Housing+ Magazine By MSA Praxis by spatial_agent_smith

* SPECIAL EDITION *

Housing+ MSA Prints PRESENTS

THE GAME HOUSING CRISIS LIFESTYLE + GENDER PUBLIC / PRIVATE RE- APPROPRIATION

PRAXIS | HOUSING | COMMUNITY | EVERYDAY | PARTICIPATION MSA Prints

06 The Game

MSA Prints EDITORIAL The nature of this atelier inevitably led to this publication differing from a conventional exhibition catalogue. Led by Helen Aston and Sarah Renshaw, the atelier challenged stereotypes in the architectural profession and gendered roles in society, which broadened into a wide range of social issues and opportunities in the North Manchester neighbourhood of Cheetham Hill. Out of this came, not 24 answers, but 24 questions about Cheetham Hill; 24 projects that confront or subvert existing parameters to ask how, and crucially why, architecture might address these situations. At the core of this was housing - Housing+. Housing forms the bedrock of society. Relationships with the world and other people are founded in the home. The home, therefore, needs to be a haven of safety and comfort; somewhere a child can form its understanding of the world and where an adult can raise their own family, or live as an individual or couple safe from harm, free to live a fulfilling life. This does not always mean a private dwelling. For many people a private home is unattainable and/or not the best answer to their situation. For this reason, the atelier investigated various paradigms, typologies and situations - from co-housing to sheltered accommodation to construction systems - by which people from all sectors of society in Cheetham Hill could realise this crucial ‘dream’- a place to call home. This considered, the neglection of housing from the architectural discipline (or rather the neglection of architecture from the housing industry) means that these crucial everyday spaces, which form the foundation of so many lives, are deprived of architecture’s potential benefit. Most housing in Cheetham Hill is the product of pattern books rather than architectural process - copy and paste spaces that serve the abstraction of the market, not the people who constitute it. This leads to the crucial question- how can it be done differently? First and foremost: engagement. Engagement with the communities and individuals of Cheetham Hill formed the backbone of the atelier approach and individual projects. Although rhetorical projects, this engagement grounded them in reality and, hopefully, led to real change and benefit for those involved. Out of this came not only housing, but community buildings, forming a coherent whole; a question about everyday spaces and social relations in Cheetham Hill, with some extraordinary results. Given 24 unique projects, some categorisation was required to compile them into this publication. This lead to the formulation of the following five chapters, which offer a broader context, as well as honing in on specific key questions: 1) ‘The Game’ (architectural profession); 2) Housing Crisis; 3) Lifestyles and Gender; 4) Public/Private Space and 5) Re-appropriation. Continuing the atelier’s theme of engagement, this publication aims to be engaging; an article written by atelier members begins each chapter, followed by transcribed text from two discussions between the whole group, conducted specifically for this publication. These discussions are supplemented by ‘advertisements’ of the 24 individual projects, as well as ‘synoptics’ describing the ways members have engaged with Cheetham Hill or discoveries made on study trips to other cities. A lot of content across a diverse spectrum, which should, hopefully, present this year’s work in an engaging and enticing way and raise some intriguing and provocative questions in the process.

What kind of architect do you want to be?

CONTENTS 04

Atelier MSA Praxis

Collaborators

The Game

Discussion

The Housing Crisis

Discussion

Lifestyle + Gender

Discussion

Public/ Private

Discussion

Re-appropriation

Discussion

Comic

Posters

References

Editing Team

Housing Crisis

What can architects do about the housing crisis?

24 Lifestyle + Gender

How does the house affect lifestyle, especially gender roles and vice versa?

34 Public / Private The more public space is privatised the harder it becomes for individuals to create private space. Do you agree with this statement?

Re-appropriation

Henri Lefbvre claims that space is not a finished product, rather it is a constantly evolving social construct. How is this manifest in Cheetham Hill and your work?

Joseph Smith 2

MSA Prints

ATELIER MSA PRAXIS Students Adegbemiro Adebimpe Adelina Nedelcu Archontia Manolakelli

COLLABORATORS

Tutors Helen Aston, Senior Lecturer, MSA

Cheetham and Crumpsall

Sarah Renshaw, Associate Lecturer, MSA

Billy Adams

Guest Tutors

Catherine Bason

Alice Green, The Manser Practice

Eden Tarn

Dave Lambert, GA Studio

Ellie Keyes

Emily Crompton, Urbed

Emma Naylor

Kat Timmins, Calderpeel FGP

George Williams

Sara Dowle, HTA Design

The Factory Youth Zone

Pat Lesley

Georgie Oppenheimer

Urban Living Lab Abraham Moss Learning Centre Abraham Moss School

Cheetham Hill Advice

Georgina Naish

Woodwill Sure Start Centre Trinity Welcome Centre Ekko 24 House Private Hire Adil

Hannah Summers James Kinnear

David

Jess Mulvey Joseph Smith Julia Smith Katie Foster Konrad Koltun Lin Lee Cheng Sheel Doshi

Dave Lambert, GA Studio Emily Crompton, Urbed MSA Projects

Sophie Hodges

Greater Manchester

Taniya Ittan Warren Walker Will Priest

Kat Timmins, Calderpeel FGP

MSA Prints

Sara Dowle, HTA Design Alice Green, The Manser Practice

MSA Prints

THE GAME By Konrad Koltun

Evaluating the role of the architect, and architecture in general, in the production of space proves a good way of understanding the processes the profession carries out. Understanding that is the only way to answer the question of “what kind of architect do you want to be?” posed by our tutors at the beginning of the year, which has followed us in MSA Praxis ever since. This inquiry also allows one to evaluate what is wrong with the profession as it is, and to come up with a personal agenda of how it should be. In the interview conducted by Mies. UK (2013), Jeremy Till summarises architecture to be: “written as a history of a certain set of values, that is so perpetuated and so strong, that it is very difficult to escape that architecture is simply the production of buildings.” And in terms of the process: “as a profession it circumscribes itself as set of professional values to do with knowledge – I have the knowledge, which you don’t, you’re a dirty amateur, I’m an architect, I know a way forward.” As an atelier, we certainly agreed with those statements and we certainly consider the architect and architecture to be more about “occupation”, “processes of production” and the way it “situated itself in the society”. At the same time, we were taught how to respect other people’s knowledge through the process of participation and collaboration.

According to Peter Eisenman, Leon Battista Alberti re-defined the role of the architect and their practice (The Harvard GSD, 2007 and Syracuse Architecture, 2011) by promoting them from being the master builder on site for most of their lives, to dealing with representations of spaces, that is to provide building drawings for others to execute. Not only did that, according to Eisenman, start the idea of a metaphysical project (practised in schools for example) but, in my opinion, something else interesting happened: the architect stopped being merely a link between what society (or those in charge) want and what is being built. The architect was induced to the body of those who make decisions. Sad to say, not many architects to this day have taken notice of this, despite the profession having been through perhaps the most hated period of architectural discourse, Modernism, when Le Corbusier & co. tried to be involved in rather significant policy making. At the time, architects and planners were very often the same people, as was certainly the case in Italy (Mazzoleni, 2010). And so, MSA Praxis looked into the architect being a politician, our ideas went beyond the architectural project and we questioned not only the profession, but society as a whole.

Right: Non-egotistical architecture, for the people by the people. Below: Expert Citizen / Citizen expert

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However, in order to further consider the role of the architect, a deeper inquiry into what the profession is, was necessary. 6

The Game

MSA Prints

EC: So if you’re saying you don’t want to be an architect, what do you see in the future, what would you love to do in 5 years or something? CB: I don’t know, something design, something for the public. BA: Sounds quite a lot like architecture...

EC: There’s a repeated vision of the architect being, I don’t know, a person in a tower. There are loads of different kinds of architects! That’s not what architects are - if someone wants to be that that’s fine- but there’s all different colours of the rainbow. CB: I think what I’m going to do is try out lots of different kinds of job, and figure out which one I like best. KK: I guess though then maybe architect is the wrong word, because originally it meant the master builder, but ever since Alberti introduced the idea of

EC: No. CB: But you get paid more? EC: We really don’t get paid very much. HA: It does quite often mean you get a pay rise doesn’t it. EC: In some situations, about 8 years ago... HA: In certain economic climates. EC: With that status though you can start practicing on your own, because they’ve got evidence that you will, you know, provide a great

Free

Tea, Coffee and cake ! ‫یفاک ےئاچ تفم‬ ‫کیک روا‬ bezpłatna kawa herbata i ciasto ‫גוע ישפוח התו הפק‬ ‫ה‬

capital

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The Game

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RESIDUAL

Synoptic: Spatial Stratification and Class Consciousness in Glasgow service for your client, and you subscribe to all their box ticking thing. So it gives you a real flexibility certainly, you can start your own thing - do design with the public, maybe. JK: I think maybe part of getting the qualification, is then you decide what an architect is - once you’ve got that then you can change it and you’ve got the skill set and the experience - you are then the next generation of architects. It’s so hard to define what an architect is because there’s so many different kinds, but I think with our atelier getting stuck in and mixing with different kinds of disciplines and people is really important. But to choose what kind of architect you want to be you need that qualification and that name to be able to practice how you would like. SR: You don’t necessarily need to have it before you start. Your journey already starts with 3rd year and then continues in Emily’s case with URBED and so on. EC: They want me to be part of the club, and I have to answer those questions...but I have to answer as they want me to answer. That’s really difficult for me because I want to criticize them, but that’s not what that’s about. KK: So basically what you’re say-

capitalist

aristocracy of labour

lity

SR: It’s that same question againwhat is an architect?

