within the community encouraging social interaction. The site edge uses kiosks, boundary programmes and bike hubs to connect the park with the city and allow for

the edge to be appropriated in order to draw people into the park. The park responds to Brasilia’s rigid sectors by creating programmed space along the boundary edge which directly relates to the uses of the part of the city it is connected with. Therefore, the park becomes a space where the cities segregated sectors converge.

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COPACABANA ‘ QU IOSQ UES’ The kiosks of Copacabana in Rio de Janeiro are dispersed along the boundary edge of the city and the beach at intervals of 150m to 400m. Informal pop-ups to the newly purpose-built kiosks offer nodes of concentrated activity along the edge.

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PAR K MASTERPL AN CITY SCALE The masterplan builds upon the geometry of Costaâ&#x20AC;&#x2122;s original design through a geometric grid which creates points of permeability with the surrounding city as well as establishing boundary conditions, to draw attention to the juxtaposition.

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PAR K MASTERPL AN L OCAL SCALE The relationship between the park and the existing city is central to the success of the project - as the park must be desirable and accessible for the citizens to use and appropriate.

The edge boundary strategy of kiosks and programmed pavilions bring the Brasilienses to the park where routes and further pavilions within the park continue to draw the citizen in towards the stadium.

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PAR K : CITY / C I TY:PARK The visuals show an example of a programmed threshold to the park - in the form of an arts market - as well as the relationship between the park and the city, and how Brasiliaâ&#x20AC;&#x2122;s skyline draws attention to the urban condition of the park.

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ABAN DONED STADI A & P OST -EVENT LEGAC Y Abandoned stadia, overgrown by vegetation often tell a story of bad forward planning when it comes to the legacy of mega-events. Fixated on the success or the image the city or country portrays of itself for a few weeks, the impact on the local population for years to come is often neglected.

In relation to the proposed masterplan the image of overgrown vegetation can be used positively, as nature appropriates the EstĂĄdio Nacional ManĂŠ Garrincha in order to make the structure permeable and accessible to be appropriated by Brasilienses.

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AP PROPRIATED STADIUM SEC TI ON

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AP PROPRIATED STADIUM DETAI LS 1:20 1. Walkway to Existing Stadium Structure Junction 2. Green Wall 3. Floating Swimming Pool Walkway

1. Steel truss handrail 2. Mesh infill 3. Existing concrete structure 4. 5. 6. 7. 8.

Perforated metal panel Secondary hollow steel sections Hollow steel section (truss) Steel plate Hollow steel column

1 2

3 4 5 6 7

Walkway Connection to Stadium Detail 1:20

0.5 m

1. 2. 3. 4.

Existing concrete structure Steel frame Mesh infill Vegetation

1. Treated timber decking 2. Treated timber frame 3. Water level 4. Floating dock system with foam filling Green Wall Detail 1:20 5. Treated timber decking 6. Steel cable

0.5 m

1 2 3 4 5

Floating Walkway and Swimming Pool Detail 1:20

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B R A Z IL IAN B R UTAL ISM Studio: International Brutalisms Linked Research Tutor: Dr Stephen Parnell Stage 5 & 6 Feb 2016 - Jan 2017 Various Locations in Brazil The dissertation aims to discover the essence of Brazilian Brutalism through an analysis of essential characteristics of the buildings researched. The term Brutalism has been used to refer to a widespread selection of modern architecture from the 1950s to the 1980s. The study argues that Brutalism in Brazil, although similar in aesthetics to other Brutalisms around the world, is native to the country. A recent ‘aestheticisation’ of Brutalism has seen the popularity of these buildings grow on social media. However, there is little knowledge outside Brazil regarding the context of these buildings, their purpose in the urban fabric and how they are inhabited and experienced. Field work in Brazil, which included visiting the buildings and interviewing key academics and architects, was crucial in providing the data required for the analysis of the buildings and their architectural qualities. The understanding of ethic as ‘essence’ - derived from the word “ethos” - rather than implying a notion of morality, is concerned with the intrinsic nature and essential quality of a material or space. It is such meaning, that determines the character of the building, resulting in more than just an aesthetic experience. By observing, documenting, photographing and drawing the buildings firsthand an analysis of three ‘essential characteristics’, namely the ground plane, monumentality and natural light - argues for the essence of Brazilian Brutalism.

