1. Studio 15 Introductions 2. 2010/11: Code 3. 2011/12: The Laboratory of Spatial Self-Organisation
Studio Projects:
4. Marianne Howard, Y6 2011/12: Chance 15, Stratford 5. Samantha Gill, y5 2011/12: Travelling Gardens 6. Sigrid Muller, Y5 2011/12: Wick Tea Rooms 7. Quang-Vinh Linh, Y5 2011/12: Hackney Wick Island
contents:
8. Beth Riley, Y6 2010/11: The Ministry of Amateurs 9. Adam Hinton, Y5 2011/12: Wick Community Interchange 10,11. Ronan Watts, Y6 2010/11: Bathing the Spectacle 12. Jonathan Millard, Y6 2010/11: An Atlas of Erasure 13. Jenny Greenwood, Y6 2011/12: The Power Station 14. Sam Brown, Y5 2010/11: The Wick Academy 15. Anthony Hogger, Y5 2010/11: Behind Closed Doors 16. Thalia Charalambous, Y5 2010/11: The Wick Workshops 17. Daniel Walder, Y6 2011/12: The School of Creative Delinquents 18. Christopher Carthy, Y6 2011/12: Hiding in Plain Text 19. Nick Hunter, Y5 2011/12: East London Community Land Trust & Build Store 20. Reena Y Gaikwad, MAAD 2011/12: Changing Identities
2010/11: Code
2011/12: The Laboratory of Spatial Self-Organisation
Studio Fifteen believe code to be a means of regulating – either explicitly or implicitly – the way we as agents, perceive, comprehend, communicate and behave within the city. By establishing, demonstrating, and manipulating code, Studio Fifteen gained insight into these mechanisms.
Studio Fifteen has explored the theory of self organisation – an organisational structure whereby groups or systems develop autonomously without imposed planning from a dominant authority - to develop social and spatial proposals in Hackney Wick and the Lea Valley in East London. Assuming the format of a laboratory to explore and test theories and practices of self-organisation, the studio’s proposals have developed across a range of fields, including the political, social, natural, scientific and virtual realms.
Studio 15 Introductions: Tutor: Sam Vardy
“This experimental map represented a system of playful spontaneity, enabling sensitive participants to experience the city’s many marvels, to recode and repossess its terrain for themselves.” (Christine Bowyer on Guy Debord’s Naked City)
In its inaugural year, Studio Fifteen explored the notion of urban codes to develop proposals of spatial production. By spatial production we mean the creation of new spaces, new activities and new constructions in cities, but also new practices, new social and political relationships, new networks and new identities. The work produced by the studio critically questioned the current hyper-regulation of space and the production of architecture and urbanism, and searched for tactics to reclaim the ‘right to the city’. This was thought of from both the point of view of the citizen, their right to intervene and to make, and to occupy space, and the point of view of architecture, by questioning its role in the contemporary urban situation.
Studio Fifteen’s projects have arisen through the creation of locally induced self-organising systems, developing architectural proposals whilst simultaneously imagining new social and political scenarios. The proposals seek to question the top-down, hierarchical structures that exist within the production of architecture and propose alternative systems for distributed social and spatial production.
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2010/11:
CODE
The Team
Deciphering Code:
Exploring Hackney Wick:
Interventions:
Developing Briefs
Code is everything; our daily routines, how we navigate our homes and our streets, how we behave towards one another. In essence how we communicate and do things are all deeply coded. Even how we perceive things.
Having advanced our understanding of code, the team commenced their investigations into the physical, social and economic context of Hackney Wick. Methods included conversations with local characters, interventions, attending lectures and talks, mapping and researching. At all times we were developing our critical and observational skills, whilst finding new and effective means of recording our thoughts and findings.
Studio members collated and captured their own personal understandings of both code and Hackney Wick in a mini-project. Each member created an intervention in Hackney Wick which further explored their codes, both revealing and provoking new ideas, questions and responses. This allowed the studio to develop a healthy critique of their work and ‘themes’ of interest began to emerge. This helped the studio to develop and direct their individual projects.
Having identified a series of codes or themes in which they were interested in, students began to develop briefs. These were cultivated through a series of models, drawings, scripts and group dialogues that looked to further explore the particular issues and potential solutions. Particular attention was paid to new activities, relationships and spaces that could add to the lives and experiences of those in Hackney Wick.
The studio initially set about establishing what we meant by code. We did this using a number of different methodologies, attempting to identify different codes and organise them in to some sort of logic; behavioural codes, economic codes, social codes, political codes. This became Studio Fifteen’s ‘field of code.’
A Snapshot of the People of Hackney Wick Hackney Wick is home to a diverse range of comMunities; East Africans, GreEks, Irish TravelLers. The area can be characterised by subsistence living and acCepting of alternative practices. This however, is under threat from rapid gentrification and top down, capitalist led regeneration of the area due to the proximity to London Olympics 2012.
ney e . Hack tion greEn. Th nera , lesS rege ages ce of pastures nd for l built fa e ci th in e at la on in , albeit ng on th d the coun ainst th ti d evic se them beEn livi s sold an ed up ag many ou ck d o face pt wa s] wh ty to re-h they ha the land ows bae they ke ck ngal as , li er velLer ney Wi [tra sponsibi the move af ears ncrete bu fore wh ck ey Ha c d be s th nst on de e re ny co ympi ‘It wa l had th led agai nt felL ve in ti nd they ha e-Ol ea ci la gume now li ce, Pr e apP ar la s Coun th r ve They elLer Thei from ick Lo Trav urbed. ent. far cry Patr lopm st deve ] It’s a undi this .. them ge [. brid rail .’ es hors
3. There are 3 travelLer sites in and around Hackney Wick. Many travelLers have moved to Hackney Wick after being displaced from the Olympic Site. TravelLers are nomadic - they do not own their own land. They have found employment in the scrap metal trade that exists in and around Hackney Wick. alL around him: ing tribes were the motorway not alone. WarR a camp under [...] He was ng tinkers in t residence. e sites, rovi , prophets in toOk up permanen lesS desirabl ers, levelLers ‘Stevie Dola ng eviction to sinNers, rant and faci s ts sain elLer r day Red Empire fixed trav r gangs, latTe ney, that Rose bike Hack , Max lair Mad bridge, Iain Sinc Mercedes...’ bulLetproOf
4. HomelesS people live under the bridges around Hackney Wick, and there are a number of squatTed properties within the vicinity.
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Currency
Ceremonial
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Biological
Ecological
Work
Economic
Professional
Citizenship
Ethical/moral Territory
Waterway
Media
Conduct
Boundary
Timetables
Travel
Legal
Regulatory
Highway Codes
Maps
Leisure
Communication Language
Verbal
Visual
ironment
Behavioural
5. The Olympics have brought a new demographic to Hackney Wick. CurRently police, security guards and construction workers can be seEn waiting to catch a train at Hackney Wick Station. Later, they wilL be joined by the service stafF required for the Olympics and its legacy.
‘The re is here a real , sens youn there ar g e Iris e of comM stufF people. h Trav unity A lo like arou that.’ t of pe elLers, nd he ople We are no st Afri re.[...] can w comi Th ng in comMunit ere is a big di ies, who ar vers e inte Asian rested comMun ity of peop itie in th e Arts s, a lo le TerR y Stew , musi t of art, c, an H.W. d ComM unity Cent re
6. Hackney Wick is home to over 600 artist studios. This is the highest number of artists per capita in the world. These artists have a strong history of resistance and rebelLion to the Capitalist society surRounding them in London. Banksy started out here. The remaining question is how long wilL the artists be able to cling to their studio’s in the face of rapid gentrification? Rents are already increasing and landlords are only giving out short tenancy agreEments with an eye to selL for regeneration.
k Leaban lives in a River ne who l Le r everyo nderfu It is fo t gardens, wo com/ uare. gspot. re.blo , grea ank Sq nksqua of Leab g neighbours it!’ e /leaba sit p:/ htT og azin spir the bl the am mMunity ‘This is chat about best co to .. the .. Square alL st of - and be
7. There is large scrap metal and car repair trade based in Hackney Wick. It is an exemplar of the informal, subsistence living and working within the area. Where wilL these move to when land rents are increased and the area is redeveloped?
‘We alL lo by day. ve Hackney Wick By cont and in how ributi we want ng to th want to seE our li our ne ves here ighbou is blog we wi rhoOd to lL alL feEl as improve day be.’ if we ha ve a say htTp:// hackne ywick. blogsp ot.com
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8. Leabank Square is a self-organised comMunity group. They run a comMunity garden and recycling unit. They are pro-active in their atTempts to stand up against the Olympic PlanNing Authority and their dictatorial planNing moves. SeE htTp://leabanksquare.blogspot.com/ for more. They outreach to other residents in Hackney Wick, runNing programMes such as guerRilLa gardening.
9. A diversity of comMunities live in Hackney Wick; there is an active elderly population (ComMunity of Reconciliation and FelLowship, Trowbridge Senior Citizens Club and the Eton Manor Boys Club - Old Boys ), and Gainsborough Primary SchoOl plays an important part in the comMunity. When we enquired as to whether we could take a loOk inside the ComMunity Centre, we were told that it is in fact rarely used.
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2011/12:
The Laboratory of Spatial Self-Organisation Developing Themes:
Self-Organisation Research:
Studio Taxonomy and Manifesto:
Research Trip - Christiania, Copenhagen:
Initial personal responses to the topic of selforganisation were collated and explored as a group. Common themes and typologies were used as starting point for further research.
Examples and precedents of self-organised projects and processes were researched by the studio. These were organised onto a scale that analysed their motivations and dependency / level of autonomy. A live digital taxonomy of these examples was generated to organise this research and describe the common themes.
A physical taxonomy has been produced collate the research into a more accessible resource that also provides a platform for the studios ongoing work to be added. The emergent themes and ambitions of the studio were formalised into a group manifesto that describes our shared intentions.
The studio travelled to the ‘Freetown Christiania’ in Copenhagen to study how its self-organised society has been initiated and established.
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2013 In the wake of the Olympic dream...
London Borough of Newham
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Carpenters & HighStreet Agency for Negotiating Change in E15
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steering group meets monthly Seeing little benefit in the programme, which focussed on creative branding and image-making, 2 of the organisations decide an alternative approach to creative collaboration could be more productive and beneficial to the area...
Fundamental Architectural Inclusion
Rosetta Arts East London Dance Stratford Picture House St John’s Church
Urban Development
youth panel programme
meeting space/
musicians / potential revenue stream
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5 YEAR (2009-2014) LEADERSHIP INITIATIVE. Advocating for culture in Stratford’s future. A culture and place-making initiative.
kerry micheal
direct impsct on local area
1:50 debra reay, project director, stratford rising
a performance space / exposure for musicians
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Theatre Royal Stratford East Stratford Circus Theatre Venture A New Direction Actors Shop Birkbeck University Discovery Story Centre East Potential
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chance (tʃɑːns) —n 1. a. the unknown and unpredictable element that causes an event to result in a certain way rather than another, spoken of as a real force.