CB: Maybe it’s just a different kind.

HA: People hang onto the title of architect don’t they, which is essentially what ARB does - they protect the title. The architectural registration board, which Emily will now be able to, well when she gets her part 3, legally say I am an architect. If that’s the only thing that that offers you...I mean, is that going to change the way you will practice, by being able to call yourself an architect?

PRIVILEGED

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CB: When we first met everyone in MSA Praxis, you said what do you want to get out of the year, and for me that was finding out whether I want to be an architect or not. And I don’t think I do, but I do want to use everything I’ve learnt - the skills I’ve picked up - and I want to do something to do with community and design - I want to do architecture but not...I don’t know. I’m a bit confused still.

architects producing the drawings for someone else, then we stopped actually being master builders and we started dealing with representations of spaces.

mo ra

What kind of architect do you want to be?

HA: Exactly, I’m so glad someone said that because if they hadn’t I would have. Because that’s where it becomes interesting - where you actually need to define what kind of architect you want to be. Architects don’t always design buildings, it’s just that the third year is dull and you have to design a building.

Discussion:

ing is that to make a bigger impact we need to be in the club to break it from within, in a way. But then there’s the danger that the minute you’re in the club, you become it. HA: That’s the challenge. Is that not the fun part of it though? When I was a student I used to get really bored hearing about the RIBA and how it was an ‘old boys club’ full of dickie bow architects, bunch of pompous men that run the RIBA (and they still are). So what I did, because my head of school at the time, said to me to stop moaning about it and join it. So I became a student rep that did all the visits, when the RIBA come and validate the courses, and I affected change from within. Which is one of the reasons why I teach, because I don’t believe that architectural education is right, but there’s no point moaning about it as an architect, I prefer to change from within and then the profession is affected that way, because the more students that then leave with that as an attitude...It took Stef and I years to get anyone working on a project in a place like URBED , for example, because people just went and worked for Aedas. EC: I just want to talk about my colleague who didn’t do his part 2 or 3, and is now looking to set up a retrofit business. He has a lot of expertise- he’s built a lot of things

Similar to the Situationists (situations), Tschumi (violence) and more recently Till (contingency), Lefebvre (moments) was striving for a reinvigorated conception of space free from capitalism’s abstraction. As Debord argued provocatively, the ever greater privilege brought about by capitalism’s ongoing technological advance only serves to separate from the world and each other. This augmented reality - privileged space - is dependent upon the subordination of exploited and residual space, a relationship sustained by violence; Glasgow’s gentrified, pacified ‘International City’ centre is possible only by the marginalisation of the city’s ‘problem people’, such that they take their frustrations out on each other. In this process, the space dominated either loses altogether, or rediscovers, that sense of humanity lost by its tyrannical counterpart. Joseph Smith

Left: Conversations on Cheetham Hill Road Above: Trinity Welcome Centre members engagement

MSA Prints

and been involved in architecture for his whole life so he’s well qualified to do architectural services. He’s looking to set up a business of his own because the traditional contract architecture, it’s really difficult to find a company that will actually do retrofit at the price they need to reach a mass market. He just doesn’t fit into this traditional role that we have to play in order for the contract to run and for the relationship with the client. He is completely gutted though that he doesn’t have a qualification and he can’t fit in the boxes but has to find his own way - it really annoys him. BA: In what way does not having that qualification hold him back? EC: He finds it difficult explaining to clients that ‘well I’m not really an architect’. HA: Because people often don’t understand it. KK: Isn’t it to do with if I went to practice medicine or law you need to be qualified and …

Synoptic: Up Close and Personal

Synoptic: Abraham Moss Engagement

Synoptic: A Chance to be Architects

Community engagement is increasingly becoming a requirement for successful projects. Regardless of how we come to meet the communities we serve, talking and listening need to happen before anything else. Engagement with communities in Cheetham Hill through talking, face to face contact and word of mouth to bring answers to a range of questions, from the level of information, influence and control they have to determining basic practicalities such as who are they, what is it like living in the place, what is lacking in the area and what changes they wish to make. Different points of view from the people help to inspire the ideas of a design project.

Engagement workshops with the staff and children at Abraham Moss High School provided a platform for gaining information on the perceptions and opinions of Cheetham Hill amongst its immediate community. The children were asked about their lives through a series of exercises: the booklet exercise where they were encouraged to explain their family structure and their journeys to school; the spatial/ programming exercise where we asked them to react to particular scenarios and groups of people which then needed a space that was suitably programmed; and the cool wall which helped identify the architecture that was popular and what was to be avoided. These exercises provided quotes and intellectual stances that informed design.

The development of the studio project focused on the issues faced by the Cheetham Hill community. Trinity Church has for many years been an important refuge and advice centre for maybe one of the most deprived groups - immigrants. A workshop was organised with the help of the vicar and the volunteer members which essentially offered the people running the centre a chance to be architects for a few minutes. The exercise offered a glimpse into how people dealing with immigrants and their issues identify an architectural translation that would better help them in possibly answering these needs.

Lin Lee Cheng

Nedelcu Adelina

Catherine Bason

HA: But you don’t need to be qualified, everybody can practice architecture, the only thing you can’t do is call yourself an architect KK: That’s what I mean, but an-

other thing is if I need medication I need to go to a doctor, because it would be risky to go to someone who’s never done it, but do the developers need to go to architects by law? HA: No. JM: But you basically take the same risk, its like if you’re ill or like when lawyer, medic or architect has massive responsibility over someone’s health, whether someone’s body is at risk or the buildings falls down on them. KK: A civil engineer will design you a building that will stand up, he’s not going to design it psychologically and socially. HA: That’s an issue we have as a profession, isn’t it, that actually predominantly in the 50s and 60s, the profession let the surveyors, and the engineers, and the developers become the designers of buildings. And actually let the planning decisions be the thing that dictates so much. And that happened because the profession was actually quite apathetic about “I am the master of this process, I am the master”, you know as in “I’m still the master...”. And the whole profession let that happen. And they just walked in and that’s why 75% of buildings are not designed by architects, and that’s bad in this country. WP: How do we get back? How do we get that status back? EC: It’s you guys, its up to you. HA: I think it can change, I think its a slow process. GW: They just need to change the law.

Above: MSA Praxis and MSAp collaboration at Urban Living Lab with local community. Left: Conversations with project stakeholders

The Game

MSA Prints

HA: Maybe then as architects, you actually need to become an MP and start representing... And actually with all the fairness I think he is a complete prat, but when Richard Rogers got involved in the urban Renaissance stuff in the mid to late 90s and got involved with the whole urban regeneration and represented in the Labour government there was an architect in the kind of design quango advisory board, for the first time people even talked about architects being in that political arena and to be fair, I really have a lot of respect for that, because why shouldn’t I be an MP, or a local councillor, I probably have all those skills to actually think strategically, represent my community, oh we actually do all of those in this atelier, so maybe we need to think differently about what our role is, how can we still be architects but affect change in a different kind of way? EN: Kind of in response to an earlier question. Perhaps its the fact that, you don’t need architects to put buildings up, but we need doctors to heal us.

Gender Territories in Cheetham Hill

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HA: But do we not need our built environment to be a safer place, and a better place for the poor, disadvantaged communities who have no...

ference between architecture and a building.

EC: Architects can do that the best

JM: Yeah but we as architects we need now......... We now need to go, this building is done by a planner, and this by an architect. It’s difficult and I don’t know how much we can change it, but I think normal people may react to it if they are given more examples of what actual architecture is.

JM: Then we need to tell people that. Because people will not necessarily be able to tell the dif-

EC: But they know this is brilliant, don’t they?

HA: Then go to an architectural practice and become architects. Table-cloth conversation with David (Cheetwood Community Centre)

Phone call to Caroline (Ekko Taxis)

Taxi ride with Tariq (night)

Cool Wall Engagement

Left: Engagement with the youth at The Factory

The Game

Whilst visiting Cheetham Hill our group was talking with one of the teachers from Abraham Moss School, leading to the arrangement of a series of workshops with the pupils. In these, the children were a range of activities, from a ‘cool wall’ to cognitive maps, with the intention of learning as much as possible about Cheetham Hill from the perspective of the children, as well as their family, social lives and opinions. The main thing learnt from

these workshops was how a lack of adult literacy in the community creates social barriers and isolation, as well as having a negative impact on the education and social lives of the children. James Kinnear

MSA Prints

“AS A PROFESSION IT CIRCUMSCRIBES ITSELF AS A SET OF PROFESSIONAL VALUES TO DO WITH KNOWLEDGE – I HAVE THE KNOWLEDGE, WHICH YOU DON’T, YOU’RE A DIRTY AMATEUR, I’M AN ARCHITECT, I KNOW A WAY FORWARD.” - TILL 14

The Game

MSA Prints

THE HOUSING CRISIS By Will Priest and George Williams

The housing crisis in the UK of this scheme, the government’s has been a persistent problem money was siphoned back into the dating back to the end of the housing market contributing to the WWI, where housing demand inflation and the social housing outstripped supply. One hun- stock was reduced and as a result dred years on and the situation there were even less affordable has gone from bad to worse with houses in a market of higher prices. housing prices rising rapidly out of most people’s reach and de- The collective attitude of the namand ever more prominent. The tion has grown increasingly towards average house price in Britain home ownership over rented. This has risen from £5,362 in the 70s was initiated from a conservative to £227,765 in 2008. The bulk of ideology from the 1920s that didn’t this inflation was the product of substantially come into effect until the recent housing boom of the the Thatcherite government of last two decthe 1970s. The ades which was “Right to Buy’ the result of IF THE PRICE OF A SUPER- scheme and conCHICKEN HAD servative ideoextremely lax MARKET INFLATED AT THE RATE OF logy created a lending from banks and the HOUSING FROM THE 70S, capitalist attitude p e r m a n e n t l y TODAY IT WOULD BE £47 in the nation increasing which promoted housing demand. home ownership. This attitude has been perpetuated by the relaxed The ‘Right to Buy’ scheme of the lending of the banks and the Thatcher government catalysed attractive nature of investing in a the situation by effectively selling steadily inflating housing market. of the governments social hous- On top of this, other people have ing stock at a reduced rate to the become more inclined to purchase occupiers who were then able to their properties because the insell their properties back on the flating property market makes it market at full value. As a result harder and harder to purchase in

The issue is inherently political. The house prices increase because there is a permanently higher demand than supply and because most of the voters are homeowners the government concentrate the policymaking on the ownership side of the market. Unlike most inflation, the government sees property inflation as positive. This is likely because of two things, firstly that the inflation in property contributes to overall GDP and economic prosperity and secondly that the restriction on new development is often strongly supported by homeowners. As a result of this ownership bias, the government is oppose to creating policies and funding schemes that promote the supply side of the sector and as a result we have a perpetual relationship between homeowners and the government that neglects the outsiders and contributes to inflation and thus the ever expanding gap of wealth.