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R E SE AR C H & FI ELDWORK The research work began with last year’s design studio and understanding the British context of Brutalism, through readings by Reyner Banham and Alison and Peter Smithson. This contributed to an understanding of the architectural characteristics of Brutalism through the discourse being translated into the practicalities of design. Research into the Brazilian context, via online resources and the archive of Brazilian journals and periodicals at the RIBA Library, was crucial to grasp an insight into the architectural climate of the time and how the buildings were critiqued and discussed during their epoch. The extensive research on journals such as Acrópole, Módulo and Projeto, as well as websites like www. sosbrutalism.org, archdaily.com.br, www.arquiteturabrutalista.com.br, and www.fuckyeahbrutalism.tumblr.com, were major sources from which to select buildings to be visited during fieldwork. The selection considered buildings from different regions of Brazil; from different architects; covering different time periods; and of different building typologies. The fieldwork in Brazil was carried out over a 10-week period and was focused on visits to the buildings - 28 in total. The research work also included meetings with academics and architects in different cities through structured

interviews as well as informal discussions. The academics and architects interviewed were chosen by reading papers they had published and works they had designed, who in turn introduced me to further colleagues. The analysis from visits was posted on my research blog, www. brazilianconcrete.wordpress.com, in order to question and draw together the observations made. The ‘Building Characteristic Cards’ were an exercise to analyse the key characteristics of each building visited, in order to later focus on three ‘essential characteristics’ of Brazilian Brutalism. The visits to the buildings, which constitute the bulk of the work, provided the observations and analytical tools to develop the research. The key methods of visits, interviews, reading of history books and architectural magazines, through being able to communicate and read Portuguese, has led to a more sensitive and deeper appreciation of the topic and the materials that simply looking at media representations cannot provide. The study is a visual exploration of the buildings and their spaces in relation to each other and their specific context; through photographing, drawing and mapping ideas. This has resulted in the way the study is presented and how the essential

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AN AL Y SIS & FI NAL SUB MISSION The study is a visual exploration of the buildings and their spaces in relation to each other and their specific context; through photographing, drawing and mapping ideas. This has resulted in the way the study is presented and how the essential characteristics have been discovered. In a similar approach to Banhamâ&#x20AC;&#x2122;s three characteristics of British Brutalism in 1955, I will structure my dissertation of Brazilian Brutalism in 2017 as three essential characteristics with each analysing a key essence: 1. Treatment of the Ground Plane; 2. Monumentality and Scale; 3. The Control of Light. The characteristics were chosen following the fieldwork observations and conversations with academics and architects, to determine not only what

characteristics are shared by the buildings but also the characteristics which differentiate the buildings from other Brutalisms. The essential characteristics form the core of the argument and are supplemented by the following documents, which add further context and analysis to the writing: - Map of the buildings visited and other key buildings; - Building characteristic cards; - Mind map of Brazilian Brutalism; - Timeline relating key buildings, with history, and the life spans of key architects. The conclusion draws together the essential characteristics and subsequent context and analysis to arrive at a meaning of Brutalism in the context of Brazil.

SAM B A : SO M BR E Studio: Another Architecture Rematerializing Rotterdam 5.2 Tutor: Dr Stephen Parnell Stage 5 Feb 2016 - May 2016 Rotterdam, Netherlands The Centre for Brazilian Culture is driven from the understanding of Brutalism as a set of binaries, through the analysis of a Brutalist Ghost â&#x20AC;&#x201C; The Brazilian Pavilion at the 1970 Osaka World Expo. The initial investigation into â&#x20AC;&#x2DC;Brazilian Brutalismâ&#x20AC;&#x2122; and my understanding of the style being inherently Brazilian with regards to its socio-economic climate led me to research connections between Brazil and Holland, in order to ground my understanding of Brutalism within the site. During the 17th century half of Brazil was under Dutch rule with the governor promoting emigration through arts and science. This basis of a cultural exchange formed the beginnings of a program to inject the site with Brazilian culture, with the programme of Carnival as the celebratory manifestation of it.

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G H O ST - BRAZILI AN PAVI LION The Brazilian Pavilion for the 1970 Osaka World Expo designed by Paulo Mendes da Rocha was chosen as my Brutalist Ghost due to it representing an entire country with a strong history of ‘Brutalist Architecture’. This building was conceived when what is now referred to as Brutalism was at its peak in Brazilian modern architecture. This style known as

‘Escola Paulista’ was seen as being inherently Brazilian due to its embodiment of the country’s socioeconomic climate. My analysis of Brutalism comes from my understanding of this building, and therefore ‘Brazilian Brutalism’ with a background understanding of the Smithsons’ ideas and Banham’s Commentary

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GH O ST ANALYTIQ UE The analytique focuses on the roof structure - thin concrete pyramids with skylights creating a repetitive grid which is supported at four points, however three are hidden in the landscaping with only one expressed as a double arch.

Through this building and further readings I began to understand Brutalism as a set of binaries. Binaries visible in this building are: Expressed : Concealed Light : Shadow Permanent : Temporary Skilled Engineer : Unskilled Workforce Organic : Synthetic

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H OST - M E E L FABRIEK L ATENSTEI N The host building is the Meelfabriek Latenstein in Rotterdam Zuid, sitting on the edge of the Rijnhaven Basin. The Meelfabriek is a flour mill built in 1952 by J.J.M. Verget, with a large

extension added in 1964. Although the mill is still functioning, with Rotterdamâ&#x20AC;&#x2122;s industry moving out from the city the brief is to re-appropriate the site when the industry has vacated.

