ESALA MArch2 Academic Portfolio Yunning Zhang

Academic Portfolio: Yunning Zhang master of Architecture 2020-2022 s1994089 Tutor: Adrian Hawker/Victoria Clare Bernie ESALA

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GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. The graduate will have the ability to: GC1 The graduate will have the ability to: .1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC2 The graduate will have knowledge of: .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

GC3 The graduate will have knowledge of: .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, interms of their conceptualisation and representation.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC4 The graduate will have knowledge of: .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC5 The graduate will have an understanding of: .1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit in to their local context.

GC9 The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC6 The graduate will have an understanding of: .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities.

GC10 The graduate will have the skills to: .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

GC7 The graduate will have an understanding of: .1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

GC8 The graduate will have an understanding of: .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

GC11 The graduate will have knowledge of: .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have:

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

.2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals;

.3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; .4 critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design;

.5 understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation;

.6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances;

.7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

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[year} MODULE / STUDIO TITLE: module / studio subtitle [2020] course title Academic Year of Study [Semester of Study]

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2020 ISLAND TEMPORALITIES

Manhattan Camera Chamber City sounds

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[unit synposis] The Studio will begin with a period of introduction and self-declaration. This will be an opportunity to identify and voice individual interests and concerns that can be offered to the studio collective with a view to the identification of strategic, productive and resilient architectural Ateliers, groups of students working in a critical collaboration, centred on one of the eight island conditions offered to the thesis.

Move01: Register Things we Draw from Storm You are invited to create a device for drawing and registering a storm where the device can be a machine or a strategy – a set of instructions – and the storm either a real or historic or indeed fictional event. Storms rearrange the logic of the world, the order of things, they produce new hybrids, curious combinations both at the scale of the landscape and the scale of the detail. A storm floods a low-lying area of land and creates a lake requiring a ferry boat to move between places previously traversed over land, a flood recalibrates a building and requires the reorganisation of its inhabitation, a shipwreck on the beach of an island becomes the raw material for a church.

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

[Learning outcomes] LO1 GC 1.3, 2.3, 3.3 GA 2.1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

LO2 GC 1.1, 1.3, 2.3, 5.1, 5.3 GA 2.1 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns.

LO3 GC 1.1, 3.3 GA 2.2 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

Move 01: Register things we draw from the storm

Task device Pronunciation: /dvs/ noun 1. a thing made or adapted for a particular purpose, especially a piece of mechanical or electronic equipment: a measuring device 2. a bomb or other explosive weapon: an incendiary device 3. a plan, method, or trick with a particular aim: writing a letter to a newspaper is a traditional device for signaling dissent 4. a form of words intended to produce a particular effect in speech or a literary work: a rhetorical device 5. a drawing or design: the decorative device on the invitations 6. an emblematic or heraldic design: their shields bear the device of the Blazing Sun 7. [mass noun] archaic the design or look of something: works of strange device

Response Information Storm: Personal Archive can be considered as a little information storm. It usually had sizeable digital space for storing information and conclude various data in a different format. Such as JPG, MPEG, PDF storage in hard disk and SSD. This project was simulated an information storm separated and combined the two critical elements for narrative, Image and Sound. To re-unity the evidence for the story, two typical resources be selected for operation, film and music. Clear the movie sound and insert new music. It might create a new theme of narrative in the movie.

Material: To achieve common consensus. The movie was selected Godfather-part2; it is a familiar movie. Besides, music list contains various of my favourite song. If it is successful, it could like a prove of lobotomy in Rem Koolhaas’s theory. There have no necessary links and sequence between image and sound for narrative. This may also help understand the volatility of people’s positions, speech, and emotions.

Register: Register record the convert of the original film from consensus to anti-conscious. The new story different and conflict from the original story.

After the information storm. Corrupt officials can claim justice word, tense shooting atmosphere convert to the mercy of helpless, Interest struggle can be considered as a sacrifice. Assassinations can be seen as outdoor recreational fishing.

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

Move 02: Survey Chimera and Plane Table

Task The Plane Table is an analogue device used in the field for surveying and cartography. In its most rudimentary form, it is a surface that can be used as a drawing board that is attached to a firm base in such a manner that it can articulate in all directions so as to be levelled to form a true, hor zontal plane. This is a process often undertaken with the aid of spirit levels set into the table’s surface. The base is invariably a tripod whose legs can be adjusted so as to be able to negotiate rough, uneven ground. Upon the surface of the Plane Table is set an alidade, a metal rule with a sight at either end. This rule can be turned to line up with a position of interest allowing a line to then be drawn along its straight edge to form an axis between viewer and the object or feature under scrutiny. The alidade can be used with other, more conventional, drawing devices such as rulers, compasses, French curves and setsquares to develop a graphic depiction of the terrain being surveyed – a form of cartographic manscript to be worked up later, back in thedrawing office.

Response Information Storm: Personal Archive can be considered as a little information storm. It usually had sizeable digital space for storing information and conclude various data in a different format. Such as JPG, MPEG, PDF storage in hard disk and SSD. This project was simulated an information storm separated and combined the two critical elements for narrative, Image and Sound. To re-unity the evidence for the story, two typical resources be selected for operation, film and music. Clear the movie sound and insert new music. It might create a new theme of narrative in the movie.

Material: To achieve common consensus. The movie was selected Godfather-part2; it is a familiar movie. Besides, music list contains various of my favourite song. If it is successful, it could like a prove of lobotomy in Rem Koolhaas’s theory. There have no necessary links and sequence between image and sound for narrative. This may also help understand the volatility of people’s positions, speech, and emotions.

Plane Table: Planetable can collect the pieces of architecture which scenes happened. It works through time and space. by adjust angle and scale on the surface of the plane table. it is a collage of event’straces in architecture piece

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

Move 02: Survey Chimera and Plane Table

Response Plane Table: Planetable can collect the pieces of architecture which scenes happened. It works through time and space. by adjust angle and scale on the surface of the plane table. it is a collage of event’straces in architecture piece The railyway development of Manhattan from1900-2000 contribute the metropoli island making, and film is one of many cultures. eager to meet revolution.

Chronology of grand central station

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

Move 02: Survey Chimera and Plane Table

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

Move 02: Survey Chimera and Plane Table

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

move 03 Inhabit Chamber Lock (i) Task The individual development of a prototypical architectural moment as a response to the analytical enquiry of thePlane Table in considered dialogue with the fabric of the Chimera.

As an individual, you are asked to design and present an architectural form of inhabitation at the intimate scale of the Chamber and the sophisticated precision of the Lock. As a Chamber, its architecture should provide sufficient accommodation (and no more) for the private repose and obsessive activity of an occupant whose concerns are informed by a particular aspect of the research and analysis embedded within, and revealed through, the design of the Plane Table. As a Lock, its arch tecture should engage with the spatial grain and fabric of the Chimera – it should lock in place, engage. The four Chamber Locks of the atelier should be in clear dialogue with one another across the terrain of the Chimera and in relation to the Plane Table. Such an architecture is intentionally small and forms a knowing correspon ence with the worlds in which we, at present, find ourselves living and creating.

Response Amplified scene system Watchbox setted on the top of the watch tower, it can amplified the image and sound outside which comes from specific area, it could be a monitor for me to observe the city scene.

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

move 03 Inhabit Chamber Lock (i)

Task The individual development of a prototypical architectural moment as a response to the analytical enquiry of thePlane Table in considered dialogue with the fabric of the Chimera.

As an individual, you are asked to design and present an architectural form of inhabitation at the intimate scale of the Chamber and the sophisticated precision of the Lock. As a Chamber, its architecture should provide sufficient accommodation (and no more) for the private repose and obsessive activity of an occupant whose concerns are informed by a particular aspect of the research and analysis embedded within, and revealed through, the design of the Plane Table. As a Lock, its arch tecture should engage with the spatial grain and fabric of the Chimera – it should lock in place, engage. The four Chamber Locks of the atelier should be in clear dialogue with one another across the terrain of the Chimera and in relation to the Plane Table. Such an architecture is intentionally small and forms a knowing correspon ence with the worlds in which we, at present, find ourselves living and creating.