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Adjustable PV Array: Top level of adjustable framework supports photovotaic panels. Folding mechanism ensures optimum tilt towards sun for maximum possible pv efficiency throughout the year
Solar Shading & Acoustic Absorption: Fibreglass mesh blocks maximum solar radiation on south sides whilst permitting daylight and views. Adjustable facade fluctuates according to time of day and year, revealing and concealing internal activities.
Shared Tool Library Inhabits threshold between artist studios and construction testing stage. Operates on a hoisting mechanism to account for change in level. Panels pivot so tools are accessible from either side
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Nearing theo end of its 5 year programme, Stratford Rising’s funding has been cut...
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...The Carpenters TMO hall has been demolished, their promised new building has failed to materialise.
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TMO Hall: Older residents group Language lessons Community Meetings Weekly free food + clothes swap for residents
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carpenter’s resident and home2home reporter
Board Members: Volunteer residents
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carpenters estate
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Estate under threat from UCL development plans, residents are to be ‘relocated’.
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Green Wall and Fence Conceals ancillary kitchen space, bin store and plant, whilst enveloping community garden. Encourages biodiversity and helps clean the air.
View: ‘Construction Testing Stage’
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Acoustic Absorption: Workshop machinery bay enclosed with ‘Steelsorba’ industrial acoustic panel system fixed into folding panel system. Provides good sound absorption at both high and low frequencies
Neg otia tor >>
Stour Space
Speculative development in Stratford has stalled...
Experimental Wall Original theatre proscenium replaced by framework which supports a new kind of scenery in a continuous state of flux. Panels can be used for testing construction techniques and training in construction skills.
UEL View Tube Zecuro Ura
scenario: chance15 _organisational structure
fig.1 The ‘Unifying Skin’ The Public Face: Media projection onto adjustable pvc-coated fibreglass mesh facade advertises Agency events and displays media produced by Chance15
CHANCE15
CARPENTERS & HIGHSTREET AGENCY FOR NEGOTIATING CHANGE IN E15
View: ‘out to Carpenters Estate and Olympic Park’
11.
Construction Testing Stage
Marianne Howard, Year 6
View: ‘Opening up the Rec’
marianne.howard@live.co.uk 11.
Construction Testing Stage
CHANCE noun 1.a. the unknown and unpredictable element that causes an event to result in a certain way rather than another, spoken of as a real force’ ‘Definition of Chance | Collins English Dictionary’
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View: ‘The Cut’
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CHANCE 15 – The Carpenter’s and Highstreet Agency for Negotiating Change in E15, is situated in the context of Stratford, London, following the Olympic Games 2012. It’s a propositional attempt to tackle the conditions of social and economic inequality and injustice that the top-down regeneration masterplan for the area imposes on its current residents, particularly those of the Carpenter’s Estate adjacent to the Olympic Park. Through the project I explore the possibility for the subversion of patterns of gentrification, to discover the potential for creative people, in association with neighbouring existing residents, to re-appropriate commercialised space in the city. The proposal has developed spatially into a building which brings these people together to form the Agency; Chance15, in a core building which allows the local community to regain some control over the spatial production of their local environment through the pooling of interests and skills and sharing of spaces and facilities.
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1. Public Situation Room 2. Carpenter’s Community Kitchen 3. Kitchen & Cookery School 4. Carpenter’s Community Garden 5. Linking Library 6. The Assembly 7. Collaborative Workspace: collective working / teaching 8. Open Studios 9. The Gallery 10. Collaborative Workspace: individual desk spaces 11. Performance Space: internal 12. Performance Space: external
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‘The Cut’: Carpenter’s Community Kitchen
fig.3 CHANCE15: ‘The Core & Unifying Skin’ cut-away isonometric revealing the inner workings of Chance15’s core, and the changing character and function of the building’s unifying skin.
fig.1 : ‘Scenario Drawing’ Chance15 draws together existing local actors and agents to create a critical mass and collective force
‘The Cut’: Carpenter’s Community Kitchen
fig.2 : ‘The Construction Testing Stage.’ The existing building was once a theatre, but now – the act of construction becomes the performance, a new kind of production within what used to be the auditorium space. fig.3 : ‘The Carpenters Community Kitchen’ The cut through the new insertion creates a visual connection from the café, through the assembly right up into the performance space above. fig.4 :’Opening Up the Rex.’ To cut and unwrap, is to ‘open up a state of enclosure’ and in turn, open up the process of spatial production, creating transparency and re-configuring negative connotations of ‘down the side’ and ‘around the back’ which the former use of the building created. fig.5 :‘The Core & Unifying Skin.’ Cut-away isonometric revealing the inner workings of Chance15’s core, and the changing character and function of the building’s unifying skin. fig.6 :‘Sectional Model’ The new insertion
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fig.6
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Waterden Cresent Home to 20 families of Irish travllers for 13 years. The community will be split and moved to 3 sites around the Millfield road depot, currently a waste disposal dump and recycling centre. Millfield Depot Site 1 of 3 providing 8 Pitches at
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Homerton Marshes Site 2 of 3 providing
Clays Lane Travellers Site has been moved due to the olympics.
In case of further displacement all growing will take place on canal barges and caravans. These will be able to move with the travelling and growing community of Hackney Wick and not be distroyed if soil contamination spreads and moving becomes unavoidable.
Builders
Packway Cresent 15 pitches for the relocation of Clays Lane. The new site called Parkway Crescent, is on a traffic island surrounded by main roads and with two pubs nearby. Although residents are trying to get used to it, they are unsure of the long term future and have decided to pursue the option of a move back to a more suitable location in the Olympic park.
The community gardens will be places on the canal barges. This gives them 24 hour access to locally fresh fruit and vegatables.
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The travelling comunity to be taught on the job learning, integrating them back into the local community, learning self respect and respect for others along with skills that can be used in the local area and Intake of children for a module in Land based studies. Start the creation of an urban allotment and craft learning to promote the the traveller’s presents in Hackney Wick
After the olympics is over the residents of Manor Road allotments will be relocated to 2 seperate sites at the morth and south parts of the site.
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With youth unemployment at a record high, the work of charities such as The Prince’s Trust and Fairbridge is more relevant than ever. We are keen to combine our efforts to ensure young people are given as much support as possible at this crucial time.
Green Space proposed next to the canl
fig.1
fig.2
Perspective view highlighting the Bazaar By providing a market place within the scheme it allows the students to start up their own small business. There are small studio spaces above and the eating areas opposite which can be used to help budding entrepreneurs. The studios can also be moved offsite if relocation is nessesary
The tree nursery (Hackney Marshes) is a small hub for growers concerned with locally sourced food. Many volunteers come and use the edible gardens however the space is small and resources are low with little space for expansion.
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Time line for the project highlighting the current contanimated land and the unfold of the project.
Travelling gardens Samantha Gill, Year 5 SGill1@sheffield.ac.uk Allotments
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fig.4
The travelling gardens are a response to the displacement of communities caused by the Olympic development. With the demolition of an old allotment site and the forced separation of the fig.2 travelling community, the project highlights a need for a resettling place where roots and relationships can, together, be rebuilt. The project offers an alternative education strategy for travelling children highlighting the importance of local food production whilst allowing culture and creativity to flourish. The project aims to provide tactics to hinder any further destruction Scrap of allotments by housing all growing elements in movable structures, which can be taken off site if the communities are moved on in the future. The project advocates interaction between the travelling, wasteLea from the olympic site was going to growing and residential communities of Hackney WickPreviously and thethe Landfill however through talks with artist from Stour Space a website has been initiated to allow artists to acquire the Valley. waste for art projects. This system of reuse and sourcing materials will play atakes vital role in the construction of Set intertwined within the trees of Wick Woodland theofthestructure building. Not only it is more environmentally and economicallyfriendly friendly but it can be used as a teaching aid for advantage of sunlight whilst promoting an environmentally young people to gain communication and management skills. approach to woodland construction combining a historical industrial Initial investigation Study exploring fig.3 material with more natural elements such as Hackney rammedWick earth.
fig.4 Perspective view of collecting and sorting spaces
Travelling Gardens
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The Canal used to be a vibrant transport network, bringing waste materials to Hackney to be broken down into scrap. Many of the canal barges are still used to trade scrap metals and car batteries.
Site perspective exploring systems and processes of the scheme
fig.5 Travelling Gardens
Perspective view of seating area and walkways The seating area is a place to observe and enjoy the woodland whilst enhancing interaction between the displaced communities and the public. The seat areas are removable when nessesary to allow for the growing and studio pods to travel up and down the structure
Travellng Gardens
fig.1 : Perspective images of the Bazaar. A key space where the children can market their own products.
Travelling Gardens
fig.2 : Project Timeline. Image showing the progression of the project. fig.3 : Site Perspective. Image highlighting some of the processes happening within the building from rainwater harvesting to the production of food. fig.4 :Perspective view of food collection. The image highlights the food collections and sorting areas. fig.5 : Intergation Perspective. Walkways utilised by the public and workers alike. fig.6 : Interdependancy Section. Section to show the interdependancy of form and fucntion throughout the scheme, highlighting the parasitic nature of the steel frame on the subtle rammed earth walls.
fig.6
1:50 Interdependancy Site Section.
Section to show the interdependamcy of form and function throughout the scheme, highlighting the parasitic nature of the steel frame on the subtle rammed earth walls.
Travelling Gardens
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Pudding Mill River Clandestine group of Urban forragers who rom the lower lea valley harvesting wild plants to make drinks and jams.
Wick Community Tea Rooms : Collaborative Events Space & Co-Curated Archive - System Drawing
Cut to Pattern
Sew
Advertising events and activities via curated shop front and visible tower from entrance to olympic park.
Use Store/ Make
Semi Public route through site
Dry herbs/ Store
Cook
Cook Locating Materials - Reclaimed/ Recycled - Tapping into local networks
Growing Collective Cultivation
Collaborative Design Garden types and uses Dry herbs/ Store Informal educational workshops
Collective Desire Initiate event/ action Compost Waste Collective Making
Events Initiate further collaborations and expand network of skills/ resources Semi Public route through site
Conversation Collaboration Knowledge Exchange
Production of Instruction booklets/ documenting knowledge of local groups.
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Nomadic Structures begin toactiviate further left over spaces identified by the community
Wick Ward Scale 1:5000
Olympic Park
Intensification of Infrastructure Gateway to the Olympic Park
Wick Tea Rooms
Artists and creative practitioners attracted by large industrial spaces and low rents beginning to be pushed out by development. Exchange between domestic and industrial.
Sigrid Muller, Y5 smuller1@sheffield.ac.uk
fig.4
Space of opportunity for new community lead cultural intervention.
Sitting in a forgotten space next to the A12, the Wick Tea Room encourages making, learning and collaboration using the process of growing and serving herbal tea as a catalyst for the design and construction of community events. Rapid development in Hackney Wick has lead to the displacement of community activities, with local narratives marginalised in favour of the story of the grand olympic event. Rapid redevelopment forces an existing group of urban growers out of the factory they currently occupy. The group establish a collective space where the rich community history can be remembered and local knowledge exchanged.
Local businesses and remaining industry. Displacement/ Erasure - Tabula Rasa Approach to development.
Spaces forgotton by development -deemed unvalulable.