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H O ST R E -APPROPRI ATION & S ITE PL AN During the 17th century half of Brazil was under Dutch rule with the governor promoting emigration through arts and science. This basis of a cultural exchange formed the beginnings of a program to inject the site with Brazilian culture, with the programme of Carnival as the celebratory manifestation of it. With Carnival as the key spectacle to the re-appropriation of the Meelfabriek, the economics of the site is controlled by the production on Brazilian coffee in the existing silos. Holland is Brazil’s 4th major importer of coffee and less than 400m from the site there is a building, Santos Warehouse, that was designed to store Brazilian coffee from the port of Santos. Coffee production is perfect for connecting the two countries and the programme to the site, as there are 10 stages in the production of coffee ( 5 in the country of origin and 5 in the country the coffee is exported to)

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1. PLANTING 2. HARVESTING 3. PROCESSING 4. DRYING 5. MILLING 6. EXPORTING 7. TASTING 8. ROASTING 9. BREWING 10. DRINKING

Processes 6 to 10 take place within the site, with the production line taking place within existing silos in the West of the long building. The Santos Warehouse is highlighted to the East of the site, due to its influence on the coffee programme, and its connection with Brazil. The location of the building is important in terms of being a cultural space, in an area of Rotterdam with a divided community. The programme is key as a civic space for the community to celebrate ‘Carnival’ in Rotterdam as well as appropriating the space for their own cultural celebrations.

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ST R UCT U RAL STRATEGY DI AGRAMS The relationship between the existing structure and the new ramps is symbolic of the design moves throughout the whole design in taking binaries within brutalism and adopting an approach of dualisms throughout new interventions. EXISTING BUILDING The existing brick in-fill panels on the south facade and the glazing on the north facade are to be removed to expose the concrete structure.

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CHANGES TO EXISTING Determined by the form of the ramps, existing beams and columns are removed from the frame to allow for the sinuous ramps to flow through the rigid existing frame. NEW RAMPS & EXISTING STRUCTURE The ramps and the existing frame come together by contrasting in form, rhythm and materiality.

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DIAGR AMMATI C SEC TI ON

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1 Green Coffee Storage

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10 Cafe - Espresso

9 Cafe - Syphon

8 Cafe - French Press & Carnival Viewing Platform

7 Cafe - V60 & Process

6 Coffee Bagging & Shop

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R AM P SEC TI ON & L IG H T ING STRATEGY The ramp is a double helix which winds up to the roof of the existing structure and back down onto the ground plane. The section demonstrates the varied use of the ramps between day/night and with/without carnival. The carnival is programmed to celebrate coffee being exported from Brazil until it arrives on site. The harvests are during April and September and will last for the last 2 weeks of each month (the time taken to transport the coffee) with two parades each day - during the day and at night. DAY - NO CARNIVAL The ramps are used as public space with promenade exhibitions and stalls. DAY - CARNIVAL The ramp is used by for the carnival parade while visitors can view from platforms in the existing structure, as well as viewing areas from the cafe spaces. NIGHT - NO CARNIVAL The spectacle of the carnival is interpreted into a lighting strategy, where the underneath and sides of the ramps are washed in red light and become the spectacle themselves.

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The spectacle of the Carnival parade is captured in the sinuous curves of the ramps and how they juxtapose and reinvigorate the existing concrete structure. Without the parade and without day light to make the ramps visible the artificial lighting is key to tell the story of the building while it is dark. Floodlights are notched into the existing structure to wash the underside and side of the ramps with red light. NIGHT - CARNIVAL The ramp is used by for the carnival parade, with a lighting strategy to illuminate the parade as it winds through the structure. Visitors can view from platforms in the existing structure, as well as viewing areas from the cafe spaces. While the carnival is parading at night the strategy for the lighting is secondary to that of the parade, and is there to enhance it and create a different atmosphere to during the day. LEDs are built into the corten clad, steel structure of the ramps and are on a sensor to illuminate the parade for the dancers as they approach as well as mapping the route for the viewers.

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R AM P T E L L -T HE-TALE DETAIL 1:10 The detail shows the connection between the existing concrete frame of the Meelfabriek and the new corten steel ramps. The detail emphasises the binaries of the intervention in the way old meets new and rectilinear meets curved by concealing the junction and drawing attention to the two contrasting forms. The ramps are pre-fabricated in a warehouse in 8250mm sections. They are connected on site with each section connecting to the existing structure as well as the one adjoining.

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Notch-out existing concrete frame 180x200x270mm

Floodlight with red filter

Recessed Corten Steel panel 10mm (flush with LEDs)

LEDs 70x70mm (at 600mm centres)

Corten panel to steel frame attachment

Corten panel 10mm (detachable for access to LEDs)

Rectangular hollow section 50x50x900mm (at 300mm centres)

Concrete wedge anchors 200mm (2x3)

Steel connection to connecting corten steel section

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Curved Steel C-Beam 300x90x825mm

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Corten base panel connection to corten cladding

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Steel I-Beam 300x140x3000mm (at 600mm centres)

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Corten base panel connection to Steel I-Beam

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COF F E E P R ODUC TI ON PROC ESS The coffee production processes make use of the existing silos creating a vertical production line.