Response Pin hole camera chamber 1. Stairs bridge The series of watchbox locked in the tower with connection to the pieces of landscape.iT CONNECT WITH CHIMERA BY LIGHT AND SOUND’S ORCHESTRA. Concrete walls with acoustic. walls build a shell for the inner timber structure rise up. the wood material also allow make image which collected from pinhole become soft and warm.

2. Isolation chamber: It can amplified the image and sounds through inner 2 seperated space, one is timber wood holded pinhole camera, the other is acoustic wall hang on the concrete shell, with the shell embedded in the thick ground”mountain”. A small camera chamber could work to monitor outside environment such as rainny, noisy.

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[2020] ISLAND TEMPORAITIES: Manhattan design studio D MArch1 [Semester 1]

move 03 Inhabit Chamber Lock (i)

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[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

2020

TECHNOLOGY RESEARCH:

architectural technology research

[Course Aimes] [A1] To develop approaches for research in technology and environment, and reflect on its role in the design process.

[A2] To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form.

[A3] To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

[unit synposis] This course emulates the role of the researcher-practitioner, recognising that most architectural projects necessitate a level of technological investigation as a prerequisite to successful integrated design. The course runs throughout Semester 1 of the first year of study with a series of trigger lectures on contemporary architectural technology and environmental issues. The requirements of this course are to do with the development and research of a particular technological theme.

This course is intended to accumulate various sets of information that are both contextualand responsive to contemporary technological issues. This will be achieved by means of the student’s involvement in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.

[Learning outcomes] [LO1] GC 5.2, 7.1, 7.2, 8.1, 9.1, 9.2; GA 2.3 An ability to appraise the technological and environmental conditions specific to issue in contemporary architecture, eg. sustainable design.

[LO2] GC 5.1, 5.3, 8.1, 8.2, 8.3, 9.1, 9.2; GA 2.3 An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

[LO3] GC 8.2, 9.1, 9.2; GA 2.2, 2.3 An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

[LO4] GC 5.2, 5.3, 8.3; GA 2.3 An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

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[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 01 GENERIC STUDY

Task The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world. The research question must be agreed with your tutor. Submission requirements: An illustrated summary document appraising and presenting the key issues of the topic with a clear conclusion (approximately 2000 words); Relevant data and case studies (within the report and/or as appendices); Response From the perspective of window variables, it can be analyzed from four aspects. The first is the position and size, the second is the shape, the third is the constituent element, and the fourth is the structural energy saving. The sim lation location is set to the United Kingdom.

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[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 01 GENERIC STUDY

Task The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world. The research question must be agreed with your tutor. Submission requirements: An illustrated summary document appraising and presenting the key issues of the topic with a clear conclusion (approximately 2000 words); Relevant data and case studies (within the report and/or as appendices); Response From the perspective of window variables, it can be analyzed from four aspects. The first is the position and size, the second is the shape, the third is the constituent element, and the fourth is the structural energy saving. The sim lation location is set to the United Kingdom.

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[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 01 GENERIC STUDY

Task The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and organisations around the world. The research question must be agreed with your tutor. Submission requirements: An illustrated summary document appraising and presenting the key issues of the topic with a clear conclusion (approximately 2000 words); Relevant data and case studies (within the report and/or as appendices); Response From the perspective of window variables, it can be analyzed from four aspects. The first is the position and size, the second is the shape, the third is the constituent element, and the fourth is the structural energy saving. The sim lation location is set to the United Kingdom.

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[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 02 CONTEXTURAL STUDY Task Successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio. The research should consider a particular context (eg design studio). You may wish to discuss this with your studio course leader. The topics for the studies are subject to agreement with the course o ganiser. Submission requirements: An illustrated document critically analysing and synthesising key issues of a technological and/ or environmental issue or intervention and considering the impact of it on a context (approximately 2000 words) Relevant data and case studies (within the report and/or as appendices) Response The report uses RHS as a problem and venue.

RHS is a city landmark protected by the United Nations and its low space utilization rate makes it difficult to develop new business formats. Moreover, the government spends a lot of money on maintenance every year, which makes it difficult to create value. It believes that the fundamental problem lies in the poor quality of the space light environment. The past construction standards are difficult to adapt to the lifestyles of modern people, which makes it difficult for people to use the internal space and cannot be rebuilt on a large scale because of protection. We hope to re-awaken the space of RHS through the study and operation of light and revitalize it.

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[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 02 CONTEXTURAL STUDY Task Successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio. The research should consider a particular context (eg design studio). You may wish to discuss this with your studio course leader. The topics for the studies are subject to agreement with the course o ganiser. Submission requirements: An illustrated document critically analysing and synthesising key issues of a technological and/ or environmental issue or intervention and considering the impact of it on a context (approximately 2000 words) Relevant data and case studies (within the report and/or as appendices) Response The report uses RHS as a problem and venue.

RHS is a city landmark protected by the United Nations and its low space utilization rate makes it difficult to develop new business formats. Moreover, the government spends a lot of money on maintenance every year, which makes it difficult to create value. It believes that the fundamental problem lies in the poor quality of the space light environment. The past construction standards are difficult to adapt to the lifestyles of modern people, which makes it difficult for people to use the internal space and cannot be rebuilt on a large scale because of protection. We hope to re-awaken the space of RHS through the study and operation of light and revitalize it.

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GC[11]

[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 02 CONTEXTURAL STUDY Task Successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio. The research should consider a particular context (eg design studio). You may wish to discuss this with your studio course leader. The topics for the studies are subject to agreement with the course o ganiser. Submission requirements: An illustrated document critically analysing and synthesising key issues of a technological and/ or environmental issue or intervention and considering the impact of it on a context (approximately 2000 words) Relevant data and case studies (within the report and/or as appendices) Response The report uses RHS as a problem and venue.

RHS is a city landmark protected by the United Nations and its low space utilization rate makes it difficult to develop new business formats. Moreover, the government spends a lot of money on maintenance every year, which makes it difficult to create value. It believes that the fundamental problem lies in the poor quality of the space light environment. The past construction standards are difficult to adapt to the lifestyles of modern people, which makes it difficult for people to use the internal space and cannot be rebuilt on a large scale because of protection. We hope to re-awaken the space of RHS through the study and operation of light and revitalize it.

22

Island temporalities

GA[2.1]

[at r]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2020] TECHNOLOGY RESEARCH: architectural technology research MArch1 [Semester I]

brief 02 CONTEXTURAL STUDY Task Successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The aim of the Contextual Study is to develop a deep understanding of a topic to support design development within the studio. The research should consider a particular context (eg design studio). You may wish to discuss this with your studio course leader. The topics for the studies are subject to agreement with the course o ganiser. Submission requirements: An illustrated document critically analysing and synthesising key issues of a technological and/ or environmental issue or intervention and considering the impact of it on a context (approximately 2000 words) Relevant data and case studies (within the report and/or as appendices) Response The report uses RHS as a problem and venue.

RHS is a city landmark protected by the United Nations and its low space utilization rate makes it difficult to develop new business formats. Moreover, the government spends a lot of money on maintenance every year, which makes it difficult to create value. It believes that the fundamental problem lies in the poor quality of the space light environment. The past construction standards are difficult to adapt to the lifestyles of modern people, which makes it difficult for people to use the internal space and cannot be rebuilt on a large scale because of protection. We hope to re-awaken the space of RHS through the study and operation of light and revitalize it.

23

Island temporalities

[ds c]

[2020] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

2020 ISLAND TEMPORALITIES

Manhattan Manhattan Film Archival City sounds

[Course Aimes]

[unit synposis] Odysseus’ journey as it is recounted by the blind poet Homer in the Odyssey is non-linear. We do not start at the beginning and move through a succession of logical events to a tidy conclusion. This does not simply follow that.Instead, we begin at the end, in the detail of the present day and the malevolent decadence of the suitors willfully eating Penelope and her young son Telemachus out of house and home. We then shift back in time to the conclusion of the Trojan War, oscillating between duals and battles, storms, adventures and perils until our hero, Odysseus recounts his travails – the fantastical adventures of his long journey home – to his last and most generous host. On completion of his story, and following a well-deserved sleep, he finds himself once more on the shores of home, Ithaca, kingdom and family. Moving between scales and across great oceanic landscapes the story encompasses the intimate detail, the pivotal moment and the greater topography of events. It is a paean to the story within a story.

