BOOK TWO | The Research: Design by Sadaf Pourzand

SADAF POURZAND

BOOK TWO THE RESEARCH: DESIGN

| DS3 | P30030 | P30033 | P30034 | 2014 - 2015 |

CREDITS

This thesis was conducted through curiosity, thorough research and a series of critical analysis at Oxford Brookes University. Under the advisement of: Ninnie Yeo, Design Studio 3 tutor Alana Madden, Design Studio 3 tutor A special thanks to my family and friends, especially my mother and Ravi Rana, for their patience and support, and for always challenging and inspiring me to do better.

THESIS QUESTION

RESEARCH

CRIME

DETROIT CITY

REHABILITATION

DETROIT RESEARCH BOOK ONE HISTORY & THEORIES

CASE STUDIES

DESIGN RESEARCH BOOK TWO

EXPERIMENTS

FINAL DESIGN PROPOSAL BOOK THREE | BOOK FOUR

DESIGN

To what extent can education infiltrate the current rehabilitation process for non-violent offenders through the creation of a new prison system? The United States houses 5% of worldâ&#x20AC;&#x2122;s population and 25% of worldâ&#x20AC;&#x2122;s prison population. Today, Detroit is one of the most dangerous cities in the United States. 50% of the population are unemployed and 47% functionally illiterate; there is a clear correlation between education and Crime in Detroit. Extensive research has shown investment within the education system in prisons can prevent recidivism by 62%. Academy Retroit is a new concept for prison education, working with both non-violent offenders and non-offenders to provide positive impacts both socially and financially. This program aims to be a transitional stage which enables offenders to integrate with society in a safe environment and gain vital life and career skills before re-entering the community. Academy Retroit is in partnership with several businesses in the city that will provide scholars with placements upon graduation. Through education and extra curricular activities the school aims to reduce the recidivism rate by 90%.

DETROIT

HISTORY USA CRIME

HIGH CRIME

DETROIT CRIME

ONE OF THE MOST DANGEROUS CITIES IN THE U.S.

THESIS QUESTION

POVERTY

RECIDIVISM REDUCED WHEN EDUCATED LACK OF EDUCATION REHABILITATION

ACADEMY RETROIT

https://vimeo.com/116265474

http://sadafpourzand.wix.com/ academyretroit

http://2015ds3.tumblr.com/sadaf

1 2 The History: Theorists

The Theories: Design

3 4 The Precedents: Typologies

The Bibliography

1 The History: Theorists

HISTORY OF PUNISHMENT

PUBLIC PUNISHMENT When capital punishment was at its peak in the 18th and early 19th centuries, crowds of up to 100,000 would come to watch. It was almost a form of entertainment as people would come to watch the guilty serve justice for the crimes they had committed. The Justice system ceremonially used public executions and torture as a form of power (Dada, 2014). The major aim was to better potential offenders - so the public witnessed the perpetratorâ&#x20AC;&#x2122;s fear and agony. This either took place in a town square or other public gathering location such as a school, or take the form of a procession through the streets. Colonial Forms of punishment include hanging, pillory, wearing a letter, whipped, beheading and being stoned (Cox, 2003).

PUBLIC PUNISHMENT

THEATRE OF PUNISHMENT A thousand “mini-theatres” of punishment would have been created wherein the convicts’ bodies would have been put on display in a more ubiquitous, controlled, and effective spectacle. Prisoners would have been forced to do work that reflected their crime, thus repaying society for their infractions. This would have allowed the public to see the convicts’ bodies enacting their punishment, and thus to reflect on the crime. But these experiments lasted less than twenty years (Foucault, 1975).

Michel Foucault argued this theory of “gentle” punishment represented the first step away from the excessive force of the sovereign.

BIRTH OF PRISONS

WALNUT STREET JAIL, 1790, PHILADELPHIA Mission: Rehabilitate prisoners, or restore them to crime-free lives Overview: -

Minor offenders worked in shops, making shoes, clothes, nails

Female offenders spun cotton, did laundry and mended clothes

Solitary offenders were kept in confinement and given the bible

In 1798, the prison opened a school that taught basic instruction in reading, writing and maths.

NEWGATE PRISON, 1790S, LONDON Overview: -

Had system of labour that allowed prisoners to work together

Offered rewards to encourage good behaviour

Many inmates in one room resulted in riots and mass escape.