Common Spaces on low rise housing estates Unused - In need of ‘care’.
fig.2 ‘Situated next to the functional spaces in the urban landscape, the uncontrolled margins offer a hideout, a launch pad, maybe short in duration; for their occupants these zones are free to plan, act and proceed in whatever they do. … In the margin, functions become activities, practices and opportunites.’ (Spaces of Uncertainty, Meisson and Cupers)
Inspired by the traces of previous activity found on site, the project explores the link between event and architecture, concentrating on material thresholds where permanent interventions meet ephemeral traces of occupation. Acting simultaneously as a device for the community led occupation of space and an archive of events, the proposal facilitates the documentation of otherwise forgotten histories, re-imagining a leftover space as a site of cultural production.
Dogwalker with pitbull: sees the sign and fancies a (builders) tea. 14.54
fig.5
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Small child: runs over to pick up a shiney green piece of plastic tumbling across the paving. 15.31 32
Materials Archive
Jogger: stops off to rest on a bench in the herb gardens before continuing his journey. 15.14 Plant room & materials store
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Making Space WC
Basil
27 WC Nettles
fig.1 : Diagram illustrating parallel processes of event and tea production.
Herb drying
Waste & Compost Area
Mint
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Tea Service
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fig.2 : Site collage.
Lavender Cafe Space Shared Gardens
Exchange Space
Collaborative Design
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35 25 Event Archive
Display Space
Chamomile
fig.3 : Documenting traces of occupation and event on site. Elderflower
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fig.4 : Fragments of proposed intervention focusing on material thresholds. fig.5 : Early sketch of herb preparation space.
Site Plan Scale 1:100 @ A1
fig.6 : Section through forgotten space. fig.3
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Axonometric of Landmarks
Interstices
Axonometric
Walk
Leabank Square
Hackney Wick Performance Space
Stour Space
Stakeholders
Public Works - Wicks Curiosity Shop Trowbridge Senior Citizen Club
Mother Studio
The Wallis Gallery
Gainsborough Primary School
Borders of the Olympics Olympics Stadium
fig.1
Olympics Media Centre
Olympics Security
Hackney Wick Island Quang-Vinh Linh, Y5 linh.qv@gmail.com
The ‘Hackney Wick Island’ is an extention of the Gainsborough primary school, providing a childcare and is also a base camp for the mobile circus group based in Hackney, the Albion Kids Show. It explores the spatial conditions which allow Self-Organisations to happen. The school is seen as a small society, where spaces are providing for transgression and setting up of alternatives way of living. Observations and analysis on spatial conditions of self-organised groups, defined the notion of interstice as a place for resistance and freedom of actions. The project sits on the in-between space of the canal, trying to influence the future of Hackney Wick and the Olympic parc by offering a bridge. It is seen as a shelter where spatial arrangements and misappropriation of materials create a secret architecture, allowing children to escape from authority and to be aware of their surrounding context, with the influence of the Albion Kids Show’s folly.
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fig.1 : Mapping of interstices and stakeholders in Hackney Wick fig.2 : Manifesto Drawing - interstice sits somwhere between city and nature fig.3 : Christiania in Copenhagen - Spatial conditions that allow this self-organised community to survive fig.4 : Perspective Section Section 1/50
fig.5 : Interior Axonometric
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fig.6 : Perspective - Terrasse towards the Olympic stadium fig.7 : Perspective - Childcare playground
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Unfolded route through the Ministry of Amateurs
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The ministry of amateurs Beth Riley, Y6 2010/11 bethriley788@hotmail.com
The Ministry of Amateurs is a serious attempt to address the complex and ever-changing social, political, economic and ecological conditions that we currently face. It is set against the very real possibility that economic and ecological uncertainty may well subvert many of our established conventions and codes. It suggests a new way of looking at the values of work, time, money and recreation. It esteems amateurism and positions the amateur as an urban re-coder in an attempt to draw attention to the disillusion and discontent attached to the contemporaneous insistence on professionalism. And so, The Ministry of Amateurs: a micro-ecology of work and recreation, based upon the principles of amateurism, seeking to investigate the ways that amateur knowledge determines spatial production. fig.2
fig.3
fig.4
fig.1 : ‘An unfolded route through the Ministry of Amateurs’ - Circulation in the Ministry of Amateurs revels in inefficiency fig.2 : ‘Attitude to spatial organisation and architectural language’ - The Ministry of Amateurs takes it’s inspiration from the complex arrangement of people, spaces and materials found in Hackney Wick fig.3 : ‘Through the back door into the Ministry of Amateurs’ - The Ministry of Amateurs was designed through unconventional methods such as initially only drawing through a series of imagined perspectives taken along projected routes fig.4 : ‘How do amateurs build it?’ - The project grows and contracts over time, through a variety of stages from ‘quick space’ to ‘take your time space’ to ‘time is not important space’ fig.5 : ‘Section through large experimental yard’ - The yard is reinstated on the site and becomes a large experimental space for amateurs
fig.5
8
SEEDBOMBING HACKNEY WICK
ACE ALISATION SP PROJECT FORM
SPACE INITIATION COLLECTIVE
T SPACE PUBLIC EVEN
A ION THRESHOLD TAT ENTTA IMPLEMEN
IVE CONSOLIDATION ARCH
COLLABORATIVE DEVELOPMENT WORKS HOP
SOCIAL ENGAGEMENT SPACE
ce
spa
PROJECT ESTABLISHMENT SPACE
ed
efin
und
MATERIAL REPURPOSING FACILITY
PRODUCTION WORKSHOP
EXISTING B BUI UILDING UI
INITIATION
COMMUNITY COLLABORATION
COL L ACT ECTIVE ION
PRODUCTION
‘HUB’ DEVELOPMENT
APPROPRIATION
TRA
TOOLING
DEVELOPMENT
NS GRE SSIO N
PROPOSAL
ESTABLISHMENT
appropriation through active presence
PERSPECTIVE SECTION A - A cut through social engagement space highlighting the views through to other activites and spaces
unregulated boundaries
2011
2012
2015
Seedbombing by the residents of Leabank Square Gardens and Hackney Wick in collaboration with Public Works: The seedbombs are a means for local people to ‘guerilla garden’ unkept parts of the urban landscape. The compacted seed, clay and soil bombs allow inaccessible areas to be planted from outside of their official regulation. It provides a means for the transgression of ownership boundaries - allowing local people to have a directly productive impact on their surroundings. Collaborative, empowering and productive.
2030 -
G procal S M lop reci E RIN s deve OO HA AC ce user establish workspa SP G R E S ships andfunding available SK TIN RC relation dently s CIC DE EE OU Y indepen munity Arm M ES LA R from Com P S DIS DIO U T S
-£ SET UP FUNDING
NEW PROJECTS / GROUPS
SYSTEM ASSEMBLAGE
L RECIPROCA TIONS ORA COLLAB
e lops rang the bers deve user num urces - increses te growing initia ssible reso plexity it can of acce com project
spatial and social relationships / processes created within the project
WIN G RES NETW OUR ORK CES d are ct sh je on pro ati of rm rs fo e in mb rt, e po h m up g , s rou vice th ad
SUPPORT FROM EXPERIENCE impleme experience of nting colle activism ctive shared
+£
E TIV N AC TIO ES A OT ICIP OM RT PR PA
jects
SPECIFIC COMMUNITY USE
fig.2
Vision Gospel Ministry
GENERAL PUBLIC
s/ up h gro roug ity ity n y un p th u m t u mm ed b s m co cts se in co fund Arm h new roje wit and unity p ds ed m an litat om C dem- faci
LOCAL COMMUNITY GROUPS Leabank Square Purple Gardens
TS
e g xis ac rou ting ga tivit ps co th y us m eri / e e m ng ve spa unit s nt ce y sp fo ac r e /
pu b ad lic h ily ou ac se so ce as cial ss a sp ible ac e re
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Performance Space
RESIDENTS
S LE
SCHOOLS
HIRE HI
ENGAGES COMMUNITY INTEREST
AC
TR
AT FAMILIES
+££ SPAC + E
SA
ote om n ts pr ractio ic even inte publ openformal with in
Albion Kids Show
RIN
D +£
PASSIVE PARTICIPATION
direct access to resource workshop for specific community need
N G GIVE
SA
D TE LA RE
KS
+£
S LE
nity pro commuised by s CIC subsid nity Arm Commu
NDIN
ES G IT T TIN E IV EE AT ACT EN M S B DE OUP AIN CE N T GR TER MA R EN FO S R T PE KE NS AR IO M IBIT H EX
M
ini projectial associ ation t by loc using al residewith Publi nts c Ho use
NEW COMMUNITY PROJECTS / GROUPS
T EN PM LO NS VE S TIO EDE RE LA TU R G AL UC S ST IDIN STR ET E IN U B W /S UR T IT NE NS EN RN ITTIO M FU IP HIB QU E EX T EN EV
NEW COMMUNITY PROJECTS / GROUPS
ge / and ran of jects exp osure new pro ch and exp s project rea nity Arm Commu
EATING
PUBLIC VIEWING EXTERNAL NOTICES
CASUAL MEETING
spatial relationship between components within the proposed system, and their functions / ambitions
NEW COMMUNITY PROJECTS / GROUPS
T
IS H
M
EN
T
TI
EN
NI /I TA
BL
CT
PR OD U
ES
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IO N
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EN
AL SU CA
AT
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PROGRESSION OF PROCESSES & PRODUCTIONS:
GE M
The projects has been developed through designing a system of processes (fig.2) which were inspired by the ‘seedbombing’ event initiated by Public Works (fig.1). This system was used to inform the projects spatial assemblage (fig.3) which creates active social spaces that engage the local community – with the intention that through social interaction mutual interests can be uncovered. These mutual interests can then be pursued and developed with the project providing the facilities and resources to physically enable their realisation: the facilities including collaborative workspaces, collective meeting spaces, production workshops, project establishment spaces and on-site event spaces.
DRINKING
USERS VIEWING / PLACING NOTICES
SPATIAL ASSEMBLAGE fig.4
PROGRAMME CONCEPT MODEL The model was used to explore how different components and activities that are intended for the project be spatially accommodated on the site. The spatial relationship between the workshops, social spaces, public spaces and workspaces were informed by the response to the specific site conditions and the hierarchy of the programme. The 1:100 model also starts to consider an approach to the specific spatial conditions desired and the boundaries between public / private and formal / informal interactions
EXPIRED NOTICES REMOVED AND ARCHIVED
NEW COMMUNITY PROJECTS / GROUPS
IO
The ‘Wick Community Interchange’ provides a socially engaging community facility in very the centre of Hackney Wick. It encourages and enables self-organised groups to initiate, develop and establish: through facilitating social interaction between the areas different actors / agents and providing a platform for them to be collectively developed and shared.