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

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

LO2 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns.

LO3 The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

LO4 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

GC 1.3, 2.3, 3.1, 7.2, 7.3 GA 2.1 GC 1.1, 1.3, 2.3, 5.1, 5.3 GA2.1

GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3 GA 2.3 GC 1.1, 3.3 GA 2.2

GA[2.1]

[ds c]

GA[2.2]

GA[2.3]

GA[2.4] GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Field+Gate+ Lock stories within stories

Task You are asked to devise, design, draw and detail an architectural Lock that engages with a critically selected moment within the territory of your Field drawing or Gate at the d tailed scale of human occupation.

The programme for the individual Lock is not prescribed, it will be strange, derived as it is from the work of the studio and the architectures of Register, Survey and Chamber.

Response The Atelier of Grand Central Terminal emerged out of four remote surveys of this great camera-like edifice. One depicted the shadows cast by all surfaces exposed to the hand – wood worn smooth with passage, transient moments of paper folded, and brass edgings tarnished by touch. Another mapped out the complex array of mirrored moments caught within a single Richard Sandler photograph – reflections caught on the glass window of a ticket booth – a clockface, digital screens, illuminated text, the metropolis beyond, frozen gestures and the severity of glances. A third sought to retrace the optical fields of cinematography – the cavernous concourse caught within a catalogue of films. And a fourth observed the presence of weather beyond the artificial sky of the great chamber’s star encrusted vaults – a raincoat, a cloud shadow a shaft of sunlight.

Together this new map, later modelled, described a context that was as real, as tangible, as the physical construct made inaccessible by pandemic. Its remoteness, its visual fiction somehow appropriate to the island metropolis of Manhattan – a city familiar to all who have not been there.

Four architectures have emerged from within the grain of this estranged chimera, each settling into the seams of its surfaces. An horizon of steaming water occasionally reflects the vertiginous skyline, a carved ground – forms a meeting place for home-workers, an accommodation seam is caught within a husk and an archive of film projects back the history of its medium and, in so doing, the concurrent founding of a metropolis.

25

­

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3]

GA[2.4] GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Gate stories within stories

Task You are asked to design and present an architecture and landscape in the form of a Gate. This Gate should be thought of as an enclosed transitional space and programme. It should be carefully conceived and articulated through crafted drawings and models and thoughtfully presented alongside the evolution of both Field and Lock.

Response The Manhattan Film Archive registers the synchronous evolution of film as a creative media and Manhattan as an island metropolis with Grand Central Terminus as a recurrent character caught on celluloid.

The archive is embedded as a seam within the stations concours, registering the train tracks below and receiving its light from the iconic apertures above. The seam forms an institute for all films made in, or featuring, the island city and from within, through a sequence of foyer, library, study room and workshops, they are studied, conserved and archived. The seam extends into the transitional space between the Terminus and the MetLife Tower where the mass and pressure of the tower seemingly causes it to extrude and uplift to form a further geological landform - a stack within which films can be viewed.

The spatial arrangement of the stack is informed by a graphic process of projecting and re-projecting the perspectival frame of the multifarious cinematic scenes that have featured the great chamber of the Terminus. In return, the stack repeatedly re-projects these films back into the public forum – either through the formality of the internal 200 seat cinema theatre or through an array of projection rooms above that wash a cliff-like wall that compresses the route north from the concourse to the continuation of Park Avenue.

26

­

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3]

GA[2.4] GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Gate stories within stories

Task You are asked to design and present an architecture and landscape in the form of a Gate. This Gate should be thought of as an enclosed transitional space and programme. It should be carefully conceived and articulated through crafted drawings and models and thoughtfully presented alongside the evolution of both Field and Lock.

Response The Manhattan Film Archive registers the synchronous evolution of film as a creative media and Manhattan as an island metropolis with Grand Central Terminus as a recurrent character caught on celluloid.

The archive is embedded as a seam within the stations concours, registering the train tracks below and receiving its light from the iconic apertures above. The seam forms an institute for all films made in, or featuring, the island city and from within, through a sequence of foyer, library, study room and workshops, they are studied, conserved and archived. The seam extends into the transitional space between the Terminus and the MetLife Tower where the mass and pressure of the tower seemingly causes it to extrude and uplift to form a further geological landform - a stack within which films can be viewed.

The spatial arrangement of the stack is informed by a graphic process of projecting and re-projecting the perspectival frame of the multifarious cinematic scenes that have featured the great chamber of the Terminus. In return, the stack repeatedly re-projects these films back into the public forum – either through the formality of the internal 200 seat cinema theatre or through an array of projection rooms above that wash a cliff-like wall that compresses the route north from the concourse to the continuation of Park Avenue.

27

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3]

GA[2.4] GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Gate stories within stories

Task You are asked to design and present an architecture and landscape in the form of a Gate. This Gate should be thought of as an enclosed transitional space and programme. It should be carefully conceived and articulated through crafted drawings and models and thoughtfully presented alongside the evolution of both Field and Lock.

28

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3]

GA[2.4] GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Gate stories within stories

29

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Lock stories within stories

Task You are asked to devise, design, draw and detail an architectural Lock that engages with a critically selected moment within the territory of your Field drawing or Gate at the detailed scale of human occupation.

The programme for the individual Lock is not prescribed, it will be strange, derived as it is from the work of the studio and the architectures of Register, Survey and Chamber.

Response The seam extends into the transitional space between the Terminus and the MetLife Tower where the mass and pressure of the tower seemingly causes it to extrude and uplift to form a further geological landform - a stack within which films can be viewed.

The spatial arrangement of the stack is informed by a graphic process of projecting and re-projecting the perspectival frame of the multifarious cinematic scenes that have featured the great chamber of the Terminus. In return, the stack repeatedly re-projects these films back into the public forum – either through the formality of the internal 200 seat cinema theatre or through an array of projection rooms above that wash a cliff-like wall that compresses the route north from the concourse to the continuation of Park Avenue.

30

Island temporalities

GA[2.1]

[ds c]

31

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Move 05: Field+Gate+ Lock stories within stories

32

Island temporalities

GA[2.1]

[ds c]

33

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

Island temporalities

[sc at]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

2021

Reading Sloterdijk:

studies in contemporary architectural theory exam, contract game & regulatory drawing

[Course Aimes]

[unit synposis]

[A1] The development of an understanding of what theory is, and how it relates to architecture, design and the city.

This seminar option will explore aspects the work of the contemporary philosopher and cultural theorist, Peter Sloterdijk, focusing primarily on writings from his trilogy of ‘spheres’ books: Bubbles, Globes and Foams. Each week we will read a text by Sloterdijk alongside that of another writer, which will help us to open up critical perspectives upon his work and the range of ideas and concerns with which it engages.

Over the past decades, Sloterdijk has been an immensely productive thinker and his work has been often controversial and provocative. Bruno Latour, who has had a huge influence on contemporary architectural theory, started a recent essay with the declaration “I was born a Sloterdijkian”. Sloterdijk has a had a close intellectual and institutional relationship with design – for many years he has been based at the university of art and design at Karlsruhe in Germany, which is linked to ZKM, the Centre for Art and Media there. One of the things that makes him so interesting and important for us is that questions of space are central to his thinking. He develops these in complex, powerful and often surprising ways, drawing on diverse examples that frequently include architecture. This all adds up to a kind of philosophical anthropology, which has important things to say about the ways in which we mediate and cultivate our existence through sociotechnical structures. Reading through the work, we will see how it speculatively engages and negotiates with materials from a range of areas including architecture, art and literature, media theory, science and technology studies, ecology, evolutionary biology, futures thinking, and the theory of the anthropocene. Connected to this, we will also explore and debate its reception and the kind of influence it has exerted on architects, artists and other thinkers. One way we could characterise Sloterdijk’s work is to say that it is to do with differentiated conditions of immersion, and the way that these transform over time (this is one of the things at stake in the bubblesglobes- foam sequence). From this point of view, Sloterdijk – who has theorised cultures as immunological systems – seems a particularly important writer to read in our present time of COVID.