One inmate per room resulted in reformation.

After the latest rebuild, the prison became the place of execution in London. Persons were hanged outside Newgate Prison in front of enormous crowds. These public hangings finally came to an end in 1868.

EASTERN STATE PENITENTIARY, 1829, PHILADELPHIA Overview: -

Inmates were housed in separate cells with small private exercise yards

Cells had water, plumbing, heating and room for equipment

Inmates were not allowed to leave their cells at all during their sentence.

â&#x20AC;&#x153;Over the head and face of every prisoner who comes into this melancholy house, a black hood is drawn; and in this dark shroud, an emblem of the curtain dropped between him and the living world, he is led to the cell from which he never again comes forth, until his whole term of imprisonment has expiredâ&#x20AC;?

PRISON PUNISHMENT

BASTOY PRISON, 1982, NORWAY Overview: -

The prison is organized as a small island community with about 80 buildings

Inmates have a right to further their education

Inmates must work Monday to Friday - from 8.30am

In 2014, the prison was awarded the 2014 Blanche Major Reconciliation Prize for “promoting human values and tolerance”. The aim of Bastoy is not to punish or seek revenge. The only punishment is to take away the prisoner’s right to be a free member of society

JUSTIZZENTRUM LEOBEN PRISON, 2004, AUSTRIA Overview: -

With 205 inmates, the prison is fully booked

Made mainly of glass, it includes a gym, a sports center, private rooms

Maximum period of incarceration is 18 months

Uniforms aren’t required, the guards and prisoners are friendly with each other

There are two inscriptions on the prison’s perimeter: “All human beings are born free and equal in dignity and rights,” and “All persons deprived of their liberty shall be treated with humanity and with respect for the inherent dignity of the human person.”

HALDEN PRISON, 2010, NORWAY Overview: -

Prison cells are 10 square metres and are en-suite with flat screen TV

Prisoners share kitchens and living rooms every 10–12 cells

Prisoners are allowed to privately receive their families twice per week

Halden seeks to prepare inmates for life on the outside with vocational programs

Uniforms aren’t required, the guards and prisoners are friendly with each other

“Every inmates in Norwegian prison are going back to the society,” Are Hoidel, Halden’s director said “Do you want people who are angry — or people who are rehabilitated?”

HALDEN PRISON WALL ART

REFORMERS OF PUNISHMENT: CESARE BECCARIA Beccaria was an Italian Philosopher and theorist. On Crimes and Punishments, he stated that it was better to prevent crimes than to punish them. Beccaria’s summary statement on crimes and punishments is that ‘In order that any punishment should not be an act of violence committed by one person or many against a private citizen, it is essential that it should be public, prompt, necessary, the minimum possible under the given circumstances, proportionate to the crimes, and established by law’ (Beccaria, 1986).

“A punishment, to be just, should have only that degree of severity which is sufficient to deter others.”

1738-1794

REFORMERS OF PUNISHMENT: JOHN HOWARD John Howard was a philanthropist and the first English prison reformer. In ‘The State of the Prisons in England and Wales’ Howard (1777) wrote prisons should encourage inmates to regret their crimes. He introduced the word “penitentiary”, which stemmed from the idea that prisons should be places where lawbreakers become penitent, or sorry for their mistakes. Howard’s works changed prisons in North America in several ways. Howard emphasized on individual cells, seperation of different clases of prisoners, sanitation and medical care, air circulation, exercise facilities and natural light (Bosworth, 2005).

“Prisons should help prisoners to be better people rather than just punish them.”

1726-1790

REFORMERS OF PUNISHMENT: DR BENJAMIN RUSH Dr Benjamin Rush believed that all public punishment tended to make men worse; crimes should be punished in private, or not punished at all. Rush believed that criminals should have minimum physical suffering and improved sanitary conditions. He also stated that a separate system should be developed for serious offenders (1787). Dr Benjamin Rush believed that death punishments lessen the horror of taking away human life, and thereby tends to multiply murders (Carl, 2003).

â&#x20AC;&#x153;The punishment of murder by death, is contrary to reason, and to the order and happiness of society.â&#x20AC;?