SOCIALISING
ca su al in en publ tera co ic an ct ur ag d prions ew be ea ojec twee k so t ac n cial tors tie s
T FU OJEC
adamhinton1987@gmail.com
ISM
CTIV
LA
CA
LO
CREA
PUBLIC EVENT SPACE
INFORMAL INTEGRATION
ciate latio s - bu asso tain re Arm ces main munity resour Com ork of netw
-£ PR
G IN LIS ING K G G SO DRIN TIN IN EA EET M CIA
ITY UN ENT MM M ects CO WER proj PO unity ith mm p w upon EM d co nshi ild
Estate Residence Association
CRAFTSMEN
STUDENTS
DESIGNERS
ARTISTS
BUISNESSMEN
CASUAL INTERACTION
m on pas en goi sive t of inte ng p aw soci gra roje aren al ti tes cts es es loca furt s of l u her se rs
available and desi resource red skill s advertise and projects s, d / prom oted
PS SS LO VE NE DE ARE AW
mutua and l intere sts aspira tions , needs betwe emerg en us e ers
EXCHANGE
MATERIAL SOURCING LUE
TES VA
MATERIAL SOURCING / PROCESSING
pro co je th mm cts fro rou un em m gh ity erg Co ne inte ing m tw ra fr m ork ct om un s io ity / n s Arm res up o p s urc ort es ed
PROJECT INFORMATION N INFORMATION BOARD
RS VE S CO IE UN ALIT dev TU an elop d MU
ng iati s / init ea as g id ng lisin nti pri ateria ns m bitio am
DIRECT PUBLIC USE
LV AL UE
physical resources produce and toolin event / proje g requirem ct physical ents
de a ve m lo bit p io pro ed in ns je to cts
users attr ace by acted to affo shared rdable facilitie s
worksp
WICK USERS
MA TE RIA
FACILITATES ACTION
cs om d fr ympi urce ol ents ls so from pm eria aste velo mat p / w ed de scra sociat / as
newsle distrib tter inform utes ation
ACTIVE INVOLVEMENT
WICK COMMUNITY
E DG LE OW KN LS IL SK AL IC YS Y PH LS ER O TO HIN AC M AL
IC
CT
A PR
PROJECT ESTABLISHMENT SPACE
selfor prom ganise oted d prod and uc info tion rmed
users join level thro project on more form for invo ugh awaren lvement ess and al desire
RT N SS PO CE UP ATIO AC E S M CE TIV FOR S UR LA IN E IE IS SO G IT R RE EGL DIN HA CIL L S A N U L GF F IL SK ETIN E M
COLLABORATIVE DEVELOPMENT WORK SHOP
eve co nts wo llab us rk ora ed sp tio as ace ns p us be latfo ers tw rm ee n fo
re pro claim th ject ed ro ug cre ma h p ati teri ro on als ce ss up use ing cy d clin for g
OF
r
Adam Hinton, Y5
ORGANISED INFORMAL MEETING
GRO
CO-ACTIVE GROUP / CIC
wick community interchange
FORMAL MEETING
EXTERNAL PROJECT / INFORMATION DISPLAY
fig.1
PERSPECTIVE SECTION B - B relationship between public outdoor event space and internal aspects of project - using events to engage public through casual interaction
use of research / resource access
CONSOLIDA TION ARCHIVE
formalising intentions and actors- meetings etc
PROJECT FORMALISATION ROOM
PLANT
sharin ing g no nonn-ph phys ysical reso re sour urce cess - co collab abor orations
IMP
LEM THR ENTAT IO ESH OLD N
COLLECTI VE INITIATIO N SPACE
worksp work space use - drawing production aass real alis isation
WC
phys ph ysic ical al p production / construc ucti tion on
WC
formal
COLLAB O DEVELO RATIVE P WORKS MENT HOP
gath ga ther erin ing support / social resource - meeti ting ngss
WC
private /
PRODU CT WORKS ION HOP
initiating own wn / u uncovered projects- pr prin inting to fo form rmalise
COLLABORATIONS BETWEEN COMMUNITY AND EXPERIENCED USERS / CO-ACTIVE GROU OUP P
DEVELOPING AND FORMALISING AMB MBIT ITIO IONS NS
VIEWING OVER EVENTS SPACE atte at tendance at events / projects events / performances organised & hosted
PUBLIC EVENT SPACE
new community groups initiated & established participation with ongoing events
MAT E REP RIAL U FAC RPOSIN PROJECT ILITY G ESTABLISH MENT SPACE
fig.2 : System Assemblage - projects processes and relationships
phys
ical
temporary exhi hibi bits ts / displays faci cililita tate ted & hosted interaction in bar / cafe social in space
SOCIA L ENGA G SPAC EMENT E
EN
VISUALLY ENGAGES COMMUNITY, ATTRACTS INVOLVEMENT
visu sual al d display & promotion billboards / notices
CELL
AR
fig.3 : Spatial Assemblage - physical relationship of processes
views into proje ject from public ic aare reas
KITCH
imm ateri
public / inform al
fig.1 : Seedbombing - processes of collective action
informing of new initiated projects - promoting events becoming spectacles for public
al / s ocial
EVENTS ORGANISED AND HOSTED IN OUTSIDE SPACE
fig.4 : Perspective A - social engagement spaces fig.5 : Perspective B - project development and event spaces
SPACE PROVIDED FOR COMMUNITY GROUP UPS PRESENTATIONS / DISPLAY PRODUCED ON SITE
LOCAL COMMUNITY ENGAGEMENT ATTRACTING FURTHER INVOLVEMENT
off site projects enabled
fig.3
fig.5
9
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Second FloOr Plan +8.000m scale1.200
B
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“6. [...] the spectacle is both the result and the goal of the dominant mode of production. It is not a mere decoration adDed to the real world. It is the very heart of the real society’s unreality. In alL its particular manifestations – news, propaganda, advertising, entertainment – the spectacle represents the dominant model of life. It is the omnipresent afFirmation of the choices that have already beEn made in the sphere of production and in the consumption implied by that production” (Debord, 1983, p. 8)
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Second FloOr Plan +8.000m scale1.200
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fig.1
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North
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B
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VCU
VCU
VCU
VCU
VCU
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Waste foOd conveyor belt clothes store
clothes store
clothes store clothing re-fashioning studio/workshop
education
parlour
A
clothes drying
J A
VCU
VCU
VCU
VCU
VCU
VCU
Waste foOd conveyor belt clothes store
clothes store
clothes store clothing re-fashioning studio/workshop
education
parlour
A
clothes drying
J A
London 2012; An Embodiment of the Society of The Spectacle
It is my belief that the Olympics embody the Society of the Spectacle in that it has inculcated the population into believing in and celebrating a power and capital hungry, elitist event that serves (for the most part) those who run it. It is my wish to provide an
antithesis to the Society of The Spectacle; a project that raises awarenesS of this plight and provokes agency and debate.
BATHING THE SPECTACLE
fig.2 : View From Olympic Park
fig.3 : View Towards Olympic Park
The building utilises marginal land behind a series of warehouses, adjacent to the London Overground railway. The architecture engages with the resultant linearity, acting as a tie between the proposed ‘hub’ (and gateway to Hackney Wick), and the River Lea, thus strenghtening the building‘s relationship with water. The building’s massing has been broken down into several entities so as not to appear too obtrusive, embodying a conglomeration of industrial warehouse buildings. This helps the building to fit into its immediate context. The Vertical Composting Units serve to intensify the strong linearity of the project, as well as the industrial concept.
The building responds to both the station and the proposed ‘hub,’ creating a new gateway to Hackney Wick and the Olympic Park. A walkway is provided into the Park along the back of the Vertical Composting Units, where slack space is proposed for community members and artists to occupy and appropriate. A new thoroughfair under the railway embankment helps to break down the physical barrier between Hackney Wick and Fish Island.
B
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Ronan Watts, Year 6
First FloOr Plan +5.000m scale1.200
ronanwtts@gmail.com Section A-A 1.200
B
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North
fig.1 : The Spectacle
In The Society of the Spectacle (Debord, 1983), Guy Debord depicts society as being led by an image of reality prescribed by capitalist modes. In this he believes that our priorities have changed from a concentration on being, to having, and then to apPearing. This is brought about through our education, the masS media, governments (who are efFectively controlLed by the economy), and the efFects of globalisation.
I
scale
fig.4 : Long Section @ 1.500
The project was borne out of the observation of - and wish to provide a support mechanism for - the communities and informal practices of Hackney Wick. These are being subjected to dramatic change and gentrification due to their proximity to the Olympic Park. Bathing the Spectacle eschews this manifestation of the Society of the Spectacle (Guy Debord, 1983), where notions of ‘having,’ ‘appearing’ and ‘growth’ have led to self-perpetuating socially and environmentally unsustainable urban practices. This is an attempt to solicit a positive and viable alternative.
G
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I change
dis. W.C.
plant extension
thoroughfare
plant
Hackney Wick Overground Station
discrete bath 35oC
female changing
male changing
greEting
dis. dis. W.C. W.C.
dis. W.C.
change
first aid change
long galLery Waste foOd conveyor belt
dis. W.C. kitchen
stafF dis. W.C.
pantry foOd sorting + selection
clothes depository
therapy
long galLery
promenade
overspilL launderetTe store
threshold of emancipation
outdoOr bath 35oC
cold plunge poOl 12oC
fareshare refectory fareshare ‘store’
dark bath launderetTe
J
shower roOm and camera obscura
sky view bath dry sauna 75oC
wet sauna 60oC
wet sauna 45oC
comMunal bath 35oC
reEd bed
A
sweltering bath 45oC threshold bath 35oC
greEn waste compost static piling
wick curiosity shop
River Lea
River Lea
compost output
fareshare ofFice
foOd waste
parking
White Post Lane
B
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Queens Yard
fig.5 : Ground Floor Plan @ 1.500 Ground FloOr Plan +2.000m scale1.200
North
Bathing the Spectacle proposes the creation of a Fareshare ‘hub,’ offering ‘past its sell-by date,’ yet edible food from neighbouring supermarkets and restaurants to the local artists, communities, homeless and workers of Hackney Wick. Food waste is utilised in vertical composting units to provide heat and power to the community bathhouse, launderette and clothes re-fashioning studios. Forming A the new Hackney Wick Overground Station, the building creates a new gateway into the Olympic Park and in doing so exposes visitors from far and wide to the environmental, social, and spatial potentialities of such a project. The combined programme can act as a catalyst for agency and social change within the area and spring board for the ‘big society.’
F
First FloOr Plan +5.000m scale1.200
cloak
Inspired by a passage in The So Called Utopia of the Centre Beaubourg (Albert Meister, 2007), Bathing the Spectacle proposes to re-invent and re-invigorate the concept of the community baths and launderette. These facilities are married with a clothing re-appropriating/refashioning studio and a food hall to create a new community interface that is incorporated into the redevelopment of Hackney Wick Overground Station in London. The spaces created advocate new social interactions and more efficient approaches to consumption and waste within the daily routine.