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Dumping the green coffee beans

Grain Elevator (lifting the beans to the top of the silos)

Green coffee cleaner

Grain Elevator (lifting the beans to the top of the silos)

Coffee Roaster 196 °C (cinnamon roast)

Coffee Roaster 205 °C (light roast)

Coffee Roaster 210 °C (american roast)

Coffee Roaster 219 °C (city roast)

Coffee Roaster 225 °C (full city roast)

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Coffee Roaster 230 °C (vienna roast)

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Coffee Roaster 240 °C (french roast)

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Coffee Roaster 245 °C (italian roast)

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Grain Elevator (lifting the roasted beans to the top cafe space)

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Pipework (distributing roasted beans to cafés and shop)

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STAIR & T HRESHOLD DETAIL & IN T E GRATED SEC TION The threshold of the outside to inside is more than just a change in the thermal control of the space. The materiality of the existing which is expressed in the coffee production silos with its exposed services and bare concrete is contrasted to a space where the concrete is wrapped in insulation and white plasterboard focusing attention on the artwork within the gallery, with its services concealed

behind suspended ceilings and raised flooring. The section shows the transition from outside to inside as well as the relationship between the samba parade and the coffee programme. There are various moments of interaction between the two programmes both physical and visual.

Samba : Sombre Stair & Threshold Detail 1:10

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IN T E G RATED SEC TION The section shows the transition from outside to inside as well as the coming together of the samba parade and the coffee programme. The coffee production space in the existing silos is a self heated space through emitted heat from the production process and being a relatively uninhabited space. The insulated spaces are green coffee storage, gallery spaces and coffee shop and cafĂŠs. These spaces are treated environmentally to provide for the conditions of the coffee, the artwork and the building users. A key focus of the environmental strategy is the difference between the cafe and the gallery spaces, in particular the window treatment.

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COFFEE PROCESS - HEAT RECOVERY & CONVERSION A consequence of the production of coffee is heat as a waste product, particularly while roasting the beans. Through heat recovery the amount of wasted heat can be reduced and the energy recycled to heat other parts of the process or heat the ancillary gallery spaces. The heat emissions are captured and can be ducted directly to the burners to heat the roaster, and also to the heat exchangers where the waste air will warm the incoming fresh air for heating the gallery spaces.

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Cafe Spaces The cafe spaces have a strong visual connection to the samba parade as well as the surrounding city. This is incorporated into the environmental strategy which makes use of the large openings for natural lighting and ventilation. 1. Large openings with natural lighting - the openings are adjusted in depth to allow more sunlight on the North facade and provide degrees of shade on East and West

elevations. 2.The window openings allow for cool air from the prominent SW wind to cross-ventilate the 9.7m wide space. 3. The space is heated via underfloor heating - the radiant heat provides high levels of comfort at even temperatures throughout. 4. Hanging pendant lighting creates a feature in the space when artificial lighting is needed.

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G a ller y Spaces The gallery spaces require very controlled heating and lighting due to the medium of the artwork and the material and finishes to frames. This level of a controlled environment creates a completely different strategy to the cafe spaces which is seen as a binary between the two spaces. The exposed services of the cafe spaces are contrasted by concealing services in raised flooring and suspended ceilings. 1. The existing openings do not allow for sufficient natural light into the space and are therefore are used to break up the art with views out to the sky and horizon. 2 5

2. The artificial lighting strategy consists of spotlights hidden behind a suspended ceiling. The spotlights provide indirect lighting and wash the walls with and artwork with light. 3. The air conditioning is concealed in the suspended ceiling and controlled along with the heating to provide a constant temperature, suitable for the artwork. 4. Heating is provided through the floor via warm air vents along the perimeter. 5. The warm air is extracted mechanically and concealed in the ceiling.

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WIN DOW DETAIL

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The section and elevation show the window treatments for the contrasting cafe and gallery spaces.

The treatment of the windows influence contrasting lighting and ventilation strategies.

The cafe with large opening can be interacted with due to the window seat which becomes an inhabitable space. Contrasting to this the small opening of the gallery only offers views of the sky and the horizon, with the visual focus of the space being the artwork.

LIGHT STUDIES These studies look at controlling the amount of light into the cafe spaces through the form and depth of the opening depending on the desired light from the orientation of the facade.

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P O R T EX P O 2 030+ Studio: Metropolitan Imaginaries Plan Rotterdam 5.1 Tutor: James Craig Stage 5 Oct 2015 - Dec 2015 Rotterdam, Netherlands With the Port of Rotterdamâ&#x20AC;&#x2122;s dependence on unrenewable raw materials, this thesis aims to facilitate a testing ground to investigate a sustainable future for the Port of Rotterdam and therefore, the City of Rotterdam through proposing the future for the port as a multi-disciplinary hub for 3D printing.

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P OR T : CITY / C I TY:PORT & P OR T F UTURE PROSPEC TS The relationship between the port and the city is emphasised through ‘Imagine the Metropolis’ by Patricia Van Ulzen. The Port of Rotterdam has continued to expand West towards the North Sea. As the Port has expanded areas close to the city have lost their industrial function and have been redeveloped for non-port related activity, disconnecting the city from the port.