1746-1813

JEREMY BENTHAM The Panopticon is a type of institutional building designed by the English philosopher and social theorist Jeremy Bentham in the late 18th century. The concept of the design is to allow a single watchman to observe all inmates of an institution without the inmates being able to tell whether or not they are being watched. The design consists of a circular structure with an “inspection house” at its centre, from which the manager or staff of the institution are able to watch the inmates, who are stationed around the perimeter. Bentham conceived the basic plan as being equally applicable to hospitals, schools, sanatoriums, daycares, and asylums. context of product design, it is clear that many of the objectives of Foucault’s “technologies of punishment” can be achieved, and even surpassed, through architectures of control—surpassed in the sense that people can be prevented from committing the crimes in the first place (Lockton, 2006).

1748-1832

Bentham himself described the Panopticon as â&#x20AC;&#x153;A new mode of obtaining power of mind over mind, in a quantity hitherto without exampleâ&#x20AC;?.

MICHEL FOUCAULT Foucault was a French philosopher, social theorist, philologist and literary critic. His theories addressed the relationship between power and knowledge. He has taken Bentham’s panopiticon is an “ideal” of power in modern society. He argues that it is not just a model for institutions, but something whose principles are the principles of power in society at large. His description of the Panopticon is, therefore, a description of the “architectural figure” of “all the mechanisms of power which ... are disposed around the abnormal individual, to brand him and to alter him” (Warriar et al, 2002). Michel Foucault also argued that the greatest surveillors are individuals themselves. By understanding that there are eyes all around and some are greater ‘all seeing eyes’ individuals calivrate themselves to decent social behaviour and thus they become their own greatest surveillors (CDN, 2014).

1926-1984

REFORMERS OF EDUCATION: JOHN DEWEY Dewey was an American philosopher, psychologist, leading activist in the Georgist movement, and educational reformer whose ideas have been influential in education and social reform. John Dewey’s work in experiential education began in 1896 during his tenure with the University of Chicago where he founded the University Laboratory School that later became the “Dewey School.” The laboratory school became a venue for experiments in educational thinking. Dewey considered his school a community where the students became active members. He wanted it to be a place where education occurred based on principles of mental activity and on the processes of growth (Chambliss, P146; Moore, 2015).

1859-1952

REFORMERS OF EDUCATION: RUDOLPH STEINER Rudolf Steiner was an Austrian philosopher, social reformer, architect, artist and scientist. He founded the first Steiner school in Stuttgart, Germany in 1919. Steiner education is designed to be a health-giving education, nurturing and balancing the human faculties of thinking, feeling and will. The prime purpose of Steiner Education is to support and educate children such that their own innate and unique human qualities may come to greater fulfillment. This is the task of the educator in each Steiner school. Steiner education encompasses a deep knowledge approach, using balanced and integrated learning strategies. Strong emphasis is placed on teaching through the arts therefore painting, modelling, sculpture, speech, poetry, music, drama, movement, eurythmy and the artistic process itself, enlivens all subjects (Steiner Australia, 2015)

1865-1925

REFORMERS OF EDUCATION: MIKE GRENIER Mike Grenier is the founder of Slow Education Movement. The ‘Slow Education Movement’ has emerged in England as a reaction to the constraints of the English national curriculum introduced in 1988 (Barker, 2012). Proponents of ‘Slow Education’ (Grenier, 2013; Holt, 2012; Honoré, 2004) argue against the current narrowing of the purpose of education which is dominated by the neoliberal ideology which emphasises outcomes to deliver knowledge and skills to potential workers in order to satisfy the requirements of the economy. ‘Slow Education’ is grounded in adaptive, non-standards based approaches to teaching and learning, conducted in an environment which afford students greater autonomy, responsibility, and a high degree of personal accountability to become selfreflecting, critical and effective individuals, ‘happy, pleased and eventually ready to take their next steps in life’ (Huang, 2014).