[A2] The enhancement of skills in critical reading and analysing the ideas presented in texts.

[A3] The refinement of an ability to write and communicate a focused critique of, and response to,texts.

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

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Diary

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

35

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Diary

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

36

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Diary

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

37

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Diary

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

38

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Diary

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

39

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Essay

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

40

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Essay

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

41

Island temporalities

GA[2.1]

[sc at]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] Reading Sloterdijk: studies in contemporary architectural theory MArch1 [Semester II]

Reading Sloterdijk Essay

Task The course journal records your ongoing critical reflections and responses to the weekly readings and seminar discussions. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response This collection of reflective writings explore the relationship between the image and text and become critical assemblages reminiscent of an architectural drawing and its tensions on the page. The writings speak of/on contingent yet precise architectural gatherings where the word takes on a new role, that of an architectural figure in itself, an embodiment of architecture.

42

Island temporalities

[am pl]

[2021] MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

2021

MANAGEMENT & PRACTICE:

Architectural Management, Practice and Low exam, contract game & regulatory drawing

[Course Aimes]

[unit synposis]

The course will allow students to: Acquire understanding of the processes and delivery of design, and project and practice management. Understand the concept of professional responsibility and the legal, statutory, and ethica implications of the title of architect. Understand the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project. Develop an awareness and understanding of the financial matters bearing upon the creation and construction of the built environment. Develop an awareness of the changing nature of the construction industry, including relationships between individuals and organisations involved in modern-day building procurement.

The course aims to develop the student’s understanding of the professional requirements of an architect in practice and being admitted to the title of ‘architect’.

The course is also intended, in part, as being a preparation for fulfilling the requirements of the Part 2 Examination in Professional Practice & Management. It is delivered through a series of previously recorded lectures presented by architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can be built on and developed by further reading.Further teaching vehicles include an on-line contract simulation exercise and a regulatory drawing project supported by on-line tutorials.

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

GA[2.1]

[am pl]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

task 01 REGULATORY DRAWINGS re-animating relics

II. SANITARY FACILITIES HAZELWOOD SCHOOL

SANITARY FACILITIES

ACCESSIBILITY COMPARISONS ON SPECIAL EDUCATION NEEDS SCHOOL

Task

Fully accessible sanitary accommodation should have plan dimensions of at least 2 m x 1.5 m.

ZEYI TANG - S1662609

?

YUNNING ZHANG - S1994089

?

Accessible sanitary facilities for ambulant disabled people hould have plan dimensions of at least 0.8 m x 1.5 m.

0

150

- HAZELWOOD SCHOOL

MORRIS CHAN - S2005482

?

?

There are 8 disabled toilets on site and 20 sanitary facilities in total. The smallest activity space on Hazelwood School’s sanitary facilities is 1.5m by 2m, which is bigger than the requirement, and all of the sanitary facilities are provided with handrails. Thus, the sanitary facilities on Hazelwood School are suitable for ambulant disabled people.

?

Hazelwood School

Donaldson’s School Linlithgow

Hazelwood is a state school for the teaching of life skills to children and young people with severe and highly complex

Donaldson’s School in Linlithgow is Scotland’s national residential and day school, providing education, therapy and care

needs. The school caters for 54 students with multiple disabilities, aged from 2 to 19. Each student has a combination of

for pupils who are deaf or who have communication difficulties. The new Donaldson’s School in Linlithgow was developed

two or more of the following impairments: acute visual impairment, hearing impairment, mobility or cognitive impairment.

in collaboration with staff, pupils, governors, acousticians and architects. It focus on optimising the interior environment

All the pupils are autistic, they will never be able to lead totally independent lives and each will require lifetime support.

of the building and has a better acoustic performance than the original school. Also, The interior space of the building is

The Hazelwood school design focuses on creating a safe, stimulating environment for students and staff. A building that

meticulously designed to respond to the needs of sensory impaired people. These are shared teaching, library, sports and

could promote a real sense of independence for the pupil and a design of a place of safety and ambition that would sup-

dining facilities, which can accomodate up to 120 pupils.

DISABLED TOILET

- DONALDSON’S SCHOOL CLASSROOM

0

640

Building type: Education

12

00

Location: Glasgow, Scotland

Location: Linlithgow, Scotland

Architect: GM + AD Architects

Architect: JM Architects

Client: Glasgow City Council

Client: The Donaldson Trust

Sector: Education

Sector: Education

Total cost: £5.7M

Total cost: £8M

Main Contractor: Paul McCrorey (Sir Robert McAlpine)

Main Contractor: Cosmos Project

CORRIDORS

0

90

00

12

00

42

III. SURFACE FINISHES CORRIDORS

?

?

00

56

?

00

?

DDA (Disability Discrimination Act 1995) demonstrated that it is unlawful to discriminate disabled people in terms of education, proving public services, transport, and employment. It should be made reasonable adjustments to enable disabled to access the facilities and services.

00

00

22

?

14

22

compare the accessibility for Hazelwood School, Glasgow and Donaldson’s School, Linlithgow to understand how they are fulfilling the requirement on Building Standard Technical Handbook - Scotland and its recommendation of compliant documentation BS 8300 Standard -

250

0

These two special education needs schools not only ensures that students with disabilities have access to basic services (toilets, corridors), but also greatly enhances the ability of disabled students to use the educational equipment and to access information. In the report, it will

00

68

Design of An Accessible and Inclusive Built Environment, to create a special care educational environment. In addition, Building sight and Deaf gain provide the secondardy design guideline for us to understand the inclusiveiness of two special needs school.

ollo in the , oor, all, door, and ceilin surface can help or hinder the use of buildings. People who have a disability might have difficulty findin their ay around spaces if they cannot respond to visual cues or difficult to distinguish sounds. Also, People who are Deaf and hard of hearing, and who lip read, might be distracted by patterned wall surfaces. Large, repeating patterns that incorporate bold, contrasting colours should not be used for the wall surfaces in parts of a building where visual acuity and stress reduction are critical.

- HAZELWOOD SCHOOL

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0

Date completed: 2008

Building type: Education

220

Date completed: 2007

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On the design of Hazelwood School, it generally used the colours of red, orange and yellow on the spaces which are easily recognisee by those who are visually impaired.

Also, Sensory Storage Wall made of cork provides support for students to navigate through the building with the dark flooring contrasting. The subtle changes in the angle of the wall allow students to cognitively map where they are within the school. he e tent to hich oor, all, door and ceilin surfaces enable people to find their bearin s and aintain their independent use of a buildin is in uenced by the colour, pattern, li ht re ectance value and te ture of the surfaces

00

18

- DONALDSON’S SCHOOL

RECEPTION

DONALDSON’S SCHOOL

I. RECEPTION Convenient access to counters and reception desks is essential for people to make full use of a building. Wheelchair users and people with ambulant mobility impairments need space to manoeuvre up to a counter. Counters or reception desks should be located such that they are easily identifiable fro a buildin entrance by people who are blind or partially sighted. (BS 8300-2:2006 CLAUSE 8)

?

?

E≈36m

1150

IV. CORRIDORS

0

220

50

A corridor should either have a surface width of not less than 1 800 mm or, if less, be provided with passing places, 1 800 mm wide and at least 1 800 mm in len th, at reasonable intervals he surface idth of a corridor should be not less than 1 200 mm, with the exception of permanent obstructions over a short distance. (BS 8300-2:2018 CLAUSE 9)

0

95

0 200

RECEPTION ROOM

0

0 95

LOBBY HALL

BS 8300-2:2006 CLAUSE 11: How well can disabled people located themselves depends on: the treat ent of co ponents and finishin ele ents, such as doors, architraves, s irtin s,handrails, etc hich define, or are contained ithin, these surfaces

26

?