Right: Financial structure of co-house community

Housing Crisis

BANK

INITIAL CO-HOUSE GROUP

LAND PURCHASE

What measures can counter this vicious circle? A reduction in the amount of homeowners will reduce the hostility towards development because other tenure types have a more liberal view of housing development, understanding that it is necessary to keep up with demand. A study in British social attitudes written by Broughton and Keohane (2013) revealed that ‘47% of those who rented from a housing association supported more homes being built in their local area compared to

Right: Vicious cycle of homeowners and government interventon Keohane, N., Broughton, N. (2013)

only 23% of home owners’. For this change to happen the government will need to encourage other tenure types such as private rented but this will require funding and policymaking that will not be supported by the electorate and therefore this is not, and has not been, the solution. Perhaps the shift must come from a bottom up approach.

the future and people do not want to get left behind.

COUNCIL

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£ ARCHITECT CONTRACTOR

COMMUNITY EMPLOYEES

SOCIAL HOUSING

QUALITY COMMUNITY SUITABILITY

SOCIAL HOUSING

MSA Prints

Discussion:

LOCAL AUTHORITY

rental

capital + ownership

FRAMEWORKS

work skilled labourers

production

work

KK: So, if housing is mostly predesigned by the developers and it’s not much to do with architecture, giving that job to the architects, will that not increase the price for housing?

LAND

FACTORY wages

BA: I think, first of all, not all hard working people in Cheetham Hill will be able to realise the dream of possessing a house as they are expensive and not everyone in Cheetham Hill and beyond Cheetham Hill can afford them and maybe not everyone wants to own their own home, maybe that’s not everyone’s priority.

professional workers

capital + ownership

What can architects do about the housing crisis? WP: I was going to talk about housing and how it might have been that we’ve lost out in that respect. In the construction industry the winners are basically the people with the money and the investors who are driven by profit margins and that basically causes everyone else to lose out. Architects don’t get to design proper dwellings for people, the people who bought the dwellings past the house builders are expected to build the design, they’re not actually suitable for people who buy these houses. They are primarily concerned about making money and produce things as much as possible. So you end up with a housing stock of poor quality houses, the people who buy those houses lose out, they lose out financially because of the inflated prices and also the economy as a whole loses out. That is to do with the right to buy; the government lost a lot of money because of that scheme.

of efficient materials. But I think what makes it too expensive is that, people, when they pay £100 000 pounds for a house it doesn’t cost £100 000 to build it, it maybe costs a quarter of that and the rest goes to the market, land prices and stuff which push it up.

long term unemployed

PRIVATE UNITS

private tenants

SOCIAL UNITS

social tenants

SHELTER UNITS

HA: Land bank, I am just giving the right terminology, sorry. BA: Well, like we were saying the role of architecture and perhaps architects is not just designing buildings and for architects to potentially have an impact on the quality of environment and the cost a building reaches, you don’t necessarily have to design buildings and sometimes an architect could write a paper or theorise or introduce certain ideas that then feed into the ideas of developers

and engineers and that’s why architecture is quite broader in that sense because you can influence the environment, and address these issues by not necessarily designing a building. WP: What we do now with our projects is, we set a precedent of how these issues could be overcome, obviously we design houses, not build, but they are all possible solutions to this. GW: Just going back to what we were saying about just changing the role of the architect in terms of housing yes, I think we could write papers and theorise and stuff like that but I think we could actually be used to start these kind of groups where we’re ac-

tually working with residents and actually try to, I believe there is some sort of, I don’t know how it works, there is some sort of pot of money that funds groups to start up projects together, so I think it’s about bringing people together, like minded people together, that are interested in quality, you know, and I think that’s where the role of the architect could be, that they help with these kind of projects. WP: I think that’s true but it can’t just make the housing stock. . . and having people that are attracted to having different sorts of housing and go around and look at something that has this or that and basically having options of lots

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vulnerable citizens

Above: The framework for the new production of housing

WP: I think, as future architects, we’re having these discussions now, we’re trying to come up with ways to solve this. The architects role is not necessarily to design these buildings, it might be to produce alternatives to make these buildings so looking at procurement and looking at how we can enable people in the community to self procure and other options rather than buying from developers and

this struggle to happen for housing. JS: I think it’s not, well, yeah obviously that’s too expensive and that’s why we’re not consulted enough but having an architect design it doesn’t necessarily make it more expensive, they could make the building more economical if designed intelligently with the use Housing Crisis

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MSA Prints

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ng Scheme

housing scheme is set up by the onsite architect to the standards provided by the n developed for the site and surrounding area. This gives a more context specific evelopment. Driven through North-West housing standards, four housing types ed ranging from 1-4 bed units. The houses were designed using the courtyard as a social and solar gain. Each housing unit shown has an adaptive plan and provides pen’ or ‘closed’ plan living, this adaptive nature is taken through to how the four bed signed with the ground and first floors shaped identically to the three bed houses wth within the development. The four bed adaptation plan is shown to the right.

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Typical Housing Scheme Axonom etr

Detailto the standards provided by the The self-build housing scheme is set up by the onsite architect local area plan developed for the site and surrounding area. This gives a more context specific response to development. Driven through North-West housing standards, four housing types were developed ranging from 1-4 bed units. The houses were designed using the courtyard as a typology for social and solar gain. Each housing unit shown has an adaptive plan and provides options for ‘open’ or ‘closed’ plan living, this adaptive nature is taken through to how the four bed houses are designed with the ground and first floors shaped identically to the three bed houses allowing growth within the development. The four bed adaptation plan is shown to the right.

Bedrooms: 4 Floor area: 140 sqm £250,000 Family home situated within a co-housing community that benefit from a co-operative lifestyle. Abundant outdoor communal space for recreation and food production. Second Floor 1 : 100

First Floor 1 : 100

Typical

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First Floor 1 : 100

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etric De

tail

of different houses as well, rather than having a standard development driven house that everyone has. So, I think those, they initially spoke to that person but you know we might look around a house that has probably the most unique that we might set our own built for someone else in history but it might be really attractive today. BA: I was just going to say that in terms of the Right to Buy scheme, which allows people to buy a house with a much smaller deposit, like only 5% of the total price and they can get a house, they get funding from the government so that is a kind of care taking to increase house intake but it also has negative implications on the housing stock. So I don’t necessarily think that mass housing initiative is the solution and there are a lot of places where social housing schemes where it’s not necessarily about owning a house, but dwelling in it. And perhaps there becomes an issue of feeling that you can dwell in the publicly owned space of a building.

Ground Floor 1 : 100

Monitored housing development with the intended use of probation housing for young

All immigrants welcome! Witamy wszystkich imigrantów! Bun venit imigranți! Всички имигранти са добре дошли!

Synoptic: The Politics of Housing 6 No. 3 Bed Units First Floor 1 : 100

Ground Floor 1 : 100

Gross Internal Floor Area 3 Bed - 143.0 sqm’s

The document alludes to how the housing crisis, in terms of meeting long term housing targets, could be solved by changing perceptions of homeowners to see the benefits of private/public renting. This requires policies to provide “more attractive alternatives to homeownership, such as a better private rented sector and stronger incentives for communities to build more homes.” (Keohane and Broughton). The project was undertaken to combat some of these issues with key reference to the selfbuild community and how these networks between the construction industry and the community could be used as a framework for creating quality housing that suits the needs of the community whilst keeping up with housing targets. George Williams