E
North
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11
AN ATLAS OF ERASURE Jonathan Millard jonmillardarchitecture.wordpress.com @Jon_Millard
fig.2
fig.3
fig.4
fig.5
This project explores the fear of the inevitable loss of meaning, memory and identity of Hackney Wick; a high profile, formally disregarded place undergoing intense change, conversely regarded both as a ‘scar’ and now a ‘sanctuary’ for otherness. As a device to investigate this, a dual programme of an Alzheimer’s Respite Facility (literal, physical loss of memory and identity) is paired to support and interact with open, experimental workshop spaces (the retention of the areas ‘identity’ as one of creativity and production). Exploring both the tension in the desire to remember and retain whilst developing, as well as in the interface between two diverse yet mutually beneficial programmes and user groups, the project aspires to offer an insight into a possible mechanism to support inevitable loss, exposing often cited, poetic notions of ‘memory’ within a project of contemporary meaning and demanding regulation.
fig.1 : Context, Site, Building, Programme, User as layered Palimpsest fig.2 : Handrail and Support as Memory ‘Trigger’ fig.3 : Yard as Venue for Multiple Interactions fig.4 : View from a Workbench: Value in the everyday, Architecture as canvass fig.5 : View from a Window...
fig.1
12
PROJECTION
EDITING SUITE
EDITING
8
FILM STUDIO PRODUCTION CONTROL ROOM
PRODUCTION
7
WARDROBE & COSTUME DEPARTMENT
PRE-PRODUCTION
SET WORKSHOP
4
SCRIPT WRITING ROOMS MEETING ROOM_
FOR FORMAL MEETINGS BETWEEN THE COMMUNITY AND COUNCILS/ DEVELOPERS
3
TEACHING SPACE
LIBRARY
QUEENS YARD
2 1
PROJECT DEVELOPMENT
ANNOUNCEMENT & ARCHIVE TOWER
COMMUNITY ARTS SPACE
the power station
PROJECT PROPOSAL DISPLAY
COLLABORATION
7
Jenny Greenwood, Year 6
WH
ITE
jenny.a.greenwood@googlemail.com
POS
6
T LA
1. Ground floor construction 75mm screed incorporating under floor heating 100mm foil faced rigid insulation 150mm RC slab with anti-crack mesh dpc 50mm sand binding, on building paper 125mm hardcore
NE
fig.1
2. Isolation strip
fig.2
3. Studio floor construction 15mm floor finish over 100mm floating concrete slab with reinforcing bars. Damp-proof membrane over; permanent shuttering such as FSC certified OSB/ Plywood. Isomat isolators with mineral wool between isolators, on 100mm thick floating concrete slab isolated from and supported above the waterproofed structural slab by resilient LDS isolators. 100mm RC slab, on 100mm foil faced rigid insulation over dpc. 50mm sand binding on building paper, over 125mm hardcore.
The PowerStation is a new community media production centre, in the Wick consisting of artist’s studios, a film studio and public spaces. The centre is a tool for the community, giving local people the space to come together and discuss their opinions regarding the rapid rate of development and gentrification happening in the area.
8
4. Foundations Steel fixed to concrete pad foundations at base. Threaded bars cast in foundation beforehand.
5
4
3
5. Acoustic doors 6. Studio wall construction Steel frame construction with breeze block infill. 187mm x 190mm acoustic block inner leaf 30mm air gap 170mm Rockwool acoustic insulation 187mm x 190mm Acoustic block outer leaf
20
7. Floor construction 50mm floor covering 50mm screed 1mm plastic separating layer 40mm impact sound insulation 180mm RC slab.
13
The Exchange project are local artists who work collaboratively with local residents and those who often feel excluded and alienated from the changes taking place in Hackney Wick, documenting and collecting ideas about the transformations through performance, photography, film and video production. Hackney Council’s current development plans, transforming Queens yard into premises for commercial media companies would force the Exchange Project from their current location, and it is this displacement which is the initial driver for the formation of the PowerStation community media production centre. The Exchange project would move from Unit 14 into Everett House, just outside the media hub, creating a film studio to rent back to commercial film companies seeking space near to the hub. By providing skills in the creative medium of film production, the new centre gives locals the opportunity to amplify and project their voices, regarding Hackney Wick’s future development.
2 1
8. Studio ceiling 30mm acoustic ceiling panels supported by 50 mm channel ceiling support with 150mm acoustic insulation between supported by; Clamp connecting to spring acoustic isolator to; Fire protected 125mm x 305 mm I-beam
14
9. Primary grip pipes supporting lighting grid 10. Acoustically- lined mechanical ventilation duct 11. Lighting connector strip 12. External studio wall construction Steel frame construction with breeze block infill. 187mm x 190mm acoustic block inner leaf 30mm air gap 170mm rockwool acoustic insulation 187mm x 190mm acoustic block Outer leaf with; 8mm fibre-cement board, bolted (bolts same colour as facade) to 40mm ventilated cavity/ battens. 40mm rigid insulation between battens.
19 12
13. Green roof construction laid to fall 80mm deep subsoil Separating layer of synthetic felt and rigid extruded polystyrene foam. Waterproofing membrane Bent sheet slab under 60mm concrete slab W-shape rolled steel belt
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14. Laminated steel I-beam.
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8
11 9
15. Saw tooth roof Fire protected 125mm x 305 mm I-beam 50 x 100mm Battens at 1000mm centres with 50mm insulation between. 15mm marine ply with 5mm profiled aluminium sheet. 16. Walkway 25mm floor covering on 130mm reinforced concrete topping; 50mm profiled metal sheeting 17. Channel glass Self supporting double layered channel glass - providing acoustic reduction of 60db across threshold. Channel glass head and cill sat within stainless steel frame, with rubber gasket washers to fix. Frame welded to steel plate, attached to steel I beams. 18. See detail A 19. Glazed atrium roof construction Fire protected 125mm x 305 mm I-beam 50 x 100mm battens at 1000mm centres with 50mm insulation above. 100mm x 75mm steel gutter. 10 mm double glazed structural glass roof
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20. Steel Storefront jamb attached to leg of channel glass jamb plate welded to channel.
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6
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17 16
fig.1 : Axonometric of the areas of film production within the building. fig.2 : Main section through the entrance, atrium and film studio of the new community production centre.
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fig.3 : Detailed section
3 1
fig.4 : External perspective showing how the community entrance to Everett House.
2
4
Expression.
Spaces within the building involved with the community film production process are expressed externally in contrasting materials. An active street frontage increases the transparency of the activities inside. The announcement tower informs the community when the artists have begun a new project and the direction of the projects location.
fig.3
fig.4
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1
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fig.1
THE WICK ACADEMY Sam Brown, Y5 (2010/11) e. samuel.brown.is@googlemail.com twitter. samuelbrownuk fig.2
The Wick Academy explores notions of what it means to learn in the city. In doing so it imagines education as a unifying programme in order to build resilience amongst the creative communities of Hackney Wick in East London. Under a new constitution, the existing tenants of Queen’s Yard serve as ‘on-the-job’ mentors to small groups of learners who negotiate ‘learning contracts’ towards vocational training goals. Each ‘unit’ can work separately - under the leadership of the mentor - or together with other units, allowing the Academy to assemble project-specific creative teams for bigger, multi-disciplinary projects, and to initiate projects within their neighbourhood. The Academy aims to sow the seeds for the reclamation of spatial production by the residents and tenants of Hackney Wick, by building the capacity - in terms of the necessary will power, organisational constitution and technical skill - for them to do so.
fig.1 : Social Assemblage - The Academy as a network of mentors, formerly tenants of the soon-to-be-gentrified postindustrial landscape of Hackney Wick. A diverse array of artists, mechanics, tradesmen, environmentalists and activists exist in the Wick’s diverse ecosystem, and are brought together under the new constitution of the Embassy. The embassy fulfills its ambassadorial role, seeking work on behalf of its tenants and providing a public face and point of contact for their collective identity. fig.2 : Detailed Exploration of a Learning Space - Informed by early investigations into types of learning environment, each mentor-base offers a ‘home’ with a relationship to the useful uncoded space of the yard. fig.3 : Cutaway Perspective - Showing relationship between mentor-bases, service areas and circulation and the first-floor library, a resource that supports the Academy as a whole by providing an information bank and spaces to negotiate learning goals on a one-to-one basis fig.4 : Exploded Isometric View - Showing the spatial and material assemblage of the Wick Academy as a new intervention in the middle of Queen’s Yard. The new building both uses and reactivates the existing buildings, giving them a new purpose and intensifying the use of the public space between them.
fig.4
14 fig.3
EXISTING CONDITION:
ARTIST SPACES
I am primarily focusing on the area between Hackney Wick Rail Station and the Hertford Union canal [see fig.04]. This area plays host to three of the larger buildings currently occupied by the artist community, namely Mother studios + the elevator gallery, Everett House [live work studios] and the White post lane studios + Schwartz gallery. This area of Hackney Wick is also set to become a primary means of accessing the Olympic Park [via gate 14] from the station and as such presents a primary location for speculative development. There currently exists a plan to create a more direct link between the station and white post lane to the south leading to gate 14. This connection will therefore become part of any future proposals.
URBAN INFRASTRUCTURE Station link - public access [proposed]
WC / Showers Food preperation / on site cafe Live in facilities
3_ As the initial threshold is crossed a motion sensor triggers a bell, alerting the artist to the presence of the visitor, activiating the encounter.
Gallery space Studio space
[150 + STUDIO SPACES] +
_THE ARTIST
Guest room
Message board Fig.04
Mother Studios
White Post Lane Studios
LONDON 2012 OLYMPIC SITE
Everett House
Hackney Cut
Olympic GATE 14
Queens Yard
White Post Lane
Hackney Wick Rail Station
Proposed Station Access
I WH
TE
ST PO
LA
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Hertford Union Canal White Post Lane
EXISTING CONDITION
TACTICS FOR CLAIMING SPACE
PROPOSED SCENARIO [post 2012]:
CARVING: The claiming of space through the partial removal of existing built elements: ie, sections of floor, wall and roof. [or below ground]
CONCEALING [BEHIND CLOSED DOORS] A form of subversive space claiming. space is occupied [perhaps without explicit permission] out of lines of sight, unnoticed and undisturbed.
OPENING: The removal [complete, partial or temporary] of existing boundaries, creating new thresholds and moments of interface between inside and out [artist and visitor].
LEECHING The use of adjacent water, data etc.
APPENDING [GUESTING]: The claiming of adjacent space relent on existing built elements as host. The term host is used in a structural sense but could also imply the ‘explotation of existing architectural elements such as means of access and lighting,
TEMPORARY Permission can be sought to erect temporary accomodation - on marginal / unused sites, negotiated short term, minimal rent / ceded land. No substantial foundations/ groundwork [movable / adaptable].
THE VISITOR_
I have engineered this scenario in order to explore the alternate means by which the artist community may retain a presence [and perhaps even thrive] in the area in the wake of the inevitable rising rent prices, speculative development and a failing Olympic legacy plan. I am proposing a scenario in which, after having been displaced from their existing live work environments [see above] in favour of more lucrative office rental and apartment living opportunities, the remaining artists begin to actively lay claim to spaces that have otherwise remained unoccupied. These inhabitations then form a network of mutually beneficial spaces facilitating the continuation of the process of art production and consumption. This often subversive inhabitation of the marginal or liminal spaces will be attained through physical manipulations of the existing physical environment as well as the manipulation of existing codes that currently regulate spatial production [see tactics for claiming space]. I am also proposing that the remaining artist community will actively seek to benefit from the increased footfall as a result of the Olympic site development and new station link both as a means of generating income and positively engaging with this new transient community of visitors.
building
services:
power,
DUPLICATING The claiming of space through the duplication of existing built elements such as walls, rooves and floors. The interstitial spaces created in this way can offer moments of concealment and solice.