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in the world and European market for the future. By condensing a future prospect for the port in the Maashaven basin, this project aims to facilitate a testing ground to drive the Port and City of Rotterdam in a new direction.

Recently the Image of the port has been embraced by the city which is demonstrated through the city’s bid for the 2025 World Expo where 40% of the promotional video features the port/industry/water.

“Two extreme, idealised future prospects were drawn up for the future port: Rotterdam as a super efficient logistics hub and Rotterdam as a centre of sustainable industrial innovation and activity. Both prospects are extreme pictures are extreme pictures of a future that will never become reality. They show a point ‘behind’ the horizon; an aid in identifying what needs to be done to achieve the thriving port we want for the future.”

With the decline of industry forecast for the Port it must look to a transition in manufacturing to be able to maintain its position of importance

The artists’ impressions of these future ports show a multidisciplinary port with industry, business and education all interlinked.

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SY M P OSIUM - METROPOLITAN IM AG INARI ES MODEL The focus of the studio was selecting individual ‘metropolitan fragments’ of Rotterdam to investigate independently while working as a group to create an overall masterplan; a ‘condenser’ of Rotterdam’s key metropolitan fragments. The masterplan is situated in the Maashaven basin, Rotterdam Zuid, and with reference to future proposals for the site and inspira-

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tion from OMA’s Pare de La Villette proposal, we arrived at a self-contained island of Rotterdam’s metropolitan fragments, with each fragment being allocated a ‘strip’ on the site. The ‘strip’ is important to our masterplan as it maximises the boundary relationship; emphasising the similarities and differences between each fragment and its interpretation as a built form.

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G R OUP MANIFESTO & IN IT IAL ST RI P DEVELOPMENT The manifesto proposes a masterplan, a condenser of metropolitan fragments. It consists of thirteen principles, that act as stages in the design process. The initial development of my strip proposed a mixed-use port with industry, education, research, start-ups and business headquarters. This cross-disciplinary port is condensed onto the

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strip with Cargo Hubs at each end ‘dominating the landscape’ and maintaining the port’s use as a logistics hub for throughput. Mixed-use skyscrapers of industry and commerce create a skyline of the future port. An education hub at the core of the strip interlinks with all other disciplines giving the port a platform for becoming a ‘international showcase of innovation’.

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P R OCESS DI AGRAMS & ST RI P SITE PL AN The 3D printing process was mapped as a flowchart to establish all the process involved from the raw material used through to the final product. These processes were grouped into programmatic sectors for the strip that relate to a multidisciplinary future port. The sectors of Industry, Research and Expo all connect into start up hubs with businesses related to them. The flowchart is re-produced with relation to the site and programmatic processes are mapped throughout the site. The narrative of strip is articulated through a series of processes with particular attention to the connections between them.

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Interpreting the programmatic diagram into a site plan a disused petroleum refinery in Waalhaven has been re-used as a refinery and recycling facility for renewable 3D printing materials, in particular disused steel from the port. The supply chain infrastructure continues through the research facilities which continue through to the PortExpo where prototypes are printed and exhibited based on each application. This site acts as a base for the development of 3D printing as the future of the port. Over time the site grows and adapts to the latest needs and advancement in 3D printing technology.

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P R OCE S S ISOMETRI C S Four processes are highlighted in these isometrics: import, industry, research and the expo & connection with start-ups.

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1. Import 2. Recycle and Refine 3. Research and Education 4. Port Expo

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SITE SEC TI ON The section begins to demonstrate the evolution of the site with 3D printers dominating the strip and increasing space for new 3D printed applications and start up businesses.

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P O R T E XPO 2030+ SEC TION & START-UP VI SUALS The Expo building itself is the showcase of the entire strip. It is the output of the entire site process where knowledge is exported through visitors to it, as well as being fed back into the process itself. The year of the Expo ‘2030+’ is a critical analysis of Rotterdam’s obsession with its future, by setting these far-fetched deadlines to reach the city can trap itself in its prediction of the

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future without being able to adapt and modify to any changes throughout the process. The visuals demonstrate the site at a human scale. By focusing on the gantry serving the start-up hub, the entire site processes are visible. The scale and density of the site processes emphasise the autonomous nature of the site and the future port.

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M AST E R PL AN ELEVATI ON & S ITE PL AN

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F IN AL GROUP MODEL The final model brings together the group masterplan, highlighting the connections and unity as an island condition and how it distinguishes itself from the City of Rotterdam.