1959

2 The Theories: Design

BUILDING FOR SUCCESS

PRISON VS. SCHOOL Both Prisons and schools function similarly â&#x20AC;&#x201C; in the sense that they both have an authoritative figure responsible for a group of people/students. The Corridor within prisons and schools share similar traits in that the cellular programs like the prison cell and classrooms are attached to it, providing an internal circulation. The difference lies in the actual articulation of the corridor and the agitation of the corridor walls. The school corridor tries to create more nooks for reading and social gathering whereas the prison corridor is more streamlined and taut. Showing the differences of both corridors in how they are articulated and its surface treatment. The prison has clear sight lines down all corridors, whereas the school tries to promote more of a meandering and wandering path, allowing discoveries along the way.

au-thor-i-ty Noun 1. The power or right to give orders, make decisions, and enforce obedience. 2. The power to influence or command thought, opinion, or behaviour 3. A person or organization having power or control in a particular, typically political or administrative, sphere.

Prison

School

AUGUSTUS PUGIN: PINWHEEL ARCHITECTURE The pinwheel plan served the practical and symbolic purpose of highlighting concepts of flexibility, movement, growth and extension represented in architectural and urban form—an array of concepts that can be traced back to similar claims in the work of Le Corbusier. As a possible “solution” to the problem of finding open form the pinwheel plan was seen to anticipate, in its geometric but loose order, the potential for a nuanced response to social need (individual and collective behavior) in the context of postwar reconstruction. Andrews clearly appropriates the plan’s form along with its conceptual meaning for his Stelco project—emphasising flexibility, growth and change as key aspects of the design. Function is as much a matter of environment as it is of distance and measurable convenience (Griffiths, 2013).

LOUIS SULLIVAN: FORM FOLLOWS FUNCTION It was an era were iconography and narrative so overshadowed functional concerns that buildings and objects were expensive, dark and inhuman (Weitz, 2013). The underlying idea behind this philosophy is “efficiency”. Efficiency in materials, space planning and ornamentation provides a way to minimize the cost of construction and increase the profit margin. The idea of efficiency suddenly became central to the high rise architecture because of modular construction that greatly supports repetition . It is the idea of striking a balance to optimize aesthetics, economics, experience and usability of any architecture (Jaiswal, 2013). One problem with “form follows function” is that it is tautological—it presupposes that every form in the natural world exists as it does because of functional requirements (Cloninger, 2009).

FRANK L. WRIGHT: FORM AND FUNCTION Sullivan’s famous axiom, “form follows function,” became the touchstone for many architects. Wright extended the teachings of his mentor by changing the phrase to “form and function are one.” This principle is thoroughly visible in the plan for the Guggenheim Museum. According to Wright’s design, visitors would enter the building, take an elevator to the top and enjoy a continuous art-viewing experience while descending along the spiral ramp. Wright’s design for the Guggenheim has sometimes been criticized for being inhospitable to the art it displays. However, over the past five decades Wright’s design has housed a wide variety of exhibitions, from traditional paintings to motorcycles to site-specific installations by contemporary artists (Guggenheim museum, 2010).

LE CORBUSIER: THE RADIANT CITY This is an unrealised urban masterplan by Le Corbusier, presented in 1924. This was designed to contain effective means of transportation, as well as an abundance of green space and sunlight. The aim of this proposal was not to create a better lifestyle but to contribute to creating a better society. Though radical, strict, symmetrical - Le Corbusierâ&#x20AC;&#x2122;s proposed principles had an extensive influence on modern urban planning and led to the development of new high density housing typologies. The radiant city sought order through separation, it promises light, air and open spaces. In the Radiant City vertical separation must be used such that not only would pedestrians not come into contact with high-speed vehicles.

DR MARAYCA LĂ&#x201C;PEZ For the last two decades, in the midst of a world-wide prison population growth, the value of correctional architecture as a catalyst for positive outcomes has pushed forwardthinking architects to reassess classical models, rethink prison designs and experiment with innovative spatial concepts embedded with theories from sociology, psychology, and even ecology. In order for a correctional building to function as a tool for rehabilitation, the design of a correctional facility should: Be based on the premise that people are capable of change and improvement, Make a â&#x20AC;&#x153;good neighbourâ&#x20AC;? to sorrounding buildings and facilities, be rightly-sized (no more than 1000 inmates), provide normative spaces, promote safety, security, ease of supervision, and circulation, provide a healthy, safe environment, provide a variety of spaces (Lopez, 2009) .