[50 STUDIO SPACES]
A PORTRAIT BUSKER’S BOOTH_
This proposal represents one of a series of site interventions that set out to explore possible moments of encounter between the artist community and the stranger. This particular proposal investigates the moment of interaction between just one artist and one stranger. The booth serves as a space wherein the stranger may have his or her portrait drawn by an artist in exchange for a small fee. This encounter, therefore, offers the Stanger the opportunity to participate in a minor form of cultural production whilst simultaneously generating a small income for the artist. In this sense the booth can be defined as a type of shop in as much as it facilitates the sale of a material commodity, i.e. the drawn portrait, as well as an exchange of both time and skill.
LONDON 2012 OLYMPIC SITE
Hackney Cut +
The contained and intimate nature of the engagement, enforced by the narrow configuration of the booth space and the close proximity of artist and subject through the wall, offers the opportunity for conversation and the spreading of local news and gossip regarding future activities and events.
Queens Yard
Hackney Wick Rail Station
BEHIND CLOSED DOORS
1_ The booth is positioned adjacent to the existing white post lane studios. The street is addressed directly by means of a single narrow door that is left ajar whilst the booth is active – a passive means of generating intrigue and enticing the active explorer.
2_ A narrow step serves as the sole physical interjection into the street and this minor negotiation of level begins to physically engage the visitor with the experience.
Hertford Union Canal
White Post Lane
STRATEGY DIAGRAM SHOWING POTENTIAL MARGINAL SPACE INHABITATION
Anthony Hogger, Y5 ajhogger@gmail.com FIG. 07
3
10 17 4 11
Artist’s residency in the Wick: The residency explores the relationship between the existing artist community, the process of art production and the wider community. Occupying the future, disused, marginal and in-between spaces of a gentrified Hackney Wick, the residency represents one of a network of spaces created to retain and support the existing artist community.
16 1
9
9
10
10 13
15
12 5
5
15
5
2
The new residency seeks to question the traditional notion of the gallery as a space for the display of completed works, proposing instead a series of public walkways that celebrate the creative process, passing through active studios, workshops and informal display spaces. This public interjection through private studio space is controlled, at points, via kinetic facades that offer varying degrees of interaction between artist and visitor; from open engagement and possible participation and exchange to voyeuristic glimpsing of activity beyond the wall.
8
14
6 13
6
12 18
5
5
7
SHORT SECTION DD 1:20
THROUGH APPENDED STUDIO, GALLERY/WALKWAY, EXISTING WAREHOUSE & INTERNAL STUDIOS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
8mm Corten Steel plate Steel section [galvanised] Thermal insulation & vapour barrier Steel I-beam Suspended timber floor with underfloor heating and acoustic insulation Double glazed sliding panel Cement screed with underfloor heating Hanging bracket 10mm steel frame Double glazing Glare protection screen Suspended folded steel plate [ramp] Movable steel panel with inset micro louver array Counterweight Steel grate Existing warehouse structure Existing corrugated roof Timber bench [concrete inset]
fig. 1 : Claiming space – tactics for inhabiting disused space fig. 2 : Section D – Appended studio & gallery [walkway] fig. 3 : Perspective A – Opening, Concealing, Glimpsing fig. 4 : Initial intervention – A portrait buskers booth fig. 5 : Perspective B – The gallery
15
fig.1
fig.2
the wick workshops Thalia Charalambous, Y5 2010/11 ara10tc@sheffield.ac.uk
Located in Hackney Wick, which has been a place of transient industrial activity, the Wick Workshops provide spaces for people to engage with the act of making. The objects made are small-scale with reference to culture and food, and the building’s framework shapes a market space for these products to be sold or exchanged. The project addresses the immigrant community around Hackney Wick (fig.1,2) which carry rituals from their countries of origin to new surroundings. By designing spaces in which they can re-connect with these rituals, their adjustment process becomes accelerated. At the same time the exchange of skills and products with the Wick community results in the interweaving of the existing industrial character of Hackney Wick with the more personal scale making of day-to-day objects(fig.4,5). The building with its immediate context is separated into zones (fig.3); from the canal to the space between the building and the existing warehouse units: canal / public zone / preparation zone (integrated in the building) / performance of making / market (hub) (fig.6).
fig.3
fig.4
fig.5
fig.1 : Creative industries migrating east - transient communities in Hackney Wick fig.2 :Immigrants - identity expressed through habits and rituals fig.3 : Ground floor plan in context - division of site into different zones of activity fig.4 : Section through workshops - interrelated spaces and activities fig.5 : Axonometric of single workshop unit - from collective to individual fig.6 : Market space opposite existing warehouse units
fig.6
16
The School of Creative Unlearning: Social Assemblage Mainstream Secondary Education Whilst record numbers of students have been attending university within the past decade, a large number of young people are being failed by or education system. 31% of residents within Hackney Wick are listed as having ‘No Qualification’ whilst 25% are listed as having a degree or higher level of qualification. The School of Creative Unlearning seeks to bridge the gap between these two groups and promote creative learning amongst those failed by a ‘one size fits all’ education system.
Poor education and funding cuts are reducing opportunities for a generation of young creative’s. This coupled with high levels of youth unemployment has left this generation of young people feeling isolated and worthless. Some commentators have described this as the ‘Forgotten Generation’.
+
Hackney
?
Level 4/5
‘Loneliness’
+
Artists Similar/Potential Partner Organisation
Level 3
Writers
‘Worthlessness’
+
Actors
+
Level 1 Level 2
The school will also provide affordable working and living spaces for young creative professionals. In exchange for cheap live/work accommodation creative professionals will be expected to teach and provide roles models to pupils of the school.
Hackney Wick By Qualification
Artist
‘Worklessness’
+
Graphic Designers
The school will use existing local volunteering networks to facilitate creative professionals teaching within the school.
No Qualifications
Film Makers
20% 16-24 Year Olds
15%
Architect
10%
Primary User Client
Work
55+ Year Olds 1974
As well as the national organisations in place to deal with these issues such as Job Centre Plus and Connexions, Young Hackney (a branch of Hackney Borough Council) also supports young people within the local area.
1978
1982
1986
UK Unemployment by Age
1990
1994
1998
2002
2006
2010
Parkside Centre
The Wick School of Creative Unlearning
Social Workers
The Wick School of Creative Unlearning is envisaged as being one of these Units and will specialise in creative learning.
Volunteers
Careers Advisors
Young Hackney Stoke Newington
Discussion... Teach...
Concorde
Young Hackney Units Forest Road Centre
Learn...
Seek Advice...
A combination of both full time professional youth workers and volunteers from within creative industries would teach within the school.
16-25 Year Old ‘NEATs’
Hoxten Hall
Walk-In...
Partcipate...
Film
Rehearse
Art
Enroll
Young Creatives
Edit
Drama Music
Relax...
Key
By engaging in creative processes and displaying the products of these processes to others in the form of exhibitions, Performances and the sale of work, students are able to gain a strong sense of self-worth and belonging within Hackney Wicks already thriving creative community.
Perform...
Watch... ‘No Qualification’ Existing Routes
Individual
‘Degree or Higher Level’ Existing Routes
Action
‘No Qualification’ Projected Routes
Organisation
‘Degree or Higher Level’ Projected Routes
fig.1
Improvised Practice
Literature
Welcome...
Queue...
Within Young Hackney, Young Hackney Units are distributed throughout youth centres within the borough. Each of these Units has a specialist type of support for the young people of Hackney.
Live...
25-54 Year Olds
5%
Socialise... Play...
Eat/Drink...
Listen...
fig.2
The school of creative Delinquents Daniel Walder ddwalder@hotmail.com
The existing binary constructs within contemporary western society help us to understand the world around us. These simplifications of often, complex concepts enable us to make informed decisions throughout our lives. Left or right, right or wrong, these constructs allow little opportunity for those who wish to challenge embedded norms. The void between may harbor alternative readings of assumed truths and reveal a world of multiplicity. Through the proposal of a learning and living environment for ‘unqualified’ 16-25 year olds in Hackney Wick, The School of Creative Delinquents investigates the spatial potentials of creative learning. The project explores improvisation as a key component of learning and begins to test how space can be designed to have multiple readings and proposes an architecture of ‘unfinishedness’ intended to be impressed upon by the actions of its users.
fig.7
fig.3
A non-hierarchical series of interconnected spaces provide various learning and living environments that allow the buildings users to learn by questioning and experimenting with their environments.
fig.5
fig.1 : Concept image exploring the social and political context of the project fig.2 : Diagram exploring new and existing social networks within the project fig.3 : Concept diagram - The building is designed as a non-hierarchical series of equally important, interconnecting spaces fig.4 : External perspective fig.5 : Welcome space perspective fig.6 : Live / work / teach space perspective fig.7 : Partial Section through entrance and live/work/teach spaces
fig.4
fig.5
fig.6
17
Pressure drives passive ventilation of political gathering space and paper making platform below
Prevailing SW wind enters plywood wind catcher
Existing transitional structured buildings from Wick Lane Rubber Works (c.1889)
Printmakers’ Domestic Refuge
Screen Workshop
+5.5m Screen workshop in attic space above recycling hall Printmakers’ Domestic Refuge
Political Gathering Tower Existing red brick chimney c.1889
Passive ventilation driver
Printmakers’ Domestic Refuge
+5.5m Political Gathering Space in tower void
Printmakers’ Link
+3.0m Printmakers’ interstitial link from existing to new Public paper recycling viewing route
Paper Recycling Business Unit
Large Run Print Hall
Paper Recycling Retraining Space
Hand Paper Making Space
DACE ROAD
-9.0m
Stack effect ventilation
Shared Courtyard Loading Bay
fig.5
Perspectival Section BB of key interdependencies Scale 1:50
-1.0m Paper Loading Bay
Ambient industrial heat from paper making machine
Print Library
Recycled paper store
-5.0m Paper Recycling Platform
+9.0m Screen-making Workshop Writing Booths
Large-run Print Hall
Propaganda store
States of Interdependence THE PROJECT IS CONCEPTUALISED AS A SERIES OF INTERDEPENDENCIES BETWEEN THE TWO PROGRAMME ELEMENTS OF PAPER RECYCLING AND RADICAL PRINTMAKING, AS WELL AS TO EXTERNAL ACTORS. INTERDEPENDENCIES ARE MECHANISMS OF MUTUAL SUPPORT BETWEEN CO-OPERATING AGENTS. BOTH ACTIVITIES BENEFIT FROM THEIR INTER-LINKING SOCIAL-POLITICAL, ENVIRONMENTAL AND ARCHITECTONIC DEPENDENCIES.
-9.0m Large-run Print Hall in undercroft
+8.0m Political Gathering Space Balcony Printing Screens Store
fig.1
+5.5m Political Gathering Space Codesign Printspace
Social-Political Assemblage
hiding in plain text
Community Paper Recycling (CPR)
THE PROJECT’S SOCIAL-POLITICAL ASSEMBLAGE IS THE SYSTEM OF ORGANISATION BETWEEN THE ACTORS, AGENTS AND AUDIENCES OF THE COMMUNITY PAPER RECYCLING (CPR) CO-OPERATIVE (THE ‘PRODUCTIVE FRONT’) AND ITS POLITICAL PRINTMAKERS (THE ‘RADICAL BACK’). THE STAKEHOLDERS MOSTLY ORIGINATE IN THE LEA VALLEY AND SEEK SURVIVAL.