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* EXTRACTS FROM PROFESSIONAL PRACTICE REPORT *

ENVIRONMENTAL IMPACT STUDY Environmental Impact Assessment - UK In the UK, the Environmental Impact Assessment (EIA) is a formal process, governed by the Town and Country Planning (Environmental Impact Assessment) Regulations 201110, ensuring that the environmental implications of the design are taken into account before the design is finalised and the planning application is submitted. The process is a way of bringing together an assessment of the projectâ&#x20AC;&#x2122;s signifi cant environmental effects. Th is will aid in highlighting the effects and being able to reduce them through the design. This information will then be presented to the public and relevant authorities before planning decisions are made. Environmental Impact Study - Brazil As mentioned previously, the constitution amendment in 1988 (article 225 IV), resulted in most construction projects in Brazil having to submit an Estudo de Impacto Ambiental (EIA â&#x20AC;&#x201C; Environmental Impact Study). Similar to the process in the UK, the study must forecast and analyse the potential environmental impacts, define mitigating measures and activities of monitoring throughout the project and while in use. The process of licensing may include conducting a public hearing involving people affected by the project. Comparison of UK Legislation and Brazilian Legislation Both procedures are collaborative, involving the general public through consultations, as well as working with other consultants and local authorities in gathering all the required information. The procedures also look to use design as a tool to reduce the environmental impact of the projects, by incorporating the impact studies at early stages of the design process. The main difference between the procedures in the UK and in Brazil appears to be the Licensing. In the UK, there is just the one decision made on granting planning approval or not; whereas in Brazil, the three stages of Environmental Licensing, on top of regular planning approval, may result in more time spent on it in order to obtain each separate license. Value As design and construction quality is of the utmost importance to the client, by incorporating environmental impact analysis as early as possible in the design process, it can become a feature of the design, and an exemplar of ecological preservation in Brazil - adding environmental value to the project by incorporating the ecology of the site into the design. Th e public consultations bring the community into the design process, which can create social value - this is key, as they will become the building users and it is important that they feel as if they have been part of the process. Risk The various licenses required can have an impact on additional costs and time delays during the project. However, by starting the process early and incorporating the environmental impact into the design, time delays and additional costs are likely to be reduced further on in the project.

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P R O F ESSIO N AL P R AC T ICE R E P OR T Architecture & Construction: Process & Management Report Stage 6 Apr 2017 Brasilia, Brazil

UNESCO WORLD HERITAGE SITE Brasilia’s Listing as a UNESCO World Heritage Site Brasilia was inscribed in 1987, as a site of outstanding universal value meeting criteria i & iv of UNESCO’s 10 criteria: “to represent a masterpiece of human creative genius;” and “to be an outstanding example of a traditional human settlement, land-use, or sea-use which is representative of a culture (or cultures), or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change.” The heritage site boundary incorporates Lucio Costa’s Pilot Plan, with the authenticity of its primary attributes being of importance to preserve: “These attributes are best understood on the basis of the four scales identified by Lucio Costa at the time of Brasilia’s designation as a heritage site and preserved as the guiding benchmarks of the Pilot Project (Plano Piloto)’s original design.” It is important to understand the criteria for why Brasilia is a UNESCO World Heritage Site, in order for the original qualities of the site to be re-interpreted into the design. Brasilia’s Listing as a UNESCO World Heritage Site The PPCUB was established in order to meet the requirements of UNESCO – to establish a Patrimonial Preservation Plan for Brasilia and its surroundings, and of IPHAN – to regulate the elaboration of the PPSH (Historical Site Preservation Plan).18 The plan looks to differentiate between degrees of protection – as in the UNESCO inscription the entire site is given the same protection level. The plan will be beneficial in creating a hierarchy within sites of cultural heritage in Brasilia and can be beneficial in the project with regards to what areas to treat with more sensitivity. Value Due to the project being within Brasilia’s UNESCO World Heritage Site, it is intrinsically linked with the Cultural Heritage of the city, therefore giving the project a cultural value. Due to the project being permitted within the heritage site, it can be assumed that the project is of high architectural quality. Risk The increased complexity of building within a UNESCO World Heritage Site can result in added costs and time delays, and even worse – the possibility that the project will not be permitted to be built. However, advice from UNESCO as well as IPHAN throughout the course of the project will reduce the risk of the project not going ahead.

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M A N O RS T E ST IN G G RO UN D Reprogram 24 Hour Competition Design Competition Team Member: Rebecca Wise Oct 2016 Newcastle, UK THE YEAR 2025. The rapid decline of the conventional car has left in its wake vacant concrete shells, mausoleums to the age of Carchitecture. Spaces of abandonment litter the city, plots of 2500 x 5000 mm, reminiscent of mechanical forms long gone. The age of disillusionment with the human scale has neglected the very essence of what makes a city: the people. Manors Testing Ground examines the re-appropriation of ghosts left behind by the car obsession, researching and developing ways in which both the present, and the future, can occupy these spaces. Using the geometry of the parking space, new methods of inhabitation are explored through consideration of the human scale. We perceive the self-driven car as a temporary solution to the problems of mass transit, and therefore endeavour in a search for alternative transports within the context of the Experimental Lab. This intends to amalgamate the deep-rooted connection between the people, the city, and their movements, through an all-inclusive testing ground. As Newcastleâ&#x20AC;&#x2122;s first civic car park, we envision the re-appropriation of the building as an example of potential interventions throughout the city. We respect the structure of the building, as we do the geometry of the parking space, and therefore explore architectural interventions within these parameters. This manifests itself in three ways: adaption of existing building elements, division of internal spaces, and addition of new features.