3050

In terms of the design of the colours for the wall surface, it used the light colour so as not to confuse people in a strong contrast wall coverings. The entrance of room is highlighted by the colour wall with the uncoloured door, navigating the sensory impaired pupils into the room. The window frame accentuates the function of the room, which makes the sensory impaired people to identify it clearly from outside.

≈41m ANCE DIST

ANC DIST

eception areas needs clearly si ned and easily identifiable by their eneral surroundin , his can be achieved by usin aterials that provide ood colour and tonal contrast with the immediate surroundings. (RNIB, Peter Parker, 1995)

0 270

All customer counters or reception desks should include two work surface heights to accommodate customers or visitors standing and sitting (including wheelchair users).

Upper writing surface for standing visitors/ customers at 950mm to 1100mm above the oor he counter top for heelchair users at to above the oor

?

?

0 270

?

SANITARY FACILITIES

00 22

By comparing and analyzing the accessibility systems of these two schools, it can be seen that they both not only meet the requirements of necessary standard, but also comply with the design guidelines for specific disabled people.

Therefore, As for designinng for more specific disabled users, the requirements for inclusiveness in building codes should be amended and combined with more oriented disabled cases.

Although two schools were built around 2007, they follows the principles of coming Equality Act launched in 2010, Schedule 10 in related to the requirement of accessibility for disabled pupils. (a)increasing the extent to which disabled pupils can participate in the schools’ curriculums. (b)improving the physical environment of the schools for the purpose of increasing the extent to which disabled pupils are able to take advantage of education and benefits, facilities or services provided or offered by the schools.

00

900

port the child and free the teacher.

SURFACE FINISHES

Response

The smallest room for santiary facility is 0.95m by 1.54m. All the toilets are sized as the minimum requirement for ambulant disabled. The accessible toilet is also compliant with the building standard. However, The distance from the classroom shown in the diagram to the nearest toilet is almost 40m, which could be inconvenient to disabled pupils. disabled person should not have to travel ore than on the sa e oor from their room to an accessible toilet, or more than 40 m combined horizontal travel distance where accessible toilet accommodation is accessed by conventional passen er lift on another oor of the buildin

12

Students will co-produce two drawings critically analysing the relationship between a selected precedent project(s) and two from three regulatory frameworks (Planning, Building Regulation and CDM).

The building standards technical handbook - scotland 3.12.8 indicates the standard of sanitary facilities for ambulant disabled people. Sanitary facilities that are suitable for ambulant disabled people would be acceptable in this case. In such a toilet therefore there should be an activity space in front of the water closet pan, and people who require greater manoeuvring space should be able to enter the cubicle and close the door unhindered.

0

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205

ENTRANCE

SURFACE FINISHES

urnin space of dia eter at a corridor unction acts as a passin place and allows a wheelchair to turn and returen in the other direction.(BS 8300-2:2018 CLAUSE 9)

- HAZELWOOD SCHOOL - HAZELWOOD SCHOOL

The corridors of Hazelwood School are well-considered for visual impaired people and wheelchair users. The curved corriodr without sharp corner make it easier for them to navigate themselves carefully. The width of the corridor obviously satisfiy the requirements of the regulation, with a minimum width of 1.6m and an average width of 2.2m, which is enough to accommodate two wheelchair users or blind stick users from passing through.

Minimum passagge width for blind stick user and wheelchair user is 900mm (RNIB, Peter, 1995)

The reception room at Hazelwood School is inconspicuously attached next to

HAZELWOOD SCHOOL

the fan-shaped foyer and faces the security room. The entrance faces north, which prevents direct light from entering the interior and causing glare. The RECEPTION

foyer is arranged clearly without any obstacles, and it becomes capacious when going inside. It follows the regulation. loor surfaces ithin reception areas should be free fro

obstructions, have a fir ,

slip-resistant surface and allow easy manoeuvre of a wheelchair.

- DONALDSON’S SCHOOL

However, there is only a size of opening in the reception without counter space.

The reception hall is not marked with special sign, colour, or material articulation, which can be confusing for the visually impaired.(RNIB, Peter, 1995)

200 0

CORRIDORS

1050 400 0

- DONALDSON’S SCHOOL

20

00

0

155

800 30 0

The entrance of Donaldson’s School is emphasised as a solid cube and extruded

CONCLUSION

from the glazing and the reception desk is made in a curvilinear shape as an

0

isolated volume to the whole building. The curvilinear shape of the wall in the entrance hall maximises the view of the space so that the gesture can be more

By comparing and analyzing the accessibility systems of these two schools, it can be seen that they both not only meet the requirements of necessary standard, but also comply with the design guidelines for specific disabled people.

Therefore, As for designinng for more specific disabled users, the requirements for inclusiveness in building codes should be amended and combined with more oriented disabled cases.

easily read from wider degrees.(Deaf Gain Raising the Stakes for Human Diversity) The design of the low levels counters in the reception compliant with the ENTRANCE

RECEPTION COUNTER

1850

ergonomicsal of sensory impaired people and wheelchair disabled.(BS 83002:2006 CLAUSE 16) The minimal depth around the counter is 2000mm and is significant enough for a person to pass behind the wheelchair user.

17

34

70

00

LOBBY HALL

3550

180

0

Although two schools were built around 2007, they follows the principles of coming Equality Act launched in 2010, Schedule 10 in related to the requirement of accessibility for disabled pupils.

Where multiple counters or reception desks are provided and users are required to pass behind other occupied counters or reception desks, the clear manoeuvring space should be increased to 1 800 mm deep for the full length of the counters or desks installed. (BS 8300-2:2006 CLAUSE 16)

180

0

0

175

0

345

180

0

180

180

0

0

50

180

(a)increasing the extent to which disabled pupils can participate in the schools’ curriculums. (b)improving the physical environment of the schools for the purpose of increasing the extent to which disabled pupils are able to take advantage of education and benefits, facilities or services provided or offered by the schools.

34

50

00

20

18

0

DONALDSON’S SCHOOL

The minimum width of the corridor is 1.75m and the widen area around the classroom entrance is approximately 3.5m width. The corridor is compliant with the minimum requirement for the wheelchair user. In addition, The colour coded recesses widen the corridor, highlighting the feature of entrance to the classroom and giving wheelchair users and those with sensory deficits more buffering space.

180

0

44

Island temporalities

GA[2.1]

[am pl]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

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GC[8]

GC[9]

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[2021] MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

task 02 Critical Contemporary Practice(s) Essay

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

Response The sequence in which the reflections are presented does not need to follow the same sequence as the lecture series. Clearly identify the lectures to which you are responding. You may use the lecture titles as titles for these reflections or may suggest your own titles. The report should be carefully illustrated and presented.

Images should be critically selected, relevant and appropriately attributed.

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Island temporalities

GA[2.1]

[am pl]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

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GC[10]

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[2021] MANAGEMENT & PRACTICE: architectural management, practice and law MArch2 [Semester I]

task 02 Critical Contemporary Practice(s) Essay

Task Prepare a Course Report summarising, critiquing, questioning and exploring the range of topics explored through the lecture series.

Where the Critical Contemporary Practice(s) essay develops understanding in depth, this Course Report is intended to engage with the full breadth of themes and topics described by contributors. Through this report you are to present a series of short reflections on the key course content.

Response The essay is intended to encourage the development of research competency. In addition to making reference to the key readings and supporting texts listed in this syllabus, you are encouraged to pursue your own research, contact organisations and individuals whose are concerned with the themes under discussion, and develop your own reading and resource lists. A series of peer-to-peer presentations and workshops will support the development of these essays (see below).

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Island temporalities

[ds c]

[2020] ISLAND TEMPORAITIES: Manhattan design studio C MArch1 [Semester 2]

2021 ISLAND TEMPORALITIES

Mont-Saint-Michel Singing Chamber Monk sounds

[Course Aimes]

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

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

[Learning outcomes] LO1 A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (eg. the built, social, historical, technological, urban and environmental contexts).

LO2 A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants.

LO3 An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies.