PRODUCTIVE FRONT
The paper recycling staff are either employees of CPR who are specialists in the industrial and hand-made paper-making processes, or radical printmakers who are staffing the recycling centre interdependently.
members
audience
Recycling & Waste, London Borough of Newham Neighbouring Local authority | Recycling contract for domestic paper waste | Sales of recycled newsprint for newsletters
Neighbouring Local authority | Recycling contract for council paper waste | Paper sales
Recycling Department, London Borough of Hackney Neighbouring Local authority | Recycling contract for social housing estate domestic paper waste | Sale of newsprint for newsletters
Commercial printers within ‘Printers Paradise’ cluster | Need recycling service | Need paper sales
paper recycling client & paper customer
paper recycling client & paper customer
£
Paper Recycling Staff
Paper Making Retrainees
Every member of CPR staff is eligible for co-operative membership. Printmakers who staff the recycling processes may only hold one membership.
Every person attending a paper-making training course is eligible for CPR co-operative membership
£
(Hidden Print Studio)
Board of Directors Mark Saunders
Public route
le in LB
East London Community Recycling Partnership
Newham
3 directors from community paper recycling realm Susan
Community Paper Recycling (CPR)
(Spectacle Media)
+ 3 directors from radical media realm
board give leadership and make decisions on issues affecting project’s survival through one director one vote system at board meetings
x3
informal observation & education Simon
Community Paper Recycling (CPR)
s ce
ng
pri
nd
Quadroprint
la
asi
cre
in
st
Paupers’ Press
in
la iva
l in rviva
ck
ey Wi
Hackn
Occuprint
Su
Co-operative instigated by architect
ers developing
radical printmak
Newly formed
A group of six besieged actors from paper recycling and radical media are brought together by me as architect and network instigator.
Environmental
Establis
domestic refuges
The Hidden Print Studio
hed com
munity
media
The group form the board of directors for Community Paper Recycling (CPR), a common interest community co-operative that will include both recycling and printmaking members.
Blackrose Press
Spectacle Media See Red Womens’ Workshop
The group is searching for survival. It will begin to make invitations to East London’s radical printmakers to settle in the Fish Island refuges, as well initiating district-scale paper recycling processes.
the location of printmaking activities in secret
Hackney Wick
Paul O’Neill
Olympics Site
Fish Island
(Quadroprint)
Local Activists & Campaigners Community Groups & Unions
s up lg ro ca d lo
ism tiv
ba ttle
t ac
em
inis fem
po we r th at e
m
-run ning
rs
ng
ap e
d lo
wsp ne
ure an
un
ruct
n Lo
m g co m
rp
l
cal
sign
fo
of
radi
Campaigners for greater equality Local activists and campaigning groups from the Lea Valley who need print material to advance their campaigns
Local community groups Groups running local campaigns that require posters, leaflets and other print production.
Print customers
Paupers’ Press
See Red Women’s Workshop
Calverts Press
Women in Print
70s- | Anarchist & community press for radical newsprint | Digital & screen print
1974- | Women’s collective of feminist campaigning printmakers | Screen print
1977- | Common ownership worker co-op of radical designers | Screen print; digital
1970- | Feminist printing collective with ‘no hierarchy’ | Screen print & offset litho
Print customers
East London’s radical political printmaking collectives are returning to physical space and the printed page due to increasing internet censorship.
eria mat
Calverts
e de rativ
bo
lla d co
e rativ
ct stru
Docklands Community Poster Project
-ope
in neration
itable rege
Invited to return to physical space/production
19
an ure
np
Co
in
gre
ro
rs
t ca rin
e ign
pa
m
ee Scr
o lp
ca
e lo ssiv
ati n
2011- | Posters related to the Occupy Movement | Screen print & digital
stig
Occuprint
1980- | Workers’ co-op of CND & NUM propaganda | Screen print & badges
-1.4m Fire Escape to Courtyard
s
70
nce
n si
do
cs
liti
ity
based on. uction of Occ
Fly Press
1981- | Community group challenging private development | Billboards
cal st
Docklands Poster Project
1980s- | Anarchist co-operative with democratic structure | Screen print
rchi
Blackrose Press
of in
Print collaborators & customers
His to ry
Political groups seeking greater equality and social justice in the Lea Valley region.
Prolific
Protestors & Radicals
members East London’s political radicals
upy Mov ement
Invitatio ns to tak e up res idency prod
Resident Radical Printmaking Collectives audience
Non -hie ra
Responsibility for
Material
Printmaking customers & collaborators
posters
..
2. members members vote on all operational decision affecting CPR, using a one member one vote system at regular meetings
in 2011-12
Spatial
The project explores the themes of print media democratisation and local economic resilience in rapidly gentrifying places. In an age of increasing internet censorship and large-scale displacement from around the nearby Olympic Park, Hiding in Plain Text proposes a model of mutual support for besieged activities. The assemblage of actors seeks close inter-reliance (organisationally, spatially and environmentally); an unordinary arrangement of domestic, artistic and industrial space; and an architectural narrative from attic to cellar. The concept of structural honesty and dishonesty is derived from the tradition of radical printmaking in the Lea Valley, and the unique transitional-structured buildings in Fish Island.
er Ham in LB Tow
rv
x3
Greg
Derek
board
Passersby from local area and visitors to Olympic Park using public route through paper recycling realm
Unemploy ed peop
Su
1. directors
£ Community Paper Recycling (CPR)
Users of public route
CPR’s Productive Front of Paper Recycling has economic, environmental and social remits.
ga
External
Other radical and commercial printmaking groups in East London
Contract for paper recycling
lets
people
loyed
Unemp
The social remit is realised through retraining courses in paper making open to unemployed people in the neighbouring boroughs.
Interdependencies
Other printmaking groups
£
Unem
Economic and social remit
The economic remit is to generate revenue, both to expand the recycling activities and support the printmakers.
Social-Political
Hackney Wick printers
Contract for paper recycling
ney
peop
ed ploy
Courses help the unemployed back into work by providing specialist skills and general work experience.
Resources
Hiding in Plain Text is a self-organised assemblage of community paper recyclers and radical political printmakers, who come together by forging interdependencies to survive in East London’s Lea Valley. In Fish Island, the assemblage commissions a centre for newsprint remanufacturing with printmakers’ domestic, artistic and political spaces concealed within.
Waste Department, London Borough of Tower Hamlets
£
The co-operative’s social remit involves running courses in paper making for unemployed people from the three neighbouring boroughs.
s aker per intm pa l pr the dica aff m Ra to st real g help clin recy
Paper recycling clients & paper customers
christophercarthy@gmail.com
Contract for paper recycling
Informal Print Gallery
ck LB Ha
le in
Paper recycling staff are made aware of the printmaking activities at the site when the printmaking membership indicates that it has confidence in them.
Responsibility for
Christopher Carthy, 6th Year
CPR is a community of interest co-operative of paper recyclers led by a board of six directors. A clandestine group of radical political printmakerstake take refuge within the co-operative and the architecture, forging interdependencies between the two realms.
Visible
ns for equ campaig
Supporting women’s
Supporting the
ds area
Docklan
screen print right to equality through
CND campaign
and workers’
rights since 1980
Women in Print
CPR’s Board of Directors invite eight of East London’s most prolific political printmaking groups to take up a permanent residency in the project’s domestic refuges.
Fly Press
The invitations are made based on a commitment to campaigning printmaking with ambitions for greater equality and social justice in East London.
Ink Store
All resident and non-resident members of collectives eligible for CPR co-operative membership, and therefore hold member voting rights
RADICAL BACK Former locations of the project’s key agents Lea Valley
fig.2
-5.0m Large-run Print Control Room
fig.1 : States of Interdependence. Sectional perspective showing key spatial, environmental and structural interdependencies between paper recycling and printmaking realms.
Writing Booth
Level +3 +8.0m Codesign Print Shop +8.0m Writing Booths (upper) +9.0m Screen Workshop
Screen Workshop Codesign Print Shop
Bedroom
Bedroom
Level +2 +6.0m Domestic Bedroom
fig.2 : Social-political Assemblage. The project’s actors/agents and their organisational relationships.
Level +1 +3.0m Domestic Living Room & Bedroom +2.5m Public Route +1.5m Writing Booths (lower) +5.5m Political Gathering Space
fig.3 : An Unordinary Domestic-Artistic-Political-Industrial Arrangement. Section through terraced frontage and unexpected montage of spaces concealed behind.
Level 0 +0.0m Street Level -1.4 Self Help Community Print Space
Living Room Writing Booth
Kitchen DACE ROAD
Public Route
Printing Plate Cache
Public Route
-9.0m Large-run Print Hall
Self Help Community Print Space De-inking Space
Terraced Frontage
SMEED ROAD
Paper Recycling Platform
Level -1 -5.0m Paper Recycling Platform
fig.4 : Printmakers’ Journey from Attic to Cellar. Stair section embodying processional, social and political issues of printmaking process.
An Unordinary Domestic-Artistic -Political-Industrial Arrangement Level -2 -9.0m Large-run Print Hall
fig.5 : Large Run Print Hall. Printmakers’ journey culminates in cellar print hall.
Printmakers’ Journey from Attic to Cellar
Printmakers’ Stair (See Detail Section DD)
FISH ISLAND’S URBAN TISSUE HAS SUFFERED FROM OVERBEARING ZONING AND WAVES OF RAPID CHANGE. THE SCHEME HEALS AN URBAN BLOCK BY REINSTATING A TERRACED FRONTAGE- THIS TYPOLOGY LINED THE SITE BEFORE INDUSTRIALISATION. BEYOND THE CONVENTIONAL FRONT, PRINT COLLABORATORS ARE TAKEN THROUGH A SEQUENCE OF INCREASINGLY UNORDINARY SPACES WHERE ‘ZONE BOUNDARIES’ ARE LOWERED. A STRONG VISUAL LINK CONNECTS DOMESTIC BEDROOMS TO SUSPENDED WRITING BOOTHS; THE SELF HELP COMMUNITY PRINT SPACE TEMPORALLY EXPANDS INTO THE INDUSTRIAL DE-INKING SPACE DURING OUT-OF-HOURS.
THE PRINTMAKING PROCESS IS ARRANGED ALONG A VERTICAL JOURNEY FROM THE ATTIC TO THE CELLAR. THIS BACHELARDIAN ROUTE CONNECTS THE PRINTMAKING SPACES; FROM THE TIMBER WRITING BOOTHS IN THE ROOF SPACE TO THE LARGE-RUN UNDERCROFT PRINT HALL. A SERIES OF DEVICES IN THE STAIR CORE, SUCH AS THE PRINT LIBRARY AND PRINTING PLATE CACHE, ARE ENGAGED WITH. THE ARCHITECTURAL LANGUAGE EXTRAPOLATES THE CONCEPT OF (DIS)HONESTY BY REPEATEDLY REVEALING STRUCTURAL DISHONESTIES IN THE STAIR.