Above : The Framework House axonometric

Below : Transient House configurations

SOUTH FACING ELEVATION

Housing Crisis

WEST FACING ELEVATION

EAST FACING ELEVATION

NORTH FACING ELEVATION

MSA Prints

LIFESTYLES + GENDER By Sheel Doshi

“We cannot stop linking women to home/domesticity or men to work/public life architecturally and thus conceptually, even when we know the realities are very different” (Ainley, 1998: 207) It is no secret that a woman’s role in society is a result of the Western patriarchal system and, through repetitive social conditioning; these roles have been enforced in politics, modern culture and, of course, in architecture. For decades, social norms have dictated gender roles, specifically imposing the notion that the woman’s realm is the home. Today, however, though much has changed, women are still not at the forefront professionally or socially. Just as it is an issue for women to escape the confines of social typecasts, men also lay victim to the stereotypical requirements of identity. Whereas women are associated with emotion, nurture and subjectivity, men

are deemed as rational, impersonal and objective, creating a binary classification that feeds into the design of space. Space can be understood as a juxtaposition of form, where relations may overlap and reciprocate, and thus the body acts as an interspace, both experiencing and creating space and form (Weisman, 1981). It is through actions that have historically been deemed as either ‘feminine’ or ‘masculine’, e.g. breadwinning or child-care, that spaces have also been gendered. However, as hypothesised by Butler, gender is intrinsically related with time and space as a “stylised repetition of acts” (1990: 13). The issue of gender and space is thus paradoxical and reciprocally related. It must not be overlooked that gender is not a binary concept frozen in time, but rather an everevolving identity that changes just as the use of space does too. Therefore, it is not a question of defining space as either ‘masculine’ or ‘feminine’, as that presents a discourse on symbolism, but rather, it is more about whether a certain space projects or encourages these socially conditioned actions. The layout and spatial hierarchy of the traditional terraced house is a clear reflection of this gender stereotype, where the kitchen (traditionally a woman’s realm) is marginalized at the back, and the living room (traditionally a male dominated space) thrives at the forefront. Though it is accepted that these spatial arrangements have practical incentives, space is never neutral, rather, “behaviour and space are mutually dependent” (Ardener, 113). The physical isolation of the women’s realm only serves to highlight the social gender disparities, as architecture

Lifestyle + Gender

is both a creation and reflection of dominant socio-cultural values (Rendell, 2000). With this in mind, how can we bring women into the forefront of the ‘man’s realm’ and how can space be designed to function as a catalyst for this change? In order to deconstruct this binary establishment of space and gender, the boundaries of where the private world (i.e. home, and by extension, the woman’s world) ends and the public world (i.e. a man’s world) starts must be investigated and pushed (Rendell, 2000). As Hayden aptly recognises, women’s status in the home and in the labour force are intrinsically related. Unless the role of women improves within the labour force, the role within the home will not improve, and vice versa (1980). The understanding that space represents gender disparities is both means for learning and, more importantly, a strong incentive for a redefinition of what has for decades, been taken as the norm. It is high time that the design of space is reconsidered and used as a catalyst to change the archaic notion of gender roles in society. As architects, we must ask ourselves who benefits and who loses from our designs of housing, public space and urban design in order to ensure that we escape this vicious cycle (Butler, 1990). Architecture and spatial design therefore have a responsibility to re-establish the process of gender enactment in order to subvert the male-dominated system and heal the binary split between the feminine and the masculine. However, reconsidered spatial design cannot exist in isolation, social movements must also be established in parallel, in order to re-establish a new set of equal and representative social values.

Synoptic: The Secret Garden

Synoptic: Neighbourhood Diversity Diversity means a number of things, both the mixture of people, and the mixture of buildings and their uses in the area. This leads to all different kinds of people inhabiting the neighbourhood at different times; creating a lively and safe atmosphere. Monotony in a district eventually leads to people not caring about the place in which they live, these places then fall into disrepair and disuse. The essay in question discussed the idea of a neighbourhood being allowed to develop organically in a positive light. The idea of knocking everything down and starting again stops a neighbourhood from flourishing. Jane Jacobs speaks of neighbourhoods built up all at once as “dead from birth, but nobody noticed this much until the corpse began to smell (Jacobs).

A conversation with Linda, who co-ordinates the Abraham Moss Adult Education Centre, an engagement session with fifth years; and Colette, a volunteer at the Trinity Church gardening club, showed the disproportionally high number of women, mainly first and second generation immigrants but also many British nationals, who are isolated from the wider society of Cheetham Hill. Caused by a combination of feeling scared on the streets, martial manipulation and a lack of English, there are very few services they can access, let alone do. The Women’s Direct Access Centre, which provides temporary emergency housing for women who are sufferers of domestic abuse and those who find themselves suddenly homeless and at risk, provided a weekly supper session with women, who are dissatisfied with the services on which they rely. Hannah Summers

Katie Foster

MSA Prints

Discussion: How does the house affect lifestyle, especially gender roles and vice versa? HS: I think it’s really interesting why people strive for privacy and it’s because people want a sense of control over the space in which they live and a lot of the time, you don’t. If you live in a place that doesn’t belong to you, you don’t have control over how you can use it in the way you feel it would be best used. And that is a more important fact to be addressed because it’s not the actual fact of owning it but being able to control and change the environment you live which isn’t necessarily your privacy, which is something to do with the rules of what you’re allowed to do in the place in which you live, but it’s also about, as what you said people getting themselves into huge amounts of debt because they can’t actually afford all their own home, why would they

do that? And it is because of this; people want that sense of control over their lives. BA: Well, in Cheetham Hill there is a lot of anti-social behaviour, there is a lot of crime and stuff and also in Cheetham Hill you see quite a lot of small, segregated communities so that is one way in which people behave and that affect the house and social behaviour which results in houses being gated off. That may be bad, that may be good, it just affects us. JK: If you don’t own property, you have much bigger sense of community. In Cheetham Hill, the gated communities are more of a design feature like creating pedestrian zones and more crime related zones because of the police system. TI: I was just thinking, we’re speaking about communities and the people I had spoken to, one of them was talking about how, when she was trying to set up a business she got cheated twice and how housing and design could contrib-

ute to creating these relationships and networks which would then influence business and behaviour. That woman who was cheating is now working in a supermarket and it’s not like she’s given up but it could influence the people and how they think.

Synoptic: Why Engage? As a result of misrepresentation at a governmental level, much of the diversity and intricacy of Cheetham Hill is generalised, making it difficult to target specific issues in by specific means. They say that trying to please everyone is, in fact, pleasing no one, and this is a challenge for many community groups within Cheetham Hill, where issues are resolved through a topdown approach. Our role as an Architect is to be able to represent the diversity and complexity within a population. Thus, as a method of engagement with the people of Cheetham Hill, a bottom-up attitude was appropriated in order to ensure that our approach was neither generalised nor predictive. In summary, as architects, we see humility above ego, social benefits over economical gains and active means of engagement over passive ones.

TI: I think, I am not talking about the individual house but rather about the housing scheme and how it is designed and how it is co-housing or shared housing, I don’t know, that could quite directly influence people’s decisions. BA: There was a time when me and Jess were talking to Pat and she was saying that she lives in a small house and she was saying how it had a very strong community feel and her kids could play on the front door and everyone got along and made use of the street and they kind of included their front gardens of the house and used that space a lot and a couple of people moved in that were kind of aggressive and those two individuals destroyed that and they didn’t want their kids to be playing in the street so they withdrew and then she

Sheel Doshi

Work from Within was often saying how a couple of individuals can go to a community and change the way people feel in the community. And consequently change physical space, and how it’s used, and how people feel in that space and the way it’s looked after. JS: The psychological response is important, but also the problem is the private ownership itself it’s so engraved in the communities psyche due to some individuals’ ideas on private property ownership and materials which turns some people against each other, and so the main thing about building co-housing and kind of more collectivised housing schemes is putting themselves. 24

Lifestyle + Gender

KK: So, the boxing out, in relation to the city, it happens in suburbia and it follows the idea of having a neighbourhood where the woman takes care of the house, the individual kingdom, and the man gets to go to work in the city centre to get the money. Wouldn’t more collective housing create more opportunities of breaking down that ideal? JS: In council estates, you can call it a monopoly of violence of public space, so when you don’t have a lot of people around the streets, the people who monopolise and are in control of the space are those who have the highest threat of create violence and in itself has to do with gender because it’s a

Authority

Client

Architect

Above: Work From Within

MSA Prints

Synoptic: Exploring the intimacy of collective dining through drawing The drawing at a 1:1 scale gives more attention and thought to the subtleties of the moment depicted. Such subtleties in-

clude: the position of chairs, perceptual social boundaries, artifacts, habitual eating movements and the relationships between people. The study of eating movements of the diners aimed to position the observer within the moment so that the intimacy of eating could be evaluated on a more per-

sonal, life-size scale. The movements of the diners reveal information about the individuals that would otherwise be unobservable. They explore the diversity of cultures, table etiquette and personal space. Will Priest

Robin Hood St.

The YARD

- Recreational Space - Chill Zone - Multi-use Sports Hall - Events Space - Studios - Gym Temporary Living Accommodation for Younger People

4 2

1 3

3 1

Temporary Housing for Vulnerable Women

Bedrooms: 2 / studio Floor area: 95 sqm Free (paid back through volunteer involvement) Every woman welcome to find retreat from everyday struggles and opportunities to define herself!

Synoptic: The Usonian House Frank Lloyd Wright’s model of the Usonian House sought to remove the boundaries between the living rooms of the house to create a more open plan, creating a more “natural” space rather than the way to which housing has reverted:

“The interiors consisted of boxes beside boxes or inside boxes, called rooms. All boxes were inside a complicated outside boxing. Each domestic function was properly box to box” The Natural House, 1971 Designing open plan housing allows interaction between the spaces and in the same

Kitchen

way that Wright’s designs allowed women Goetsch-Winkler House to entertain guest while attending the kitFrank Lloyd Wright chen, mothers can watch their children 1939 while continuing their work. Emma Naylor

Dining

Living

SR: It is rather neutral, than feminine.

women get gated by the societies, that typology informs what you’re supposed to do, and how the roles are distributed, you have to commute as both man and woman from the “bedroom” to city and that gets expensive, whereas a lot of the social housing schemes in Poland are built within or in close proximity to the city centre, where people can get in and out a particular dwelling and that is not as sexist, I would have thought.