HOW TO BUILD FOR SUCCESS

RESTORATIVE JUSTICE Architect Deanna VanBuren carried out a restorative justice workshop, to focus on healing victims and offenders at San Franciscoâ&#x20AC;&#x2122;s County Jail. With the help of VanBuren , inmates designed the prison space that they would like. The goal was to empower those inside the instituations and prod architects to talk to people they design for. Inmates suggested that prisons should be made homely, so they feel more comfortable and treat eachother like family members and less like barbarians. Inmates proposed very fanciful models - individual cells with internet connections and even outdoor decks. As consensus builds that traditional criminal justice models are failing to prevent recidivism, VanBuren and her team have joined a small chorus of designers, researchers and even judges and wardens calling for new spaces to match the tenets of restorative justice (Romney, 2014).

“INSTEAD OF BEING BARBARIANS AND BEATING EACH OTHER UPSIDE THE HEAD, WE CAN BE LIKE A FAMILY.”

LEONARDO DA VINCI The Vitruvian Man is a drawing by Leonardo da Vinci around 1490. It is accompanied by notes based on the work of the architect Vitruvius. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise “De Architectura”. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Other artists had attempted to depict this concept, with less success. Leonardo’s drawing is traditionally named in honor of the architect.

“Renaissance architects seem to have always truly believed that “Man is the measure of all things.”

ROLE OF THE BODY IN ARCHITECTURE The discourse concerning whether it is the body that should inform architectural form, or whether the architectural form should act as an enabler of politics that in turn affect the human body, are each discourses in their own right with different lines of thought. In Michel Foucault’s Discipline and Punish: The Birth of the Prison (1975) there is, respectively, a treatise that presents a Modernist’s perspective of the anthropocentrism carried through Classicism from Antiquity,and another in which the author explores and analyses the way in which punitive systems have changed from public torture and execution to reformation, in which architecture plays an important role. Although Michel Foucault references architecture extensively, he implies that it is not necessarily more than an apparatus to enable certain politics and enforce certain behaviours encouraging what he describes as “docile bodies” (Cargocollective, 2013).

MICHIGAN STATE PRISON CELLS: INHUMANE

HELDEN PRISON CELLS: HUMANE

CRIME PREVENTATION Crime Prevention Through Environmental Design (CPTED) theories contend that law enforcement officers, architects, city planners, landscape and interior designers, and resident volunteers can create a climate of safety in a community right from the start (NCPC, 2012). CPTED strategies are often linked with other community-based crime prevention strategies, such as problem-oriented policing, which emphasizes tailoring crime prevention strategies to solve specific problems. As with other types of community-based crime prevention programs, CPTED is made up of multiple elements or approaches and can be used by various stakeholders within and outside of the criminal justice system (BJA, 2014). The theory is based on four principles: natural access control, natural surveillance, territoriality, and maintenance (NCPC, 2012).

Access Control

Activity Support

Defensible Space

Natural Surveillance

Territoriality

Moffat, 1983

Formal Surveillance

Target Hardening

NATURAL SURVEILLANCE Formal surveillance aims to produce a “deterrent threat to potential offenders” (Clarke, 1997, P20) through the deployment of personnel whose primary responsibility is security (e.g., security guards) or through the introduction of some form of technology, such as CCTV. Defensible space involves design changes to the built environment to maximize the natural surveillance of open spaces (e.g. streets, parks) provided by people going about their day-to-day activities. Examples of design changes include the construction of street barricades or clo- sures, re-design of walkways, and installation of windows. (O’Dell, 2010), Natural surveillance is generally achieved by the use of appropriate lighting, low or seethrough fencing or landscaping, the removal of areas that offer concealment (Fritz, 2009).

NATURAL TERRITORIAL REINFORCEMENT Physical design can create or extend a sphere influence. In this setting, users develop a sense of territorial control, while potential offenders perceive this control and are discouraged from their criminal intentions (RYEBREAD, 2013). Physical design can create or extend a sphere of influence. Users then develop a sense of territorial control, while potential offenders, perceiving this control, are discouraged. This strategy is promoted by features that define property lines and distinguish private spaces from public spaces (Kelowna, 2011). Security and/or reception areas should be positioned to observe all persons entering the building. Most importantly building entrances should be accentuated through architectural elements, lighting, landscaping and/or paving stones (Oâ&#x20AC;&#x2122;Dell, 2010). Ways of doing this include use of landscape plantings , pavement designs, gateway treatments, and fences which create boundaries (Kelowna, 2011).