LO4 A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (e.g. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

GC 1.1, 1.3, 3.3, 5.1, 5.3, 6.3, 7.1, 7.2, 7.3 GA 2.1 GC 1.2, 1.3, 4.3, 7.1, 8.1, 8.2, 9.1, 9.2, 9.3, 10.3 GA 2.3, 2.5 GC 1.2, 5.2, 8.3, 9.1, 9.2, 9.3 GA 2.1 GC 1.1, 3.3 GA 2.2

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 1]

Shipwrecking

Dismantling the Vessel

Task First, we must identify the Vessel which is offered to this new context.

Vessel is an interesting word in English because it can denote a ship but its emphasis is on the ship’s containment, what it holds, and is therefore a directly spatial. But Vessel doesn’t really have a singular scale. It can denote any hollow container such as a cup, basin or barrel but also a dinghy, yacht or super tanker. It is a receptacle, it receives; it is a container, it contains; and it is a holder, it holds. It is therefore architectural.

Response For the continuing Island Temporalities Integrated Pathway students, this Vessel is the thesis work to date. The rich and articulate architectures that have been conceived and derived for one of the eight island territories associated with the Chimera of Valletta, Venice, The Faroes, Cordoba, Nicosia, Havana, Manhattan and the North British Hotel.

These proposals are vessels in that they are directly spatial but they are also vessels in that they carry the concepts, ideas, sensibilities, attitudes and poetic narratives of the thesis.

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Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 1]

Shipwrecking dismentaling

Task Our first move is to therefore to identify the Vessel and to examine it carefully. There is something quite forensic about shipwrecking. Rabelais emphasised this in his description of the ship suffering within a storm. The ship was no longer a singular thing but an array of parts, each piece agitated, animated and altered in a different way by the severity of the winds. For Shackleton, the ship as a whole was no longer of use, even if had not been crushed, it would not have been possible to carry it over the frozen terrain. Its dismantling enabled an identification of a future usefulness. Similarly for Crusoe, part of the measure of worth of materials and items harvested from his stricken ship was based on whether or not it could be carried within the limitations of his small rowing boat.

Response Singing Abby The progress of reassembly. With the dismantled Vessel salvaged and its parts renamed for its new purpose, the process of assembly will begin. Assembly might be driven by a structural logic/s, a narrative sequence, the need to navigate an obstacle, a desire to ‘fit’ in an inconceivably small space. Assembly will be tested through construction and drawing. (Task Advice)

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Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 1]

Shipwrecking Estrangement

Task House of Estrangement Shipwrecks cause conditions of estrangement, of separation from the familiar order of their homeland. Le MontSaint-Michel was founded as a place of estrangement, of retreat from the secular world - with either the permanence of a monk or the temporality of a pilgrim. Whether through choice, circumstance or force, as abbey, hospital, besieged fortress or prison this island territory has housed people estranged from the familiarity of home. It could be said that this continues to this day. As a place of fascination for the throngs of tourists that seek it out, it offers a form of sensual retreat from the normality of the everyday.

Response Singing Chamber for Monk Assembly and situation, situating my architecture in representation of the abbey island as a speculative foothold. The outworkings of this move will act as map and inventory, guide and lens, the surveying tools, through which to investigate Commune of Mont-SaintMichelitself.(Task Advice)

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Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 1]

Shipwrecking

house of estrangement

Task Shipwrecks cause conditions of estrangement, of separation from the familiar order of their homeland. Le Mont- Saint-Michel was founded as a place of estrangement, of retreat from the secular world - with either the permanence of a monk or the temporality of a pilgrim. Whether through choice, circumstance or force, as abbey, hospital, besieged fortress or prison this island territory has housed people estranged from the familiarity of home. It could be said that this continues to this day. As a place of fascination for the throngs of tourists that seek it out, it offers a form of sensual retreat from the normality of the everyday.

Response Singing Chamber Assembly and situation, situating my architecture in representation of the abbey island as a speculative foothold. The outworkings of this move will act as map and inventory, guide and lens, the surveying tools, through which to investigate Commune of Mont-SaintMichelitself.(Task Advice)

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Island temporalities

[ds c]

[2020] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio C MArch2 [Semester 2]

2020 ISLAND TEMPORALITIES

Mont-Saint-Michel Sanatorium mirror island

[Course Aimes]

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

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

LO2 The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks.

LO3 A critical understanding of, and ability to present complex design proposals in the context of a research inquiry through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques)

GC 1.3, 2.3, 7.2 GA 2.1

GC 1.1, 1.2, 1.3, 2.3, 3.1, 3.3, 4.1, 4.2, 7.2 GA 2.1, 2.3, 2.5, 2.6

GC 1.1, 3.3 GA 2.2

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island a. Seeding an Island

Task The small, intense and articulate architectures of the House of Estrangement will be thought of as the kernels that seed a new island. Island here will be thought of as a cultural, social, spatial, infrastructural and environmental assemblage of architectures and landscape condition. While the House of Estrangement was singular and private, the Island should have multiple concerns that house various occupants and choreograph a more complex programmatic agenda. The definition of such a programme will be part of your thesis development. This need not be the initial concern, the seeding may initially inform a purely spatial terrain, a grain into which programmes may later be defined. The Island will, in this way, form an urbanity in miniature – a place of interaction set within the greater field of the landscape.

Response The Sanatorium La Manche is situated in the polder landscape south of the Bay of Mont-Saint-Michel and west of the Couesnon Canal. Aligned to the Abbey mount the Sanatorium is a mirror island offering retreat and therapeutic treatments for a range of pulmonary conditions.

As an architectural island in an agricultural landscape, the Sanatorium seeks to engage with the greater ecology of the Bay and its fragile ecosystem by connections with water, the water of the adjacent designed wetland and the canal beyond. In this way, the architecture operates as an eddy between the Couesnon Canal and the sea, channelling water through its walls, beneath its bridges and below its stair towers, flooding its internal lake, discharging back into the Canal and the Bay beyond. The Sanatorium is a form of de-polderisation in miniature whereby land reclaimed for farming is offered back to the sea through designed rupture.

The architecture treats the human body and the ecosystem.

By introducing water from the wetland into the Sanatorium it establishes an intimate relationship between body and water through therapeutic treatments: steam rooms, resistance hydrotherapies, aerobic exercises and aromatherapies and a designed landscape of internal views across, adjacent to and above water. An enclosing wall houses residential and therapeutic programmes, a rainwater treatment system and a singular elevated view to Mont-Saint-Michel. Bridges and reading towers animate the internal landscape, connecting and activating programme whilst creating viewpoints both internal and external. A laboratory and flower garden, library and acoustic performance space complete the programme.

54

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island b. Drawing the Field

Task The ‘field’ of this new island will not only include the particularities of geography, terrain and environment but also the cultures, histories, biographies and mythologies of the place. The island should engage and respond to the geological, hydrological, climatic, temporal and seasonal realities of the extraordinary shifting world in which the island abbey exists. It should draw from the deep and equally complex narrative of human occupancy within this littoral zone. Such occupancy ranges from the expansive constructed land and cultivation of the polders that are defined by the inner rise of chestnut forests and outer fringe of salt marsh to the constructed mount of the abbey itself and its huddled, defended realm of hostel, house, inn and garden. A drawing of this field would collect canals, dykes, dams, windmills, barns, sheepfolds, bridges, causeways, oysterbeds, gates, inns, hostels, cells, chapels and choirs. It would equally ensnare the names, narratives and traditions of those that have engaged with them. A Drawing of this field will be the true context of your thesis – informing it as a field of influences. It may be constantly shifting as concerns rise and fall within its graphic grain but it will be particular to you and the nature of your island.

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Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island a. Seeding an Island

Task The small, intense and articulate architectures of the House of Estrangement will be thought of as the kernels that seed a new island. Island here will be thought of as a cultural, social, spatial, infrastructural and environmental assemblage of architectures and landscape condition. While the House of Estrangement was singular and private, the Island should have multiple concerns that house various occupants and choreograph a more complex programmatic agenda. The definition of such a programme will be part of your thesis development. This need not be the initial concern, the seeding may initially inform a purely spatial terrain, a grain into which programmes may later be defined. The Island will, in this way, form an urbanity in miniature – a place of interaction set within the greater field of the landscape.