Large Run Print Hall
Printmakers’ Stair Section DD Scale 1:20 Section AA Scale 1:100
Concept Section
fig.3
fig.4
18
Collective Living and Ownership - Enabling a New Model of Affordable Urban Housing
12
4
- to prevent the ‘blank canvas’ of new development by encouraging social interaction through communal living
Barges transport reusable materials from decommisioned temporary Olympic venues.
2
Materials lifted from cargo barge using gantry crane.
3
Re-approiating the existing steel frame on the sofa factory gable end.
4
Crane unites material processes, from collection at canal to distribution from store.
5
Workshop reconditioning recycled materials and components and for manufacturing bespoke housing components.
6
13
Transitional Co-housing
1
7
Building Collective
8
- to enable the construction of new affordable dwellings on Bream Street Community Land Trust land
9
The single storey flats on the south side are for small households - singles, couples and small families. They share a central core of accomodation, with more private spaces moved to the edge of the plan.
The new orangery housed inside the existing steel frame is a communal asset. The Material store of reconditioned materials for housing construction on becomes a social enabler, encouraging activity of maintaining this shared ammenity Bream Street site. group co-operation.
Shared utility spaces enable the individual homes to be reduced in size, increasing the habitable density and allowing more people to live in the Build Store’s transtional cohousing.
Material connects by road with other local construction projects.
Materials sourced from outisde Lea Valley delivered to Bream Street site by road Public facing reconditioned material and component shop.
10 Drop-in advice centre and material store, with skill and trade literature library.
7 11
The single storey flats on the south side are for small households - singles, couples and small families. They share a central core of accomodation, with more private spaces moved to the edge of the plan.
Communal living, cooking and eating spaces enable cohousing - a new model for collective living. The cohousing model encourages people to share social activities and chores, creating a more sociable and sustainable neighbourhood.
11 Co-housing vertically removed from industrial processes, with large communal functional and social spaces.
6
Most private co-housing accommodation housed vertically higher for 12 privacy.
13 Private amenity for co-housing residents. 10
East London Community Build Store - to demonstrate the capability of self-build housing on Community Land Trust land as an effective system for delivering affordable and sustainable urban housing
9 3
East London Community Build Store 5
2
Community Buildstore
- to establish a spearheading self-build centre to propagate and encourage of self-provided housing
Material Re-appropriation
- to re-appropriate temporary Olympic materials to create a lasting legacy that benefits East London
8
The Bream Street Community Land Trust’s Common House is a private ammenity, shared between the residents. The Common House’s completion - the final phase of the Bream Street CLT’s construction - enables the CLT to become a distinct entity from the Build Store.
The two-storey houses on the north side are for large families.The houses share a central courtyard, a place for children to play and adults to socialise. The soft division between the homes allow the families to share the benefits of cohabitation, whilst still having private homes.
1 Each house or flat has access to one of two private shared gardens. These spaces are secure and visible from the individual homes, and thus are a safe place for children to play, compensating for the lack of public space in Hackney Wick.
fig.1
The responsibility for the upkeep of the shared gardens rests with the surrounding households, facilitating community co-operation.
Whilst the need to create affordable housing is an issue endemic to much of East London, the build stores response to this issue is entirely site specific. The unique position, adjoining a transportation vein proximal to the Olympic Park, affords the site unique access to the waste created from temporary Olympic venues. Reusing the site’s existing infrastructure provides opportunities to bring waste onto the site by canal or by road. A gantry crane links the linear material reconditioning processes, transporting components through the building zones until ready for distribution, either to the Bream Street site, or to other local construction sites.
Developing Build Store Site Programme
The co-housing sits alongside the industrial processes, allowing residents to engage with the construction of their future homes.
The Community Land Trust’s ownership model creates much ambiguity over the definition of community, when not all the members of the community are eligible for a home on the site. The Bream Street CLT counters this by creating new community amenities, in the form of two new connections to the canal, a public boulevard and square with play facilities for anyone in the local area. This is made possible by the site’s increased density, enabled by the mechanism of collective living engendered in the Build Store’s transitional cohousing.
Bream Street Community Land Trust
East london community Land Trust & Build Store
Each household has their own private external space. The houses all have a small private garden which serves as an acoustic and privacy buffer, while the flats all have balconies with views to the canal or gardens.
Key The site is pedestrianised save for the car club parking spaces. The shared ownership of transport reduces the impact of cars on the site’s landscaping, and frees up more space for public ammenity.
Nick Hunter, Year 5 nickhunter00@gmail.com
Collective Amenity Space Collective Living Space
When designing their homes, the residents are free to choose the degree to which they share accomodation with their neighbours. Some adopt a very liberal approach to cohabitation, sharing most of their accommodation, some are more conservative choosing to share only a portion of their living space, while others choose to only use the communal facilities of the Common House.
Shared External Space Shared Living Space Private External Space
This process creates a more diverse housing stock, with a range of different lifestyles accomodated across the site.
fig.2 Supportive Industrial Programme Enabling Domestic Process
The East London Community Build Store is a holistic alternative model for rehousing displaced households from across East London in self-provided affordable homes on community owned land. The project counters the speculative model of housing delivery by proposing collective living as way to increase density on urban sites.
1.8 1
communal avenue links both single storey ats and two storey houses - the narrow gauge causes more frequent encounters with neighbours, encouraging neighbourly interaction
felt roo ng 18mm WBP plywood 120-200mm rigid insulation to falls 146mm cross laminated timber
3mm extruded galvanized zinc pro le window reveal aluminium ashing timber window frame 24mm double glazing panel birch window sill
18mm translucent polycarbonate sheet 80mm steel box section
private master bedroom
private second bedroom
3mm extruded galvanized zinc pro le window reveal aluminium ashing 350mm existing brick wall, english bonded 12mm steel C-section lintel 100mm rigid insulation recessed alumiumium window frame 8mm single glazing panel birch window sil
60mm sinusoidal pro le bre cement cladding timber batons damp proof membrane 150mm rockwool insulation 100mm cross laminated timber panel
the exposed surface nishes encourage residents to co-operatively re-appropriate their collective living enviornments
private shared living space
private shared kitchen and circulation
sheltered shared entrance private kitchen
communal avenue
shared courtyard
shared courtyard acts as social catalyst, with the kitchens of both of the adjoining homes opening into it - allows space for children to play under supervision of either family
sheltered shared entrance
the living space shared between smaller households encourages socialising and promotes the bene ts of communal living - one large living space rather than two small ones - enabling households to cohabit and allowing the Bream Street housing to work at greater density 50mm precast concrete paving slab 50mm sand bed 100mm rigid insulation 500mm reinforced concrete slab 350mm x 250mm in-situ cast concrete padstone 450mm existing brickwork, english bonded
100mm polished concrete screed 120mm rigid insulation 500mm reinforced concrete slab
fig.3
large material and component racking
fig.1 : Build Store Site Programme: A startegy to reappropriate two existing buildings - industrial relics - into an enabling mechanism for creating a new system of affordable housing.
brick paving, reclaimed from existing south facade sand lled joints 25mm sand bed 100mm course gravel aggregate water proof membrance 500mm concrete slab
distribution bay
brick paving, reclaimed from existing south facade sand lled joints 25mm sand bed 100mm course gravel aggregate water proof membrance 500mm concrete slab steel guide bolts, cast into concrete 50mm rubber acoustic pad bespoke steel I-section, 100mm x 300mm 632mm UB steel section
small component stores
single skin brick work outer leaf 250mm steel I-bream aerated concrete blockwork (sat inside steel ange)
the build store's reprocessed materials store enables both the construction of the housing on the new Bream Street Community Land Trust, and other East London residents hoping to self-build rather than buying a home
fig.2 : Multiple Collective Living & Ownership: The project enables a new model of affordable urban housing, by encouraging households to live more collectively on a communally owned site.
medium material stores
industrial access route
forklift bay
fig.3 : Bream Street Community Land Trust - Phase 4: The housing construction on the site is phased but forms around shared gardens, with each phase co-designed collectively by the individual households.
250mm steel I-bream steel guide bolts, cast into concrete foundation new concrete strip foundation
fig.4 : Cohabiting Families - Shared Courtyard: Shared spaces in the temporary housing encourage households to live collectively, and enable future homes to be built at greater density. fig.5 : Supportive Industrial Programme Enabling Temporary Rehousing: The new residential programme is inserted into the existing building’s shell, with cross-laminated timber structure enabling rapid construction.
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The project is located on two sites - Swan Wharf (the enabling site) houses the project’s industrial programme – recycling waste building materials for use as building products - and a domestic cohousing programme – a model of collective living which encourages shared ownership and living at greater density. The project’s second site, Bream Street, becomes London’s first Community Land Trust - an ownership model which removes the land value from the value of a home, ensuring urban housing remains affordable - and is the site where the affordable new homes are built. The project aims to challenge the current speculative model of housing delivery and the weak neighbourhood community that it can engender. Instead, it proposes that enabling mechanisms of self-provision, collective living and mutual ownership can create stronger communities and a sustainable legacy of affordable urban housing in East London.
60mm sinusoidal pro le bre cement cladding timber batons 150mm rockwool insulation 100mm cross laminated timber panel linseed oil nish
aluminium roof ashing 60mm sinusoidal pro le bre cement cladding aluminium box gutter 30mm rough sawn timber 50mm rigid insulation 100mm cross laminated timber panel linseed oil nish
450mm existing brickwork, english bonded existing concrete strip foundation new concrete underpinning
the industrial activity in the live/work plinth enables the creation of both the transitional cohousing at Swan Wharf and the future creation of homes on the Bream Street Community Land Trust
the retention of much of the existing structure allows a housing for the industrial processes to form quickly, enabling a more rapid construction of the housing
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fig.4
fig.5
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fig.3 fig.1
fig.2
Changing identities Changing Identities artists movement Artistssquatting squatting movement Reena Y Gaikwad, MAAD reena_gaikwad@hotmail.com The approach to sustain the artist community even after gentrification and regeneration hits the place and the rents increase. Creating a collective interaction within the community, to withstand the development and form a strong structure of economic, political, cultural which helps to self-organise them.With this structural system they would be constantly creating to sustain their living and evolve a social environment. fig.4
Exisitng Artist community in Hackney Wick called ‘Performance space studio’ is the client since it targets the same approach with its liberal manifesto and belonging. The site Swan Wharf ‘s extended warehouse falls in the heritage conservation area. The concept is not to impose a structure or a mass on the community. Considering the brutal concrete frame of the warehouse, the artist themselves would squat the frame where they could built their own built form for dwelling and studio space. By providing temporary and mobile modules like moving dismantable slabs and walls, the artist community would adapt and re- arrange according to the functions and requirements they would seek to self organise. The materials that they use would be re-cyceld ones to cut down the cost and have a sustainabe approach.
fig.4
fig.1 : Formulation of structural system for the artist community. fig.2 : Site Planning - Design Strategies fig.3 : Time-line of squatting the frame and how the structures become from temporary to permanent.
Spatial use
Spatial use
fig.4 : Assembly of the various kinds of slabs to form double, triple height spaces and to create an ambiance as an when required.
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