KK: Being brought up in Poland in lots of social housing schemes, you don’t get those situations where

WP: In terms of my housing proposal, what it challenges and what I found out, I come from a

masculine kind of situation and I’d say it also reflects that in society that’s a kind of masculine ideology, so the gangs reflect the capitalist ideology in their own way that they can, which is violence. And you could argue that co-housing is in a way a more feminine environment where people live along with each other and that maybe sets itself.

Cheetham Hill Young Music Makers

Bedrooms: 1 single / double Floor area: 24 sqm £25pw for minimum 6 weeks programme

| 1st Floor | 1:100 Internal floor area | 420m²

1. Single en-suite bedroom 2.Staff Bedroom (ensuite,kitchenette, lounge and dining) 3.Duplex (2 bed, 2 bath, kitchette, lounge and dining) 4.Laundry room 5.Communal kitchen, lounge and dining 6.Access to green roof

Supported music based rehabilitation programme with accommodation for young people “at risk” .

Sanctuary Bedrooms: Single bedrooms with common areas Floor area: 15 sqm Free (2 days- 2 months tenures) Having trouble at home? Lost in life? Allow yourself to self-develop in a quiet environment among your peers!

co-housing scheme that out scales the kitchen and dining room space and bring community in to share as a family the kitchen and the conversations we have, the bonding with the family.... JM: Slightly back what Hannah said about housing is that if you are in a rented space I found that the behaviour of young people is if a young person has a room they are growing up in they can’t manipulate much or show their style, their behaviour, if they can’t show them in a positive way that leads to negative behaviour, one

Goetsch-Winkler House Frank Lloyd Wright 1939

Synoptic: Project Synopsis This project looks at growing food in Cheetham Hill and teaching people how to use this homegrown produce to create healthy dishes.Kitchen The master plan Dining consists of three aspects: housing for women who

are without a male partner to traditionally support them, a project centre where school children come to learn about food and how its grown and a set of allotments. The project centre is run by the women who live on site. The idea came about after a seriesLiving of discussions with various people in Cheetham Hill; including a meeting with

Colette Carole, who has a Job Seeker’s drop in session in the area. Colette highlighted the existence of women like this in Cheetham Hill and the role that needs to be assumed in order to help socially vulnerable women such as these. Ellie Keyes

Lifestyle + Gender

MSA Prints

simple example, graffiti, making of a stamp on your world, if you can’t make a stamp on your small world you won’t be able to make a stamp on the big one. BA: I was kind of firing off from Will’s point, like you were saying if you create this communal dining room/kitchen space even if there are still roles in the house, which often there needs to be if it’s a man that stays at home or its a woman that stays at home, if there is someone staying at home and there is someone working, often that person staying at home could be more isolated or lonely but if you create these communal spaces, kitchens, dining rooms whatever they are then it gives the ability for all those people that are staying at home to come together and breaks that sense of isolation or loneliness. KK: And also someone else can pick up that job within the community.... Advert

The Kitchen Garden Project

Library Garden Housing

Bedrooms: 1 / 3 Floor area: 57 sqm Free (subsidised through volunteer involvement)

Individual: 18 sqm Couples: 28 sqm Family: 44 sqm The homelessness support housing. Temporary tenure, each situation assessed individually to allow for rehabilitation and to break the cycle of homelessness. All welcome!

Housing for full time mothers. A space in which to relax after a day of digging in the garden or cooking with children in the adjoining project centre.

Top: Town Hall Middle: The YARD Bottom: Town Hall

Advert

EK: I was just thinking about the thresholds and where the front door is and the way that if you put a front door facing out or whereas if it’s facing in, there’s less opportunity for people to meet each other, greet each other and get to know each other to form a sense of community.

Lifestyle + Gender

MSA Prints

â&#x20AC;&#x153;(...) passivity is moreover distributed unequally. It weighs more heavily on women, who are sentenced to everyday life, on the working class, on employees who are not technocrats, on youth - in short on majority of people - yet never in the same way, at the same time, never all at once.â&#x20AC;? - Lefebvre 30

Lifestyle + Gender

MSA Prints

Lifestyle + Gender

MSA Prints

PUBLIC / PRIVATE By Archontia Manolakelli

“We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images. Memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.” - Bachelard (1992) Architecture is a form of experience understood cognitively as well as physically by each one of us. As a result, each individual creates an intimate image of spatial reality that has meaning and value to them at a personal level. Moving within a house or navigating through a big city, our experience is still focused internally, creating a gradient of vibrant or saturated strands of memories. Those memories determine our impression of space and the relationship we have to it. When recalled they give meaning and importance to specific spaces and classify them as a “place”. Places that are related to vibrant memories create peaks in our cognition and emotional attachment whereas those without it often fade with time.

these boundaries are challenged, the unusual understanding of spatial qualities may result in the prohibition or constraint of the offenders. In order to be part of the society, it is important to respect and follow the established rules to avoid a chaotic cohabitation in any given space. Despite the existence of the rules mentioned, architecture is often likely to be used in ways that are not predicted, directed of designed for by architects. Pockets of private space may be created, temporarily or permanently in spaces authorised for public use and vise versa. Architecture is not only created by architects but, as Honore de Balzac mentions: “The events of human life, whether public or private, are so intimately linked to architecture that most observers can reconstruct nations or individuals in all the truth of their habits from the remains of their monuments or from their domestic relics.” In that sense, the limits of private and the extents of public space are challenged as more variables are involved in our perception of space and its qualities. If we truly are alone in our minds, does privacy always end in the threshold between the doorstep and the road?

125m2 Three bedrooms Master bedroom with balcony Family bathroom Guest bathroom Large kitchen diner utility room Formal sitting room Private patio with shared wild garden Above: Melting Pot co-housing community and communal allotments. Must be eligible for housing benifits £145 /week + £10 /month Subsidised maintenance fee (mainly garden)

Post-Maggie House

Attached House

Bedrooms: 3 Floor area: 125 sqm £300pcm

Bedrooms: 3 / 4 Floor area: 60 sqm Free (subsidised by working in the centre)

Perfect for large, low income families (must be eligible for housing benefits).

Rules of society determine architecture, space and ownership as public or private. The boundaries of the two are usually distinctly determined and separated from each other for practical reasons. Following that classification, a house is a private space, whereas a park usually belongs to the public domain. This practice shapes the behaviours, unwritten rules and legal use of each space. In case 34

Secret Garden Family Housing

Public/Private

Counselling accommodation in semi-detached houses with open yard space. Suitable for young adults mental health improvement.

Basis

The Frank House

Bedrooms: 2 Floor area: 145 sqm £0-250pw (max. 3 months tenure)

Bedrooms: 2 / 3 Floor area: 75 sqm £250-300pcm

Two part scheme: emergency shelter for the homeless and a half-way housing scheme for recovering addicts.

A mix of semi-detached and terrace houses with open plan living space suitable for families. Enclosed communal green space on site.

MSA Prints

Discussion: The more public space is privatised the harder it becomes for the individual to create private space. Do you agree with this statement? JK: The box nature kind of reflects how private the society is and you need to accept how everyone in the society has to get along and you get these tensions. I grew up, for example, spending a lot of time in council houses and my mum wouldn’t let me go outside because there were these kids that were mental - I wasn’t allowed to go outside or play at the door step because of some other people, so you need some privacy. KK: Isn’t that created by the fact that if you’re comfortable in your own world individually and when

get out to engage with people you don’t really get what they’re doing there because your house creates that kind of characteristic.

groups and tend to sit together in pockets of space that kind of affect Cheetham Hill and it’s kind of interesting yet on the high street you have this very mix of all the cultures but as soon as you spread out you have these pockets of space

KF: Also, in council estates, a lot of the people, especially the gangs and some people, the personal boundaries of their dwellings don’t end at their house, that’s probably JK: I guess it kind of depends on what James is talking about. When from whose perspective you are you say you can’t get out of your looking cause I mean, I supposed own house because there is a gang if you’re wealthier, the more then it is like stepping into their privatised housing there is and I know it’s better house. Their territory isn’t IF YOU CAN’T INFLUENCE for you but it’s just their dwell- YOUR OWN SPACE AT HOME, a lot harder for people on lower ing, that’s why I THINK IT IS IMPORTANT incomes who people don’t interact, they TO HAVE A COMMUNITY can’t afford to don’t want to SPACE THAT YOU CAN, buy their own then step in their own PUBLIC SPACE THAT IS because territory. DISCONNECTED FROM THE they can’t create PRIVATE THAT YOU CAN their own private spaces and probET: In PUT OWNERSHIP ON. ably have to live Cheetham Hill in something a especially there are the cultural divides, the sort lot more public or less desirable so of segregation and pockets of they don’t have as much access to housing where you have religious that. JM: Similar to my point before, if you can’t influence your own space at home, I think it is important to have a community space that you can, public space that is disconnected from the private that you can put ownership on.

JS: That used to be the street - 30, 40, 50 years ago. Nowadays, the street’s died in the UK and other developed countries, mainly because of the car. So where do kids go then? If they can’t play on the street that’s where they end up, I

Left: Exploring the exchange occurring between the courtyard and the main knitting space.

Public/Private

suppose, in these more transgressive spaces like abandoned places, perhaps. JM: I think now it seems like it is a very negative thing for young people to occupy the streets and they are felt they are threatening so for example, kids sitting on a wall in the 50s or something that would just be so normal and then the young kids running around whereas take away the rest of it, these kids still don’t have places to play and its viewed in a very different way.

make a street that is actually your front but back? So what we class as our back garden could be the front garden which then becomes effectively the living street of the past, where we go outside and it is safe to play that is away from vehicular access and I think it’s looking at those kinds of communities where actually we design land that is a

central piece that is actually this shared land of looking at it as re-defining the street. WP: Is that where you’d have a vehicle street and a pedestrian street? GW: Yes.