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

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

Couesnon canal/ stationnement/ village/ polder

polder/ village/ Couesnon canal/ village/ polder

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

polder/ village/ Couesnon canal/ polder

1. Mont-Saint-Michel 2. Dam 3. Couesnon Canal 4. Barrage 5. Anse de Moidrey

Tidal Sendimentation Mont-Saint-Michel began as an isolated rock remaining emergent from the bay as rising sea levels inundated the land following the end of the last ice age; it was periodically connected to the mainland by a natural spit of sand, a tombolo.Due to a build-up of silt, and the geographic location of the island within the bay, the Mount only becomes a complete island on big tides that occur six or seven times a year. During Spring Tides, the difference between high and low tides is the greatest in all of Europe and can vary by up to 15 meters.

In order to give back to Mont-SaintMichel its image of yesteryear, work took place from 2005 to 2015. The goal is to free the tourist site from the grip of the herbs that encircled it, to rid it of the parking lot which spoiled it and relieve it of the dyke-road which nailed it to the mainland and barred its ramparts.

Just as Victor Hugo described , the tide as coming into the bay “with the speed of a galloping horse.” Along with this tide came the human one – pilgrims both religious and touristic.

56

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island C. Defining the island

Task The ‘field’ of this new island will not only include the particularities of geography, terrain and environment but also the cultures, histories, biographies and mythologies of the place. The island should engage and respond to the geological, hydrological, climatic, temporal and seasonal realities of the extraordinary shifting world in which the island abbey exists. It should draw from the deep and equally complex narrative of human occupancy within this littoral zone. Such occupancy ranges from the expansive constructed land and cultivation of the polders that are defined by the inner rise of chestnut forests and outer fringe of salt marsh to the constructed mount of the abbey itself and its huddled, defended realm of hostel, house, inn and garden. A drawing of this field would collect canals, dykes, dams, windmills, barns, sheepfolds, bridges, causeways, oysterbeds, gates, inns, hostels, cells, chapels and choirs. It would equally ensnare the names, narratives and traditions of those that have engaged with them. A Drawing of this field will be the true context of your thesis – informing it as a field of influences. It may be constantly shifting as concerns rise and fall within its graphic grain but it will be particular to you and the nature of your island.

Response the proposal proposes the construction of a sanatorium connecting the ecologically rich beaches and their fragile ecosystems. Building a reservoir at the lower end of the upper Couesnon River can maximize the efficiency of encouraging depolderisation. With the implementation of the depolarization policy, the deeper Couesnon River after the transformation can increase the flow thrust. The salt marshes at the top of the upstream can be used as reservoirs, and the sanatorium will deposit of 24 plots belonging to farmers. the filtered sediment water into the intermediate pool or discharge it into the salt marshes and flow into the sea. Conceptually, it can be understood as a depolderisation in minature.

58

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

A’ B’

C

[ Acoustic Restaurant to Steam Room ] Perspective Section

B C’

A

[ Water bedroom to Cultivating garden ] Perspective Section

59

Island temporalities

Retreat Wall

only a simple landscape problem but a very difficult problem,

of the island of Mont-Saint-Michel. become the new

As a mirror island, Albert and the monk of Mont-Saint-

Summary

which is a game between the local ecosystem, and the

landscape. Attracting visitors from Mont Saint Michel,

Michel are considered to live and perform chants here. An

capitalists who control the tourism industry, and the daily

instead of the capitalist who only focus on the quality of

acoustic performance space, chapel and a traffic gathering

This dissertation project aims to address issues surrounding the

life of farmers. To address this, the proposal proposes the

the landscape of Mont Saint Michel, the new sanatorium

nucleus for docked amphibious boats complete the project.

protection and supply of water systems to the environment

construction of a sanatorium connecting the ecologically

will focus on the quality of life of the people. It will replace

and a living method of life. Through the investigation and

rich beaches and their fragile ecosystems. Building a

Mont-Saint-Michel as the new island scenery, relying on a

research of the site, the ecological system composed of water

reservoir at the lower end of the upper Couesnon River can

fair way of life that forms an intimate interaction with water.

resources is very fragile due to the polderisation of the land.

maximize the efficiency of encouraging de-polderisation.

Considering the convalescence of the crowd and the living

Since 1990, the policy of land depolarisation in Western

With the implementation of the depolarization policy, the

problems of residents after the ceiling, the wall is designed

Europe has been implemented. Besides, de-polderisation can

deeper Couesnon River after the transformation can increase

as an architectural prototype. Section by section in its

make the local ecosystem is more resilient and saving the

the flow thrust. The salt marshes at the top of the upstream

vertical direction, living and spa projects are set up inside

high maintenance cost of the dam and polder. For the local

can be used as reservoirs, and the sanatorium will deposit

the wall, including the dining room, water bedroom, and

tourism industry, one of the purposes of depolarisation is to

of 24 plots belonging to farmers. the filtered sediment

steam room. In the horizontal direction, rainwater

maintain the independent attributes of the island and increase

water into the intermediate pool or discharge it into the

purification and riverwater filtration towers, giant water

tourism revenue, but at the same time, it also causes over-

salt marshes and flow into the sea. Conceptually, it can be

transport plates and water tanks are integrated to realize

concentration of the economy (90% of the island's revenue

understood as a depolderisation in minature. If the

the infrastructure for the circulation of rainwater, river

is the inflow of tourism revenue and this money go to the

site selection of this paper revolves around depolarisation

water and purified water in the sanatorium. The river water

pockets of the local triumvirate), an episode of class conflict

policies being implemented humanely, then most of the plans

transport trough and retaining wall are integrated into the

(peasants blocked the tourist road to Mont-Saint-Michel because

focus on fantasizing about an optimistic way of life after

external circular fitness walkway. And the water tower also

of poor income). Not only that, de-polderisation will cut off the

depolarisation. Here, water offers the possibility of an equal

provides a high point overlooking the Mont-Saint-Michel.

planting economy and living places that local farmers rely on for

life. Therapy people's traumatized bodies and minds at the

And the garden below provides public and planting space.

a living. From the perspective of geopolitics, it can be seen that the de-polderisation progress is not

60

same time. The wall, imitates the monolithic miniature polder boundary and has the image that makes up the appearance

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

COLLECTING roof rain collection water wall collection

FILTRATION river water tank rain water tank sewage tank

GARDEN public space flower garden Section A-A’

DISTRIBUTING megastructure water transportation board

HOUSING water bedroom steam therapy acoustic restaurant Section B-B’

CLEAN WATER POOL water channel give clean water back to canal

Section C-C’ [Water Strategy] Ecosystem

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Island temporalities

[ Reading Tower to Water Tower] Perspective Section

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island C. Defining the island

Task The ‘field’ of this new island will not only include the particularities of geography, terrain and environment but also the cultures, histories, biographies and mythologies of the place. The island should engage and respond to the geological, hydrological, climatic, temporal and seasonal realities of the extraordinary shifting world in which the island abbey exists. It should draw from the deep and equally complex narrative of human occupancy within this littoral zone. Such occupancy ranges from the expansive constructed land and cultivation of the polders that are defined by the inner rise of chestnut forests and outer fringe of salt marsh to the constructed mount of the abbey itself and its huddled, defended realm of hostel, house, inn and garden. A drawing of this field would collect canals, dykes, dams, windmills, barns, sheepfolds, bridges, causeways, oysterbeds, gates, inns, hostels, cells, chapels and choirs. It would equally ensnare the names, narratives and traditions of those that have engaged with them. A Drawing of this field will be the true context of your thesis – informing it as a field of influences. It may be constantly shifting as concerns rise and fall within its graphic grain but it will be particular to you and the nature of your island.