ACTIVITY SUPPORT Activity support increases the use of a built environment for safe activities with the intent of increasing the risk of detection of criminal and undesirable activities. It encourages legitimate activities in public places to foster opportunities for natural surveillance and may include block parties, neighborhood clean-up days, or the design of mini malls to encourage more social interaction (BJA, 2014). Activity support encourages interaction by putting activities in public spaces that are intended for use by residents or customers and other legitimate users and, therefore, discourages criminal acts. sitting area offers Activity Support in this commercial area for both the parking lot and the businesses. Additional landscaping may be needed to utilize this area in the summer (Indy, 2009).

3 The Precedents: Typologies

ANALYSING PRECEDENTS

HALDEN PRISON This is a maximum security prison in Norway. It is the most humane jail in the world. The concept is based on the contrasts between hard and soft, precise and organic, punishment and rehabilitation. Norway focuses intensely on ensuring that `doing time` is done in a dignified way, and inmatesâ&#x20AC;&#x2122; sentence should be a dress rehearsal for living a life without crime once they have completed their sentence. The physical setting around the prison in Halden therefore underpins a focus on rehabilitation rather than punishment and supervision. Time and serving time Serving a sentence is a fixed-term detention. A former inmate describes his stay in prison as a spell in a diving bell, divorced from time and place. Time and thoughts about time have therefore been an important aspect in developing the prison in Halden, and our intention has been for the inmate to nurture a relationship with time and place.

HUMANITARIAN

LEOBEN PRISON Justice Center Leoben is a court and minimum security prison complex in Leoben in Styria, Austria, designed by architect Joseph Hohensinn, completed in November 2004. With 205 inmates, the prison is fully booked. Faรงades, layout of spaces, art concept - everything meets the highest Austrian standards. The prisoners also have three courtyards at their disposal, with concrete seating walls meandering through the space, so it would no longer be possible to circle around in a single file. A sleek structure made of glass, wood and concrete, stately but agile, sure in its rhythms and proportions: each part bears an obvious relationship to the whole. In the daytime, the corridors and rooms are flooded with sunshine. At night, the whole structure glows from within (New York Times, 2013).

HUMANITARIAN

OFIS STUDENT APARTMENTS This student housing building in Paris by Slovenian studio OFIS Arhitekti was designed to resembled a stack of wooden baskets. Located between a football pitch and a tram route, Basket Apartments comprises two ten-storey blocks and every ‘basket’ is a cluster of rooms that each have their own private balconies. Despite the irregular facade, each study bedroom is exactly the same size and has an identical layout. Open-air corridors run along the rear elevation of the building and are contained behind a tessellated mesh screen. The architects explain how they intended these galleries as an “open common space for students”. A bridge connects the two blocks at second floor level and oversails a small garden in the space between (ArchDaily).

HUMANITARIAN

CHRISTS COLLEGE SCHOOL DSDHA researched the suburban school model, predictably finding strung-out, disparate, low-rise buildings. Believing this to be the wrong answer, the practice pursued a civic idea of drawing the activities of the school together, centring the local community around the public activity of learning. Many benefits – communal, architectural, sustainable and economic – flow from this starting point. Approached along a typical suburban avenue, Christ’s College becomes the visual focus. Its clear form of civic plum brickwork eschews the domestic, setting up a positive interaction between the activities of learning and living. Varying window formats accentuate its proud mid-rise presence (DSDHA, 2010).

VISUAL CONNECTIVITY

MANCHESTER SCHOOL OF ART The design of the School of Art has provided an engaging and lively environment in which to work and study and helped re-assert both the art school and the university’s profile on the national stage. The working heart of the building comprises open studios, workshops and teaching spaces. A second element is a seven storey ‘Vertical Gallery’. This is the linking piece between the existing 1960s arts tower and the new studio building. This vertical gallery provides a showcase space for the output of the School and acts as a shop window to the school itself. The open studio space places a great focus on collaborative working in an atmosphere that is inherently creative. Students and MSA staff from a broad spectrum of contemporary design disciplines can work on projects in close communal proximity (ArchDaily).