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P L ACE IN P R OGR E SS NCL Charrette Design Installation Stage 6 Oct 2016 Whitley Bay, UK The project brief was delivered by artists from 22 SHEDS, in which I led a group of 6 Stage 1 and Stage 2 students for a week long design project to propose and create a public intervention/installation in Whitley Bay to spark discussions around the regeneration of the area. BRIEF Can quick, thoughtful, creative interventions (within a place set for change), lead to a more creative and engaging process for redesigning a public space? Can they lead, provoke or facilitate conversations? Can they mediate the relationship between authorities and locals, inspire ideas, experiment with potential, grow aspirations and create good will? SITE & MAPPING From visiting the site visit we noticed the fixed location of benches and seating areas which were not making the full use of the wide open grass space; the seafront promenade; and the beach itself. We mapped the existing seating locations as a starting point for our intervention. The materiality of the site was an important consideration in terms of choosing a material and colour for the intervention to stand out while still working with the site. We did a photographic study of pink parachute silk against the various materials found on the site. INTERVENTION The idea of creating seating that can be moved by the users to utilize the site in whichever way they wanted was taken forward into the design of the intervention. The final outcome is a repeated human-scale intervention which changes the landscapes, and allows the local users to change the way they use it too. The intervention also acts as a critique on the large-scale, expensive regeneration of Whitley Bay - drawing attention to people and the human scale.

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I N W HAT WAY IS T H E FAVE L A A H ET E R OTO P IA? Tools for Thinking Essay Tutor: Dr Zeynep Kezer Stage 5 Jan 2016 Rio de Janeiro, Brazil The aim of the paper was to highlight heterotopic characteristics and in doing so create layers which build up to form an image of the favelas Cantagalo and Pavão-Pavãozinho as a heterotopia. The thesis of the divided city stresses the binary differences between the informal favela and the formal city. However, the representation of a ‘divided’ Rio cannot be entirely justified due to the economic, cultural and physical interactions which removes the idea of a ‘boundary’ separating the city’s two ‘parts’. These interactions include the economic integration of the favela workforce in the ‘formal city’; the cultural richness of the favela as the origin of samba music and carnival; and physically, through state interventions since the 1940s, which manifested in a series of evictions and improvements. Throughout the history of Cantagalo and Pavão-Pavãozinho further depth has been added to viewing the space as a heterotopia, highlighted by the recent contradictions involved with its pacification. With these favelas being in an ‘organic’ state of constant change, the following years will certainly continue enriching the heterotopic characteristics and enhancing the contradictions in the space. Arguably the most contradictory heterotopic characteristic would be the challenge of improving the favelas to the point where the city is no longer divided, with the favelas as an integrated, formal part of the city, planned and controlled by the state. The favelas’ dynamic nature of adapting and changing to the favelados needs, through its self-built communities, is a significant architectural difference to the formal, planned and rigid city. The middle-class of the city, buy and rent fully constructed dwellings with the only changes being aesthetic within the predetermined structure. In contrast the favela residents live in a constant process of construction, determined by their income, availability of materials, and their ever-changing needs. These two methods of habitation create contrasting ‘conceptions of ‘city’’ which oppose each other with regards to the individual dwellers power over their formal or informal residence. The physical differences do not simply juxtapose the contrasting notions of ‘habitating’ space but also juxtapose the overarching societal differences of daily life. The accumulation of contradictory complexities of the physical, economic, cultural and socio-political heterotopic characteristics justifies the concept of heterotopia as appropriate in analysing the space of the favela.

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M AP PIN G AR B C R IT E R IA

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. .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; Both ‘Samba : Sombre’ and ‘Parque do Povo’ meet this criteria to different extents. In ‘Samba : Sombre’ the building design, exhibits complexity at a building scale, where ‘Parque do Povo’ looks at the wider city context. .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; ‘Samba : Sombre’ satisfies the technical requirements with regards to understanding the constructional and structural systems as well as the environmental strategies. The water strategy in ‘Parque do Povo’ also satisfies the environmental strategies across the masterplan. The regulatory requirements are satisfied in the Professional Practice Report. .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. Both ‘Samba : Sombre’ and ‘Parque do Povo’ meet this criteria, with the re-appropriation of both the Meelfabriek Latenstein and the Estádio Nacional Mané Garrincha. GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; ‘Brazilian Brutalism’ satisfies this criteria through the in-depth research of Brutalism in the context of Brazil by understanding how the buildings were designed in line with the cultural and social context of the country and the architects. .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; ‘Brazilian Brutalism’ satisfies this criteria through the research of how specific Brutalist buildings in Brazil have been constructed and their impact on the wider city scale. .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. The research and design for both ‘Samba : Sombre’ and ‘Parque do Povo’ satisfy this criteria. In ‘Samba : Sombre’ the design through binaries was derived from my reading of Brutalism and in particular my ghost building. ‘Parque do Povo’ critiques modernity and addresses the original masterplan of Brasilia through a masterplan proposal. GC3 Knowledge of the fine arts as an influence on the quality of architectural design. .1 how the theories, practices and technologies of the arts influence architectural design;