63

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

GC[9]

GC[10]

GC[11]

[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island C. Situating the gate

Task The ‘field’ of this new island will not only include the particularities of geography, terrain and environment but also the cultures, histories, biographies and mythologies of the place. The island should engage and respond to the geological, hydrological, climatic, temporal and seasonal realities of the extraordinary shifting world in which the island abbey exists. It should draw from the deep and equally complex narrative of human occupancy within this littoral zone. Such occupancy ranges from the expansive constructed land and cultivation of the polders that are defined by the inner rise of chestnut forests and outer fringe of salt marsh to the constructed mount of the abbey itself and its huddled, defended realm of hostel, house, inn and garden. A drawing of this field would collect canals, dykes, dams, windmills, barns, sheepfolds, bridges, causeways, oysterbeds, gates, inns, hostels, cells, chapels and choirs. It would equally ensnare the names, narratives and traditions of those that have engaged with them. A Drawing of this field will be the true context of your thesis – informing it as a field of influences. It may be constantly shifting as concerns rise and fall within its graphic grain but it will be particular to you and the nature of your island.

[ Mirror Island ] Master Plan

64

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

GC[8]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

4

1

5 4

3 2 5

3 2 1

1.Walk entrance 2. Reception room 3. Acoustic room 4.Harbour for land-water car 5. Park

[Distributing Centre] Depth of wall 65

Island temporalities

GA[2.1]

[ds c]

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GA[2.3] GA[2.4]

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GC[1]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

66

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

GC[5]

GC[6]

GC[7]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

7

6

4

3 2 4 1

5

1

3 2

1. Reading room 2. Restaurant 3.Washroom 4. Kitchen

1. Singing room 2. Acoustic board 3. Walk pathway 4.Rain water channel 5. LIght prevent wood board 6.Rest area 7.Walkpathway

[Acoustic Restaurant ] Depth of wall 67

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

3

2

4

5

7

1

1. Garden 2. Waterboard 3. Water tower 4. Elevation 5. Ramp 6.Water bedroom 7. Water reuse toilet 8. Bath platform

6

8

[Water Bedroom] Depth of wall 70

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

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GC[4]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

71

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

GC[4]

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GC[6]

GC[7]

GC[8]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

6 10

9 4

5

3 2

1 7

8

1. Warm up isle 2. Sonna room 3. Steam collection 4. Steam pipe 5. Rain water channel 6. Walk pathway 7. Wooden roof 8. Steel bone frame base 9. Steam generation room 10. Relax platform

[Steam room] Depth of wall 72

Island temporalities

73

Island temporalities

GA[2.1]

[ds c]

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GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

FIRST FLOOR PLAN 74

Island temporalities

GA[2.1]

[ds c]

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GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

75

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

GC[3]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

1

3

Task The curatorial strategy of the three scales of representation is offered here as a device to allow the architectural nature and characteristics of the Island to be explored through a process of making and reflection.

To this end, we would invite you to craft an ambitious 3-dimensional representation of the island as a construct that can stand alone as a form of figure within the studio. We do not envisage this to be a merely summative process – one that describes a pre-conceived design.

Instead, it should be thought of as a tool that explores and defines the island through the action of making. It should therefore be open to the architectural influences of that material choices and fabrication methods can impart. We often find that successful constructs of this nature employ a variety of techniques – workshop modelling, 3d printing, hand crafted elements working alongside 3d printed pieces, three dimensional surfaces inscribed with the graphic lines of a drawing through processes of etching or rasterization. Limited methodologies often lead to limited results. An over-reliance on 3d printing, for example, tends to tell us no more, and often less, than the source computer model itself.

2

10

5

6 7

4

4 10

9

6

7

6 3

8

8

2

8

5

9 9 1

1.Walk entrance 2. Reception room 3. Acoustic room 4.Harbour for land-water car 5. Park 6.Rest plaza 7.Ship storage 8.Ship harbour 9.Watch water platform 10.Walkpathway

1. Water buffer tank 2. Wash hand 3. Rain water channel 4. River water channel 5. wood board 6.Rest area 7.Walkpathway 8. Restaurant 9.Washroom 10. Small church

7

7

4

6

5

5 1 2

3

4

1

6

3 3

2

4

5

1 7

2 6

9

7 1. Singing room 2. Acoustic board 3. Walk pathway 4. Rain water channel 5. LIght prevent wood board 6. Rest area 7. Polder irrigation tank

76

1. Garden 2. Waterboard 3. Water tower 4. Elevation 5. Ramp 6.Water bedroom 7. Water reuse toilet 8. Bath platform

8

1. Warm up isle 2. Sonna room 3. Steam collection 4. Steam generation pipe 5. Rain water channel 6. Walk pathway 7. Wooden roof 8. Steel bone frame base 9.Service room

8

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

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GC[6]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island d. Situating the Gate(s)

77

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

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GC[4]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

2. Rest area

Seeding an Island d. Situating the Gate(s)

3

2

7 6 4 5

1. concrete t=40mm 2. sheet waterproofing 3. insulation fiber board t=60mm 4. regid insulation foam t=30mm 5. window frame: hemlock t=30mm 6. plasterboard t=12.5 7. structural plywood t=12mm 8. plaster board t= 9.5mm puttied cheeselath urethane paint (silver)

1

3 5 4

6

7 2

1.Rain roof

1

1. galvanized steel sheet 2. structural plywood t=9mm rigid urethane foam t =30mm +airsoace vertical furring strips 45*135@455mm 3. steel roofing 18kg 4. cendar siding(10*150mm shiplap) 5. eaves+flashing: bent steel plate t=2.3mm 6. regid insulation foam t=30mm 7. water resistant plasticboard t=9.5mm 4 8

3 6

5

3. Base 1. concrete sub-slab t=50mm 2. crushed stone t=150mm 3. water resistant plasticboard t=9.5mm 4. regid insulation foam t=30mm 5. floor joint 120*120mm 6. floor joist 60*30mm 78

1 2

Island temporalities

GA[2.1]

[ds c]

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GA[2.5] GA[2.6] GA[2.7]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island e. Crafting the Island

80

Island temporalities

GA[2.1]

[ds c]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

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[2021] ISLAND TEMPORAITIES: Mont-Saint-Michel design studio A MArch2 [Semester 2]

Seeding an Island e. Crafting the Island

81

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[ds r]

[2022] ISLAND TEMPORAITIES: island making vii Design Report MArch2 [Semester2]

2020 ISLAND TEMPORALITIES

Design Report La Manche Sanatorium

[Course Aimes] [A1] Construct a design report as a designed object that effectively, efficiently and eloquently introduces an architectural design project or design thesis undertaken during the MArch Programme.

[A2] Appropriately structure and present a comprehensive design report as a fully referenced academic document which demonstrates integrated understanding of a range of architectural issues of culture, technology, professional practice, value, theory and design and reflects upon aspects of personal architectural practice.

[unit synposis] This course, taken in the final semester of the programme, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the programme. The design report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. The design report is also a reflective document allowing the student to reflect not only on their finished project but also a key aspect of their methodology and practice. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object.

[Learning outcomes] [LO1] GC 2.1, 2.3, 3.3; GA 2.1, 2.4, 2.6 The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

[LO2] GC 2.2, 2.3, 8.1, 8.2, 9.3; GA 2.1, 2.2, 2.3, 2.4, 2.6, 2.7 Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context.

[LO3] GC 1.1, 3.3; GA 2.2, 2.4 The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.

GA[2.1]

[ds r]

GA[2.2]

GA[2.3] GA[2.4]

GA[2.5] GA[2.6] GA[2.7]

GC[1]

GC[2]

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[2022] ISLAND TEMPORAITIES: island making vii Design Report MArch2 [Semester2]

A Design Report

Task The report is to be a designed object as well as an academic document. While the ongoing pandemic will demand that this is a digital submission, it should be conceived and presented as though ready for print.

Response “It is hoped that this report will be used as a guidebook, or rather a maritime chart of sorts, to steer the reader through the exhibition by means of drifting images and annotations on a wet page, and firmly tethered textual fragments and asides suggestive of a patch of dry land within these strange waters.” (extract from Prologue)

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[ds r]

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[2022] ISLAND TEMPORAITIES: island making vii Design Report MArch2 [Semester2]

A Design Report

84

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[ds r]

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[2022] ISLAND TEMPORAITIES: island making vii Design Report MArch2 [Semester2]

A Design Report

85

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Island temporalities