KK: I guess, I’ve read somewhere that Western society like their cars so much because it’s a bit of a private space in a public space and that’s the only privately owned space outside their house, that’s why they prefer to commute by car. So I guess it is to do with the fact that the street doesn’t lend itself to be taken ownership of. GW: I think mainly, one thing I’m looking at in my project is what we could redefine in a house as the front and back of your house, could we redefine the street to be on the opposite side of the physical car, vehicular street. Could we MSA Prints

WP: Like separating functions? Why is that not more popular and why is it that we do like to have our cars because it is our private space in the public realm and we do like to have our private garden with the biggest barrier possible. Why is that? I think maybe people like that, obviously. That’s been popular. JS: What you’re saying there, with the pedestrian and vehicular segregation, that was the suburban project. But you’re obviously more about where the garden space is more collectivised, vs. individualised, which is the suburbia that we have? GW: I think there is an element of both I think you need that, Will was also saying that you need this element of privatisation as well because people do long for that but I think a mix of maybe both I

think is quite a good thing. JS: So you are saying that the problem with suburbia isn’t the fact that it’s too much about private property, it’s the fact that it’s too private and needs to be somewhere more in the middle. SD: I don’t know about here, but back home, each house has got it’s own wall that’s three metres high and a lot of them are concrete walls, you can’t see through it and so private space is quite obviously marked. But even still you’d have a group of people gather around a tree bed the wall goes around or little pockets of space that even though you have order and private space, I think its important to still have that ability to push those boundaries and be able to have your own little space whether its in private or public, not actually name or label of what the space is

a problem that is caused, it’s more about the localising something or not with public space.

KK: Isn’t that what graffiti artist do?

ET: But I was going to say that the problem in today’s world is people are so driven by capitalist nature and consumer goods and accessibility of the car that the public space is simply the place they use the car to go to and they don’t mind driving to a public space that’s further away rather than in their back garden or just down the road, their public space to them is the shopping mall the coffee hut with their friends in the next neighbourhood doesn’t directly have to be within their community they don’t mind

AM: Personally I’m doing something about mental health in young people and how they actually deal with space and how they see private space and public so I looked at it a bit more on a micro scale instead of like a big public space in the middle. Really, what I found out is that creating temporary private spaces and public can actually lead to better connections through that space. In my opinion it’s not really

1:50 Section A-A

The separating half walls create intimate spaces that are suitable for all group sizes is demonstrated in the 1:50 model of the cafe area.

but having opportunities to create on either side I think that is what important.

Public/Private

driving to another community for that public space because of that. KK: That’s funny, isn’t it, how the shopping mall is perceived as a public space, whereas, I think Tom Jefferies mentioned that going to a shopping mall and undress yourself and see how fast you’re going to get removed from it. GW: I think well, by integrating those kind of green spaces into areas that are actually very close to where those residents live, do you think they would just not drive to. ET: They don’t use those green spaces because they have no drive MSA Prints

to use those green spaces they’d rather just go and get consumer goods and it happens to be a green space that they use while they do their shopping. It’s merging the two together because the driving factor is the consumer goods not the green grass so you’ve got to have that over that. EN: I think the main thing about the whole cars being the private space and people preferring to use that I think it’s just what’s happened, how we’ve come to be essentially, we want to get from A to B quickly, we want to get stuff done we don’t hover around, or sit in the park for an afternoon anymore and I think that’s where public space is in a way the parks are dying because we are just too busy hurrying around. KK: Isn’t that to do with the weather as well? EN: Probably in Manchester, yeah. ET: In the UK in general, climate isn’t an issue, people don’t use

public spaces because they hardly ever have time to use them EN: Someone mentioned in the 1950s and 60s, people did stop and do things. They walked places and caught the bus rather than quickly getting in their car and driving to the shop that’s barely a mile down the road. JS: Perhaps the key word that makes public space really public is Jeremy Till’s idea of contingency. Like Konrad said about Tom Jefferies, if you started streaking in the Trafford Centre, you’d get kicked out pretty quick. We get homeless people on the streets of Manchester begging for money, but you don’t get that in the Trafford Centre, because there is private security. So it’s not really a public space - that’s what the question was kind of implying - a place like the Trafford Centre is very privatised version of public space, and these elements of contingency are forbidden. KK: It’s funny though because

homeless people do get kicked out from along Oxford Road. So is there public space at all? JS: That’s the kind of thing, when we talk about monopolies, consumerism isn’t just in the enclosed shopping centres, it’s monopolising the streets as well. KK: Because if you have homeless people in the street then they are going to “make the area worse”, they aren’t going to try and bother. JM: There is internal, non commercialised public space because we talk about the street and parks immediately because that is what we talk about when we talk about public space but as our climate, there’s not a lot of days when we want to rush outside but we do when we can but where is the internalised public space? SR: We do have them, libraries, churches, etc. JM: But they, we’re talking about, they’re not functioned, like the

church is for religious reason, a library for a book. SR: And some people might not feel comfortable going in those spaces as well. JM: It just seems like the external space is the only non-programmed space. KK: So we are basically asking for the spaces that on a figure-ground map are showing plan, because you can enter them, like churches so, the question is have we all designed buildings that will appear as a plan on figure-grounds? Would that be possible in the first place? If say, yeah, everyone can go into my laundrette, and enjoy the parlour but would that be possible considering there is some private property within there being washed? ET: My building has a public space. I have a basketball court, and a small skate park, which is open and accessible to everyone. I think for youth, it is important to have public spaces especially in Cheetham Hill, with anti social behaviour, I think it’s important to introduce positive public spaces, rather than just dead spaces people seem to loiter in, that seems to be the case, actually creating spaces that seem to have a positive impact so such as sport where you are channelling that maybe aggressive nature or energy that they have into something good.

Synoptic: Breaking the Walls “the true social spirit of architecture, once freed from the alienated effects of “the thick walls of private property”, would re-emerge as an expressive mechanism, almost as a biological reflex, to explore the endless possibilities of the social [...]” - Leonardo Minuchin Konrad Koltun

Synoptic: Lyrical Engagement Adil is a 21year old young music maker living in Cheetham Hill. He was the main driver behind the proposal’s programme and agenda, using his social status within the area to meet and understand the life of young people within Cheetham Hill. The proposal’s visual aesthetic and internal spaces were influenced and explained by producing a series of collaborative raps between myself and Adil as an alternative, creative medium. This allowed the proposal to come full circle, fully integrating it within Cheetham Hill and responding to earlier engagement which highlighted the need for a social diversion using the power of music within the youth community to tackle the effects of antisocial behaviour, deriving from long term problems with economic and social deprivation. Eden Tarn

SR: But if somebody can’t make money from it why do they want to open them up? KK: Could it be argued that those spaces get funded even though they aren’t making money but because they are having a positive impact on society they will get the economy going into the long run? JM: My project is similar to Eden’s in that it’s for young people and yeah, I think it is important to have 40

Public/Private

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things like that, that like you said aren’t directly going to give you money but they might give people a more positive attitude towards society and currently there is a lot of anti-establishment behaviour of young people fighting against the establishment but what my project really looked at was the struggle between anti establishment and establishment as well as, to use it again, graffiti and that’s an art which is an anti establishment act then if you bring that into the establishment and continue with the art hopefully make young people have a more positive view of society and then in that longer term view, give back. JS: In a sense you need to think of a kind of logic by which they will get funded. To fund people to play more sports or whatever you create more positive citizens who then benefit the system. So with homelessness, for example, you invest in getting them off the streets, then they are not taking over those public spaces and deterring other people from using them. It’s not necessarily the logic I would advocate, but if the problem is how you get governments to fund things like that, then maybe you have to think in those kinds of terms. ET: It’s quite similar to the point I was going to make, is that surely it’s down to the government to fund those public spaces rather than private companies that are never going to fund public spaces because they aren’t going to 42

tion is that they may get back. It doesn’t always have to be; I think companies would be interested if you pitched it right. SR: Just wanted to raise the point that obviously, you assume people have looked into, so there is something set up when you develop a project you are meant to give money to the government to set up spaces. Doesn’t always get used in

make any money out of them so it’s down to citizen to push the government and protest for those public spaces but also probably a lot of the reason the government don’t create public spaces is because they are leaving it in to the hands of society and a lot of the time society backfires and that public space becomes a deterrent or a bad place that’s exploited by others that has to be closed down and money has to be put into that to save that space which was set up for purposes but not being used for that purpose.

the way it should.

Above: Conceptual analysis of psychological space.

WP: I was going to say, as Warren says, that a lot of this relies on this house building model that we have which is causing the bad quality housing, it’s not necessarily the solution, we need something else in place.