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In ‘Brazilian Brutalism’ my research brought me to the work of Lina Bo Bardi who was influenced by NeoConcrete Art in her material choices of SESC Pompeia. .2 the creative application of the fine arts and their relevance and impact on architecture; In ‘Parque do Povo’ the reference of Hélio Oiticica, and his focus on creating spatial relationships within his art pieces influenced me to adopt a geometric approach when dealing with the complex spatial relationships of a city such as Brasilia. .3 the creative application of such work to studio design projects, in terms of their conceptualisation and representation. This criteria was satisfied best in ‘Aural Dynamics’ where collaboration with a composer and saxophonist resulted in the design of a built intervention. GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. .1 theories of urban design and the planning of communities; This was satisfied in ‘Parque do Povo’ through the critique of the original masterplan of Brasilia. .2 the influence of the design and development of cities, past and present on the contemporary built environment; ‘Parque do Povo’ satisfied this criteria through an historical analysis and mapping of Brasilia and reinterpreting the masterplan for the contemporary city. .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. .1 the needs and aspirations of building users; This was covered in several projects but most fulfilled in ‘Samba : Sombre’ and how the re-appropriation of the building allowed people to use it as an extension of the public space. .2 the impact of buildings on the environment, and the precepts of sustainable design; This criteria was covered at a masterplan/city scale in ‘Parque do Povo’ and satisfied at a building scale in ‘Samba : Sombre’ .3 the way in which buildings fit into their local context. Working mainly with existing buildings, the re-use of the structures has looked to tie the buildings more into their local context, especially in ‘Parque do Povo’. My understanding of this criteria was also heightened through research for ‘Brazilian Brutalism’. GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; ‘Parque do Povo’ satisfied the criteria with regards to the impact of the design on the building users and wider society, with the Professional Practice Report satisfying the other criteria. .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; This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. .3 the potential impact of building projects on existing and proposed communities. The impact on the local population was a central concern of the design for ‘Parque do Povo’. GC7 Understanding of the methods of investigation and preparation of the brief for a design project. .1 the need to critically review precedents relevant to the function, organisation and technological strategy of

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design proposals; In ‘Samba : Sombre’ the analysis of the ghost building satisfied the criteria. .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; Throughout my projects they have dealt with different scales, from the building scale of the disused factory in ‘Samba : Sombre’ to the city scale of Brasilia in ‘Parque do Povo’. .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation. Both NCL Charrette projects ‘Aural Dynamics’ and ‘Place in Progress’ involved collaboration with artists and musician in creating architectural interventions. GC8 Understanding of the structural design, constructional and engineering problems associated with building design. .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; The research and detailing of the ramp structure in ‘Samba : Sombre’ satisfied the criteria. .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; The adaption of the existing building’s structure in ‘Samba : Sombre’ satisfied the criteria. .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. The material choices in the interventions made to the existing building in ‘Samba : Sombre’ satisfied the criteria. GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. .1 principles associated with designing optimum visual, thermal and acoustic environments; Designing different spaces within the existing building in ‘Samba : Sombre’ from gallery spaces to cafés resulted in designing for optimum visual, thermal and acoustic environments. .2 systems for environmental comfort realised within relevant precepts of sustainable design; Designing different spaces within the existing building in ‘Samba : Sombre’ from gallery spaces to cafés resulted in designing systems for environmental comfort. As well as the re-use of the heat from the coffeeprocess waste for other spaces. .3 strategies for building services, and ability to integrate these in a design project. The binaries of the ‘Samba : Sombre’ project were taken to the level of building services when it came to differentiating the gallery and cafe spaces due to their environmental needs. GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. .2 understand the cost control mechanisms which operate during the development of a project; This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in

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translating design concepts into buildings and integrating plans into overall planning. .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry. This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: .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; This criteria was satisfied through the projects dealing with the re-appropriation of existing buildings which is a current architectural issue, with regards to how we treat our built heritage. .2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; ‘Parque do Povo’ is a good example of a project which satisfied this criteria through a historically and theoretically research design project with written, and visual material explaining it. .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; ‘Samba : Sombre’ satisfied this criteria through the resolved technical material of the re-appropriation of the existing building. .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; ‘Brazilian Brutalism’ satisfied this criteria, through original first-hand research on the meaning of Brutalism in Brazil, culminating in my dissertation. .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; This criteria was satisfied in the Professional Practice Report by envisaging the thesis as a real, built project. .6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and This criteria is satisfied throughout the entirety of the MArch, however two key instances which stand out are: ‘Manors Car Park’ which was independent of a university tutor, working with a colleague towards a proposal for a design competition; and ‘Brazilian Brutalism’ where I undertook 3 months of independent research in Brazil. .7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect. Throughout the MArch, I have taken the responsibility to cover the ARB Criteria required in order to best prepare myself for qualification as an architect.

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