VISUAL CONNECTIVITY

100

ASHMOLEAN MUSEUM The extension to Ashmolean Museum comprises six storeys, which hold display space, a new entrance, an education centre, conservation studios and a rooftop terrace. The project combines double- and single-height gallery spaces connected by a series of walkways and two main staircases. Two staircase lightwells are naturally lit, one by a large rooflight, the other with a 5.5 metre high window. Natural light is filtered vertically through the building to the lower ground level via inter-connecting, double-height galleries. A new grassed rooftop café terrace gives views over the ‘dreaming spires’ of Oxford. The building is organised by two major axes established by Cockerell, creating a clear route throughout the building (ArchDaily).

101

VISUAL CONNECTIVITY

102

BARBARA HEPWORTH Hepworth was an English artist and sculptor. Her work exemplifies Modernism and in particular modern sculpture. Fascinated from early childhood with natural forms and textures, Hepworth decided at age 15 to become a sculptor. She was “one of the few women artists to achieve international prominence”. The majority of Barbara Hepworth’s sculptures have holes and space through them to symbolise connection.

Hepworth’s Holes turned out to be spelt with a W as well as an H. She believed holes were not gaps, they were connections. Hepworth made the hole into a connection between different expressions of form, and she made space into its own form.

103

VISUAL CONNECTIVITY

104

INSTITUTE FOR THE CULINARY ARTS With more than 16,000 square feet of instructional and service space, this gives students and professors access to the most advanced kitchen equipment available. The two-story culinary arts building is a modern interpretation of the Fort Omaha Campus vernacular and a precursor to the redevelopment happening in the North Omaha community. In addition to using the red brick found in buildings throughout the campus, the exterior cladding includes glass and copper, materials often used in culinary arts. Pre-patinated copper panel encases the second level of the building, and copper panel was used for flashing, gutters and downspouts. Glass covers the remainder of the building, creating a transparent south faรงade that greets visitors with a welcoming glow (ArchDaily).

105

EDUCATION

106

MONIR SHAHROUDY FARMANFARMAIAN Shahroudy Farmanfarmaian is a contemporary Iranian artist who lives in Tehran and collector of traditional folk art. Her artistic practice weds the geometric patterns and cut-glass mosaic techniques of her Iranian heritage with the rhythms of modern Western geometric abstraction. To create her three-dimensional panels, Farmanfarmaian employs master craftsmen to draft her initial designs. Mirrors are then cut to fit the required shape, set in geometrical patterns, and mixed with stucco to produce new compositions that allow the artist to integrate colored glass. The resulting works are complex geometrical patterns that reference a range of influences in Islamic art, architecture, and science.

107

STACKING

108

HABITAT 67 Habitat 67 was constructed from 354 identical and completely prefabricated modules (referred to as “boxes”) stacked in various combinations and connected by steel cables. The apartments vary in shape and size, since they are formed by a group of one to four of the 600 square-foot “boxes” in different configurations. Each apartment is reached through a series of pedestrian streets and bridges, along with three vertical cores of elevators for the top floors. Service and parking facilities are separated from the tenant’s circulation routes, located on the ground floor. By stacking concrete “boxes” in variant geometrical configurations, Safdie was able to break the traditional form of orthogonal high rises, locating each box a step back from its immediate neighbor. This ingenious method provided each apartment with a roof garden (ArchDaily).

109

STACKING

110

SEATTLE PUBLIC LIBRARY The design started from practical considerations: What activities will the building be required to handle and how can similar functions be grouped together. After analysing the functions and space requirements, five broad strategies emerged: administration and staff, collections, information, public space and parking. The architects visualised the space as five stacked boxes and used that as a starting point for the buildingâ&#x20AC;&#x2122;s design. The boxes, or sections, were repositioned to allow better views and light. The result is a unique space that solved many of the libraryâ&#x20AC;&#x2122;s logistical problems. Koolhaas applied its interpretation of the feature set and architecture for the project that the building would be flexible for future expansions. Flexibility in contemporary libraries is conceived as the creation of generic floors on which almost any activity can be developed.

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STACKING

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Panoptical Model Prison

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Unlike the panoptical model of the prison, the Ashmolean Museum sought to house its visitors and installations together as a collective entity. Everyone could see the exhibits and everyone could see each other, such that the space ultimately promoted a self-regulating system in which visitors became conscious of their actions and indeed the greater forces of power.

Ashmolean Museum, Oxford

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4 The Bibliography

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