KK: I was going to say the capitalist society relies on the initiative of individuals. JM: I think private companies would sponsor spaces, not to get direct money out of them but to get recognition as if their logo was put on the building. I think that’s a way to help their public recogniPublic/Private

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RE-APPROPRIATION By Billy Adams Excerpt from ‘The Production of Religious Space in Edinburgh’

Rosslyn Chapel was built in the mid-15th century but refused to convert from a Catholic to a Protestant church during the Reformation of 1560 and so was shut and left derelict for many years, partly falling into decay. It was not until 1861 that it was opened again, becoming a site of interest for architectural and religious researchers (learning.rosslynchapel. org.uk). It gained further notoriety after the book ‘The Da Vinci Code’, written by Dan Brown, was published in 2003. The success of the book, and the subsequent film, had a huge impact on the number of people going to Rosslyn. Consequently, increasing the amount of income the chapel received and the level of restoration and preservation that could be carried out. It is interesting here how the social discourse that surrounds the written ideas of the space have in turn had a big impact on its physical reality. Rosslyn Chapel is now primarily a tourist destination, this is most evident in the gift shop, where the Rosslyn Chapel brand is plastered on any product that is thought somebody might like to buy. From pens to baseball caps, to honey and shower gel, the branding has found its way on to a large amount of product that bear little significance to the church. Through this visitor interest, the meaning of the church has changed, or duplicated. It is no longer just seen for its spatial or spiritual value, but now also for its commercial value as a brand. This brand, this neatly packaged idea of a mystical chapel, can be attached to things that would have previously had no association with the chapel or Christianity what so ever, but are now considered more valuable because of their association with it.

Synoptic: Public Appropriation It is also interesting to look at buildings which used to be places of worship, but have since been converted to serve a different function. “The diversion and re-appropriation of space are of great significance, for they teach us much about the production of new spaces” (Lefebvre, 1991:167). The question that may be asked is, what affect does its previous use as a religious space have on the current space? When asked ‘what is a church?’ Many people will say that it is not necessarily a building, but rather a community, or set of ideals. But how does the physical reality of a ‘church’ affect how it is used by a different community, with a different set of ideals? One example of where this has happened in Edinburgh is at the former Highland Tolbooth Kirk, now ‘the Hub’. Lefebvre says that “activity in space is restricted by that space; space decides what activity may occur” (Lefebvre, 1991: 143). But within a space, especially one as large as the Highland Tolbooth Kirk, there is inherent flexibility, and consequently a large range of activities that can occur. The Hub is a case in point, currently housing a cafe, meeting rooms and a large hall that sees many different uses over the course of the year. This is surely a successful re-appropriation of space, but it is not an entirely new space, it still bears many signs that it was once a religious space. From the outside there is the undeniable features of a Gothic church with its tall spire, archivolt and arcade. On the inside it has been made to look more like a theatre, and a central corridor separates you from any of the original fabric of the building. But there are still large stained glass windows in the cafe, the central hall and the grand staircases, giving the building an inherently religious quality. Re-appropriation

Even if you are not in anyway religious, religious spaces have an undeniably spiritual quality to them; often this can be so powerful that it will start to manifest itself physically within you. But this is not just a result of impressive physical form. “Spaces can be marked physically... alternatively they can be marked abstractly, by means of discourse, by means of signs” (Lefebvre, 1991: 141). But neither is it just a result of mentally taking you to the heavenly paradise depicted on the walls. It is the combined result of the physical space you perceive, the mental space you conceive and the lived space you experience and act out. As was mentioned earlier, a church may not necessarily be considered to be a building, but a community or society. Lefebvre believes “society is a space and architecture of concepts, forms and laws whose abstract truth is imposed on the reality of the senses, of bodies, of wishes and desires” (Lefebvre, 1991: 139). So when one engages with a religious space, they are engaging with the concepts, forms and laws of that religion, and experiencing its affects on the senses, wishes and desires. But as commercial and tourist societies inflict their concepts, forms and laws on these spaces they are no longer just the spaces of religion, they are the space of commercial tourism. They are re-appropriated to suit the constantly evolving societal values. The physicality of space is a reflection of the social and political context in which it is made or altered, “composition is informed by ideologies...construction is a function of social relations” (Lefebvre, 1991:159). If one looks at the production of space today, it is clear we are living in a commercially driven society of logos and throw away products, even in the religious space of churches.

Synoptic: 105 Artists, 9 floors, 36 apartments, 30,000 visitors, 10 hour queue

A key theme that ran through my project was public appropriation, and the idea of handing over the power of how the built environment functions, to the people who use it. This manifested itself primarily through a system of replaceable panels. The standard unit was determined by the width of a door, and the height of the ceiling. This panel was then repeated across almost the entire building, with varying material and functional quality. The panels are simply bolted into the steel frame and can therefore be removed, changed and replaced, giving those who use the building the opportunity to alter the environment they inhabit, and ultimately make it suit their needs. Billy Adams

The now demolished Tour Paris 13 situated on the south bank of the River Seine in the 13th arrondissement on Rue de Bellievre opened up to the public for 30 days in October 2013. As the largest collection of street and urban artists exhibited their work in a 9 storey social housing block curated by Mehdi Ben Cheikh from Galerie Intinerrance, we queued for 10 hours on the Parisian streets to see the project on its final day of opening. The block that artists from across the globe had worked for a year to create was due for demolition the following week. Through sculpture, painting, installation and adaptation of space, the artists had one apartment in which to make their mark and the results were outstanding. Having two hours to explore the exhibition and by which time night had fallen one could not help but wonder what the spaces were like when they were inhabited; the child who slept where the giant face now overlooks, or the family who ate amongst the walls of doors. The experience made me aware of the variance in communities that can be created, from the now relocated inhabitants to the people in the queue conversing about where they’re from and what’s brought them here. Sophie Hodges

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should make some connections with some PR advisers and actually get the spaces programmed in the way they should be used.

Discussion: Henri Lefebvre claims that space isn’t a finished product, rather it’s a constantly evolving social construct. How is this manifest in Cheetham Hill and your work? JK: I was just going to say on the subject of internal public spaces, that’s one of the things I wanted to address with my project is, although it’s an adult literacy centre at heart, it’s pretty much full of malleable spaces which are undefined not set in their role and there are set rooms for set things but a lot of the rooms can be used for anything so it’s somewhere that can be used by anyone of any age for their own directives, they can just go and be and meet their friends or start a club or do whatever they want with the space and it becomes whatever you want it to be. It’s accessible from various points throughout the site and in different ways so no one feels intimidated or alienated from it. BA: I think one of the main problems with these spaces, if they were completely public, the internal spaces, like you were saying, homeless people would go and use it and fair enough, it’s a sheltered place, they don’t have a sheltered space and if they can get a better night’s sleep, they will go and use that, but that in turn, going to make other people not want to use it so there is a fundamental problem and perhaps it needs to be address at a different level of society where there are people needing to use these spaces for certain things where that prevents other people from using it. JK: Should have said my housing and centre is also a homeless centre so it addresses that, incorporates 46

ET: I agree. I think it’s one of the reasons why architects always go back and re-visit the buildings that they have designed to see if they are being used in the way they intended it to be used and that’s a lot of architects don’t do that or don’t have that publicity as you are saying to promote the space as they want it to be used which is why it gets taken over. KK: Didn’t Frank Lloyd Wright used to go into his houses every year and criticise everything and re-arrange the furniture. SD: I think that that’s important when it comes to specific private space but I think there should be a leeway between architects imposing the use of space and as opposed to people inhabiting it and I think that space without people is pretty much like sculpture and you just kind of lose it and as soon as you put people in it you should be able to allow that use even if it is misuse because that’s kind of the intention.

Workshop @ 1:100 The workshop uses the same panels as the house and its form and articulation is based on the dimensions of the house a unit.

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House @ 1:50 The houses are four panels wide This is based on the ability to fit a stair case in the middel, at 2 panels wide, going up in half flights.

1:20

Panel @ 1:20 The panels are a meter wide This is based on the ability to fit suitable functions into a singles panel such as doors and windows, meaning a unit can be put in or replaced to serve a certain purpose.

it. In Cheetham Hill, there is quite a lot of unspoken homelessness in the wider community, so I wanted to address those issues as well. ET: That comes to the point mentioned before; creating a space that’s not designed it’s not taking for its purpose by citizens using that space. It might be a park but then becomes an anti-social behaviour space because its been taken over by loitering youths. Or the library, which becomes degenerate.

KK: That’s where the participatory side of it comes in because in his theory Lefebvre says that the space gets produced for some kind of reason, political, whatever so to provide a space, lets say, for young people to play basketball and then it gets represented in a media form of some sort and the minute it gets represented as a lot of druggies coming in and start hanging out there, it stops being actually used as intended. So instead architecture Re-appropriation

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Synoptic: Cheetham Kitchen

JS: In terms of the atelier, I think it’s testament to how the Praxis approach is really positive in many ways and I think that, personally, I feel that as a group we have a really positive working environment.

Cheetham Kitchen provides multiple facilities with the aim to both educate and integrate the local community of Cheetham Hill. A Restaurant, and culinary training facilities allow members to develop their culinary skills whist also enjoying local food in a relaxing and social atmosphere. Library facilities offer a place for the local community to further their education through the provision of computer and studying facilities. As well as serving Cheetham Hill as a whole, the Kitchen also acts as a facility in which young offenders serve their community sentence, as well as attain valuable qualifications to ensure future employment. During this sentence, each offender will be provided with monitored accommodation also situated on site.

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All of this, housed behind the iconic façade of the original Cheetham Hill library, Cheetham Kitchen will be the new cultural epicentre of the community. Julia Smith

Synoptic: Spatial Agency Research into environmental psychology, by psychologists Spencer and Woolley and the effects of this discussed by Jane Jacobs, that I undertook as part of my essay reading taught me about the different kinds of identity development that are important to foster when designing for adolescents. I found that it is important to allow young people to act upon a space and it should therefore not be perfect or precious but allow the user agency and control. As well as this there must be quieter contemplative spaces for self-reflection. This informed my project in terms of programme by including a range of spaces for open, louder creative play and sanctuary spaces for quiet moments. Jess Mulvey

JM: I think programmes are a positive thing but I think that if people change the core use I think that’s where the actually have to check it.

EN: I think it’s opened my eyes a little bit because I took it for granted that architects got involved with their users because I did D&T at A level and it was all about market research and ask people things like this and so I just took it for granted that in design that happened and it surprised me that it doesn’t and we are a little bit the exception.

KK: I knew about how participatory design works, in books I’ve read about it and stuff like that but it was cool to try to put it into practice which isn’t as easy as I though it was going to be but I started developing ideas that it’s very difficult to engage in participatory design process not being from the community you are engaging with I think its way more effective when you engage where you actually live.

JM: It’s surprising how if you scratch under the surface a tiny bit but there is so much more going on than you realise and you spend more time, are using the local knowledge, it just helps you a lot and the fact there are already people that if you walk around Cheetham Hill you might assume certain things when you get there but then there are already people meeting up and having tea mornings and doing a lot of similar engagement to us. Just wanted to help, self help the

SD: I think the first time I went to Cheetham Hill I kind of I thought that I didn’t really know how to start because I didn’t really get it as much because, maybe it was because the first few people that I asked weren’t very open and that’s probably because we didn’t ask in the right way but I think though the project, I found that asking people and talking to people was the most beneficial part of it because you end up learning so much from someone else’s experience

and it influences the way you make decisions. TI: I didn’t realise how much social aspects of a place can influence design because I have now done that the actual approach or whether its reading ideas or concepts its about how concepts and everything can be derived from what we see in the community. It made a lot more sense and it felt a lot more practical. SR: Do you think it’s changed you as architects? GW: Yeah, definitely. ET: I think its ridiculous that all design isn’t participative. Can’t believe it. WP: Well it is to an extent but not as much as it should be. KK: Should be like sustainability, should be everywhere. SR: But at different levels though, sustainability isn’t just about tech.

JS: Perhaps the problem, the reason we get public space is used or misused, with anti-social behaviour, is because the only people that use them are those without the money to be out there spending money on things that is what privileged people do. SR: How have your views changed since day one?

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EN: Basically, you can never, even with community participation; you can never be able to, as an architect predict how your building is going to be used. You can set out the main programme for it but there is always going to be other things happening. Things that is unplanned.

activities already. So I found that being bothered to look for those was a really good exercise and I found a lot more than I though I would.

Retreat for women bothered by mental health issues in need of constant support. Accommodation provides communal living as a method of rehabilitation and friendship making.

Re-appropriation

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Synoptic: Family Action for Children Cheetham Hill lacks an independent service for young people in care and supportive roles at home, despite the prevalence of major contributory factors in the area such as family size and unemployment rates. Family Action for Children provides a service across Manchester and offers respite activities in the East and South of the city. They outsource venues to hire for these events, resulting in irregular contact with the people that need a break from the everyday life of their role. Whilst individual visits and one-to-one specialist sessions are available, young carers often need less formalised support from their peers and regular contact with those in similar home situations. Salford Young Carers work with an older age group of carers who are looking for the transition to independence, and means of employment and qualification mentoring. Meetings with

Synoptic: Pattern Language of Amsterdam Pattern Language of Amsterdam aims to question and understand the factors that contribute to the evolution and existence of the particular nature of markets and therefore its role in the urban and social context of a city. It looks at the theoretical, historical, physical and social influences on markets. Furthermore, case studies of present day Amsterdam markets are

Synoptic: Learning from Amsterdam’s City Centre Amsterdam has a unique and distinct identity that is created partially due to the unusual image of the city center century-old housing. This particular part of the city deviates from the traditional idea of a city center

Family Action highlighted the importance of having a base for young carers to come and go from, meet, greet, hide, escape and adapt. With a space of their own to use, furniture and games don’t need to be

cleared away, and the evidence of yesterday’s activities can resonate into the next and offer a safe and familiar environment.

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made by analysing the spatial principles and its manifestation on the social context, to understand the impact of architectural design intentions that shape its structure. Hence, through this analysis, certain patterns that are found within the markets of Amsterdam are extrapolated. Taniya Ittan

due to the mix of uses in a single space. The buildings, originally created to accommodate residential functions, are now used for various purposes including housing, work spaces, leisure spaces and more. The functions co-exist with each other giving a unique sense of community. Along the lines of connecting people and enabling mutual understanding in

Cheetham Hill, the function of Amsterdam’s multiplicity was juxtaposed with on Cheetham Hill road during the analysis of the area in order to study the impact of conjunction of uses as a way of representing diversity. Archontia Manolakelli

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REFERENCE LIST

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Books Ainley, R.1998. New Frontiers of Space Bodies and Gender. London: Routledge. Ardner, S. 2000, The Partition of Space, In. Borden, I. Gender Space Architecture: an Interdisciplinary Introduction. London, Routledge Augé, M. 1995. Non-Places: Introduction to an Anthropology of Supermodernity . Bachelard, B. 1992. The Poetics of Space. Boston: Beacon Press Butler, J. 1990. Gender Trouble: Feminism and the Subversion of Identity. London: Routledge. Hayden, D. 1980, What Would a Non-Sexist City Be Like? Speculations on Housing, Urban Design and Human Work. Signs. London: Verso Mazzoleni, C., 2010. The concept of community in Italian town planning in the 1950s. Planning Perspectives 3, 325–342. Rendell, J. 2000. Introduction: Gender Space, In. Borden, I. Gender Space Architecture: an Interdisciplinary Introduction. London, Routledge. Till, J. 2009. Architecture Depends. Cambridge: MIT Press. Weisman, L. 1981. ‘Women’s Environmental Rights: A Manifesto’, from Heresies: A Feminist Publication on Art and Politics. London: Routledge Wright, F. The Natural House. London: Pitman Publishers, 1971

Editor in Chief Konrad Koltun

Editor in Chief Stephen Lovejoy

Associate Editor Konrad Koltun Design Editor Will Priest

Design Editors Madeleine Mooney, Will Priest, Tuan Viet Pham, Tim Spiller, Amaobi Ike Content Editor Emma Naylor

Content Editors Dammy Fasoranti, Adrian Coelho, Matthew Shanley, Alexander Watts, Emma Naylor, Joseph Smith Content Editor Joseph Smith

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Mies. UK, 2013. Jeremy Till (PORT-RE) [WWW Document]. YouTube. URL https://www.youtube.com/ watch?v=gHsVKv40M14 Syracuse Architecture, 2011. Peter Eisenman: “Project or Practice?”. YouTube. URL https://www.youtube.com/ watch?v=TnyJRYyuhHU TheHarvardGSD, 2007. A Dialogue: Jacques Herzog and Peter Eisenman. YouTube. URL https://www.youtube.com/ watch?v=bB_GUTJZpTw

Maliba Ramiza Ramlan, Nawal Nabila, Michele Lim, Wan Syafiqah, Archontia Manolakelli Content Editor Archontia Manolakelli

Publication Keohane, N., Broughton, N. (2013) The Politics of Housing [Online] Available from: http://www.smf.co.uk/ research/housing-and-communities/politics-housing/. [Accessed: 25th May 2014] Parvin, A., et al. (2012) The right to Build: the next masshousing industry [Online] Available from: http://www. architecture00.net/news/2755. [Accessed: 25th May 2014]

On the behalf of MSA Praxis, the editorial team would like to thank all our collaborators who informed the work presented in this publication. Moreover, we would like to thank everyone in the atelier for their patience whilst we were assembling it and above all, thank our tutors, Helen Aston and Sarah Renshaw for expanding our knowledges about life and architecture during the fantastic time we had this year.

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Assemble MSA Prints PRESENTS

MANUFACTURING COMMUNITIES: DESIGNING REAL PLACES PART 1

Territory INCLUDING AN INTERVIEW WITH

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MORAG ROSE

PRESENTS

MANUFACTURING COMMUNITIES DESIGNING REAL PLACES PART

PARTICIPATORY DESIGN IN SINGAPORE

FREE CHAT

HOW PARTICIPATORY DESIGN WAS USED IN BIRLEY FIELDS

PUBLIC PRIVATE OR COMMONS?

LECTURE FROM TORANGE KHONSARI

GATED PUBLIC SPACES

DO CITI ENS OWN THE CITY?

HOW DOES ARCHITECTURE GET PEOPLE INVOLVED? THE ROLE OF THE ARCHITECT

COMMUNITY MEETING PLACE

SUBOPTIMAL DESIGN 1

NEIGHBOURHOOD POTENTIAL

CURATING SPACE

OPEN EVENTS

FREE SPACE

Excess Citizens THE SPECIAL CHEETHAM HILL ISSUE

INCLUDING AN INTERVIEW WITH

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ANN THORPE

PRIORITI ING THE USERS

LOUIS WOODHEAD

PRESENTS

MANUFACTURING COMMUNITIES: DESIGNING REAL PLACES PART 3

MANUFACTURING COMMUNITIES DESIGNING REAL PLACES PART

A WASTED SPACE

BULLETIN

WAYS TO ENGAGE

FAVELA RISING

GLOBALISED CONSUMERISM

ENGAGING THE HOMELESS

SHOULD THE DESIGN PROCESS BEGIN WITH THE USERS?

HOW DO WE ADDRESS CONSUMERISM IN MODERN SOCIETY? GROW YOUR OWN

INCLUDING AN INTERVIEW WITH

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TESCO TOWN ED

RETHINK

THE TRIAGE CENTRE

YOUTH WRECKREATION

THE COOP

MANUFACTURING COMMUNITIES: DESIGNING REAL PLACES A five-part series from the students of the MSA_Projects atelier at the Manchester School of Architecture.